Lamont Cranston, aka The Shadow, investigates the murder of a New Orleans bandleader.

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(adapted from a screenplay by), (adapted from a screenplay by) (as Betty Jeffries)
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Cast

Complete credited cast:
Richard Derr ...
Mark Daniels ...
Jogendra
Helen Westcott ...
Tara O'Neill
Jack Doner ...
Billy Sanchez
Jeanne Neher ...
Felicia Ramirez
Steve Dano ...
Tony Alcalde
Dan Mullin ...
Pablo Ramirez / Victor Ramirez
Leo Bruno ...
Ramon 'Rocco' Martinez
Lee Edwards ...
The Colonel
Sam Page ...
Charlie
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Storyline

Lamont Cranston, aka The Shadow, investigates the murder of a New Orleans bandleader.

Plot Summary | Add Synopsis

Taglines:

Shuddering thrills... as the Shadow Man strikes!

Genres:

Action | Drama

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Details

Country:

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Release Date:

2 December 1958 (USA)  »

Also Known As:

Bourbon Street Shadows  »

Filming Locations:


Company Credits

Production Co:

 »
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Technical Specs

Runtime:

Sound Mix:

(RCA Sound System)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

Until the Alec Baldwin film The Shadow (1994), this served as the only Shadow film in which he could turn invisible (a power he had on radio but not in the pulps). See more »

Connections

Follows International Crime (1938) See more »

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User Reviews

Margo Lane: you are needed!
25 October 2000 | by (Keene, NH) – See all my reviews

This 57 minute film is of some historical interest, especially to collectors of films based on comic book characters. The plot is only mildly interesting and certainly not very original, the acting wooden, the production values low budget. In fact, I began to wonder if this was an early made-for-television effort rather than a film for cinemas.

At any rate, it does not follow the original concept except for Lamont Cranston's ability to "cloud men's minds" so that he seems to disappear. He does not don the familiar broad-brimmed hat and cape (although it is shown on the cover drawing), nor does he consort with Margo Lane, "the only person to know the Shadow's true identity." Instead he is in the constant company of a certain gentleman named Jogendra, who is trying to discipline him in the Oriental art of they are practising.

But all this aside, it is really a lot of fun in its own way because of its defects and a good example of how Hollywood had no respect for its sources. I have sought in the recent and in back copies of Maltin for some mention of this item, but it seems to have been forgotten by all except Video Yesterday--for which I thank them.


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