Ghost Catchers

While some of the reviews here are raves for this film, I am firmly in the opposite camp. I find comedy duos like Laurel and Hardy and Abbott and Costello very funny even today, but Olsen and Johnson are not. Their shtick may have played better in the 40s, however, I don't think it works in this movie at all. Part of the problem is that the paper thin plot seems to take a back seat to far too many musical and comedy interludes. The songs aren't memorable and neither are the slapstick bits. I found the duo's antics insufferable and I didn't care who the killer was by the end.

As a Universal genre completist, I'm glad I finally got to view this little seen film, but I would never put myself through watching it again. Stick with the far better Hold That Ghost from Abbott and Costello, or Ghost Breakers with Bob Hope. 2 1/2 stars.

I was a youngster when I last saw this film. I remember it as being a little scary. There was a haunted house in New York City. When the scenes changed to the swinging night club, this was the comic relief (for me). I remember the music to be tune-full, swinging. I would love to see this movie again.

In honor of today which is Halloween, I decided to watch various comedy teams' movies which has some scary stuff. This is the first of the Ole Olsen & Chic Johnson movies that I've seen and are now on YouTube. They play themselves as entertainers whose nightclub is next to a haunted house. That's all I feel I have to explain since the plot is pretty much ripped to shreds not only by their act but also by some singers like Gloria Jean, Morton Downey Sr., and Ella Mae Morse of which the last one provides some swingin' Big Band entertainment while the other two are more romantic ballad-like. I think I like Ms. Morse's numbers better than the other two though, really, there's too much of them. And while there are some funny punchlines and amusing visual bits, as well as an early thrill at the beginning, the whole thing was just too silly for my tastes. I did like the appearance of both Andy Devine and Lon Chaney Jr. as a horse and bear, respectively. So on that note, Ghost Catchers is worth a look at least once. P.S. Yes, this Morton Downey Sr. was the father of the late notorious talk show host, Morton Downey Jr.

1944's "Ghost Catchers" remains a seldom seen musicomedy from Universal's busy wartime era, the third of four titles made there by the almost forgotten team of Ole Olsen and Chic Johnson. As near as I can figure, the pair were so similar in appearance that you can only tell them apart by the fact that Olsen was taller, with Johnson most often howling at his own antics. While I truly enjoyed their previous feature, 1943's "Crazy House," I was frankly bored with this one, way too much music taking up screen time for the first half of a brief 67 minute film that seemed much longer. They had only one interesting moment, a little dig at Abbott and Costello (done before in "Crazy House"), who had a huge success with 1941's "Hold That Ghost," one of their finest films (the same running figures used during the opening credits for both features). Here, we have a Southern Colonel (Walter Catlett) and his two singing daughters (Gloria Jean and Martha O'Driscoll), who rent a house haunted by a tap dancing ghost, played in his one sequence by perennial drunk Jack Norton. While the invisible spectre is not malevolent, there are others trying to scare away our protagonists, even murdering the caretaker (Alec Craig); gangsters hoping to make off with their hootch. The two most noticeable crooks are Lon Chaney (in a bear costume) and Andy Devine (in a horse's head), while cult favorite Tor Johnson can be spotted among the rest (among the musical guests are Morton Downey and drummer Mel Torme). While Devine gets to indulge a little, poor Chaney is completely wasted, enjoying better roles in his forthcoming Abbott and Costello movies. A better ounce of trivia involves the criminal mastermind wearing one of Chaney's Mummy masks (looking most like the one from the still forthcoming "The Mummy's Curse"). The adorable Gloria Jean does get to show off why she was Deanna Durbin's main competition at Universal, and lovely Martha O'Driscoll would see more of Lon Chaney the following year, in "Here Come the Co-eds" (with Abbott and Costello), "The Daltons Ride Again," and her most famous credit, "House of Dracula." Olsen and Johnson would do one more feature in 1945, "See My Lawyer," before returning to the stage, where they continued performing for the rest of their days (Bela Lugosi appeared in one of their early talkie films, 1931's "50 Million Frenchmen," shot in two strip Technicolor).

Olsen and Johnson are as wild as the Marx Brothers here, but too often they play second fiddles in their own movie; there is far, far too much singing which will turn off approximately 19 out of 20 viewers today (keep the FF button handy). There appear to be no decent-quality copies of this film in circulation, so that's another thing that restricts viewing and sounding pleasure. But don't miss the scene where O & J openly discuss Abbott and Costello's "Hold That Ghost"! This whole movie could be a fever dream. ** out of 4.