Hold That Ghost (1941)

86m 2s, 2353.36 metres
35mm film, black and white, 1.37:1
mono, English

An American comedy horror film directed by Arthur Lubin and featuring Abbott and Costello.

Plot Summary

A pair of inept service station workers are the sole beneficiaries in a gangster's will. But on their way to claim their fortune, they become stranded along with several others, at a haunted house.


* = uncredited

Directed by: Arthur Lubin
Copyright MCMLXI [1941] by Universal Pictures Company, Inc.
Universal presents
Producer: Alex Gottlieb *
Associate Producers: Burt Kelly, Glenn Tryon
Screenplay: Robert Lees, Fred Rinaldo 1real name: Frederic I. Rinaldo, John Grant
Original Story: Robert Lees, Fred Rinaldo 2real name: Frederic I. Rinaldo
Assistant Director: Gilbert J. Valle
Dialogue Director: Joan Hathaway
Director of Photography: Elwood Bredell
Film Editor: Philip Cahn
Music: Milton Rosen *, Hans J. Salter *, Frank Skinner *, Johann Strauß [from The Blue Danube Waltz] *
Stock Music: Ralph Freed *, Charles Henderson *, Charles Previn *
Musical Director: H.J. Salter [real name: Hans J. Salter]
Sound Supervisor: Bernard B. Brown
Technician: William Fox
Western Electric Mirrophonic Recording
Gowns: Vera West
Art Director: Jack Otterson
Associate: Harold H. MacArthur
Set Decorations: R.A. Gausman [real name: Russell A. Gausman]
Musical Numbers Staged by: Nick Castle

Bud Abbott (Chuck Murray)
Lou Costello (Ferdie Jones)
Richard Carlson (Dr Jackson)
Joan Davis (Camille Brewster)
Mischa Auer (Gregory)
Evelyn Ankers (Norma Lind)
Marc Lawrence (Charlie Smith)
Ted Lewis and his Orchestra
The Andrews Sisters
Shemp Howard [soda jerk] *
Russell Hicks [Bannister] *
William B. Davidson [Sidney ‘Moose' Matson] *
Milton Parsons [Harry Hoskins] *
Frank Penny [Snake-Eyes] *
Edgar Dearing [Irondome] *
Don Terry [strangler] *
Edward Pawley [High Collar] *
Nestor Paiva [Glum] *
Paul Fix [Lefty] *
Jeanne Blanche [pretty girl] *
Madge Crane [Mrs Giltedge] *
Thurston Hall [Alderman Birch] *
Harry Hayden [Jenkins] *
Hans Herbert [mobster] *
Kay Kay and Katya [themselves] *
Joseph La Cava [Little Fink] *
Frank Richards [gunman] *
William Ruhl [gas station customer] *
Janet Shaw [Alderman's girl] *

Alternative Titles

Agárrame ese fantasma – Spain
Fantômes en vadrouille – France
Gli inafferrabile spettro – Italy
Oh, Charlie
Peliluolan pennittömät perijät – Finland
Ein Verrücktes Nachtlokal – Austria
Vorsicht Gespenster! – West Germany

Extracts included in
Terror in the Aisles (1984)



  • Castle of Frankenstein no.10 p.42
  • Classic Images no.147 (September 1987) pp.C1-C4 – credits, review
  • Harrison's Reports 2 August 1941 p.124B – review (by Peter S. Harrison)
  • Kine Weekly no.1802 (30 October 1941) p.18 – review
  • Kine Weekly no.2158 (9 September 1948) p.18 – review
  • Monthly Film Bulletin vol.8 p.149 – credits, review
  • Motion Picture Herald vol.14 no.5 (2 August 1941) – review
  • Motion Picture Herald vol.172 no.10 (4 September 1948) – review
  • Today's Cinema vol.5 no.4638 (24 October 1941) – review
  • Today's Cinema vol.71 no.5698 (8 September 1948) – review


  • The Abbott and Costello Book by Jim Mulholland pp.63, 68-71,181; 212-213
  • Abbott and Costello on the Home Front: A Critical Study of the Wartime Films by Scott Allen Nollen pp.27-33; 183 – illustrated synopsis, review; illustrated credits
  • The Abbott & Costello Story by Stephen Cox and John Lofflin p.202
  • Comedy-Horror Films: A Chronological History, 1914-2008 by Bruce G. Hallenbeck pp.35-36; 211 – review; credits
  • Feature Films, 1940-1949: A United States Filmography by Alan G. Fetrow p.209
  • and Angels in Hollywood Films by James Robert Parish pp.187-189 – illustrated credits, synopsis, review
  • Horror and Science Fiction Films II by Donald C. Willis p.172
  • The Horror Spoofs of Abbott and Costello: A Critical Assessment of the Comedy Team's Monster Films by Jeffrey S. Miller pp.2, 14, 25, 40, 41, 50, 52, 76, 103, 120, 137-165, 180, 208, 217
  • by Walt Lee p.196 – credits
  • Universal Horrors: The Studio's Classic Films, 1931-1946 (2nd edition) by Tom Weaver, Michael Brunas and John Brunas pp.256-261 – illustrated credits, article