Linbeymusol Wonderful character development!

Matrixiole Simple and well acted, it has tension enough to knot the stomach.

Whitech It is not only a funny movie, but it allows a great amount of joy for anyone who watches it.

Darin One of the film's great tricks is that, for a time, you think it will go down a rabbit hole of unrealistic glorification.

bkoganbing Although Laurel&Hardy fill the roles out well that they had in A-Haunting We Will Go this seems to be more of a film that Abbott&Costello might have been suited better for. A lot more physical stuff and funny lines here than the character based comedy that Stan and Ollie did so well.These two did something that has local law enforcement on their case. They agree to accompany the dead body of a recently departed soldier for burial in Dayton, Ohio. What it really comes down to is a scam to get some crook out of town. Of course members of the gang like Elisha Cook and Don Costello start falling out with each other.In the meantime our two geniuses in the leads get the coffins mixed up with the prop coffin of magician Dante going to the phony asylum and the boys taking the real coffin to the theater where Dante is performing.I have to say that Dante himself was patient and indulging and he and assistant John Shelton realize these guys are naturally funny. Even though they gum up the act Dante just smiles through it all.If you think this bears some resemblance to the A&C classic Who Done It you would be right. The last 20 minutes of A-Haunting We Will Go takes place in the theater where the various plot elements and characters come together including one who is very dead.In the end Stan becomes a victim of magic. You'll have to see A-Haunting We Will Go to get the explanation for that.

Boba_Fett1138 This movie is like all Laurel & Hardy's '40's movies; Too much talking and not enough slapstick. And has an overwritten story and it relies too much on the script, rather than on Laurel & Hardy's antics and talent. Yes of course they get some slapstick to do but it doesn't feel as anything new or truly great, though the movie certainly does have its moments, which help to make this movie worthwhile.The story is rather weak but above all really uninteresting. The title is deceiving and certainly has nothing to do with the movie.Dante, a magician from the 20th century is in the movie too but you can wonder why. Seems like just a publicity stunt for both parties to me, since it doesn't serve a too big significant purpose for the main plot-line of the movie.Not that this movie is bad but by Laurel & Hardy standards it still is a rather weak and bad one, that really isn't among their best work.6/10http://bobafett1138.blogspot.com/

hausrathman Laurel and Hardy are bamboozled into smuggling a gangster, disguised as a corpse in a coffin, from one city to another but complications arise when the coffin is switched with a coffin used in a magician's act. This film, produced by Twentieth Century Fox, doesn't approach the charm of even their weakest feature produced by the Hal Roach Studios, but I don't think this is necessarily Laurel and Hardy's worst film. There are a few laughs, sporadic as they may be. The main problem is that the comedy is too generic, it doesn't grow out of the personas they painstaking developed over the years. One could just as easily imagine Abbott and Costello or Bob Hope and Bing Crosby doing the Indian Rope trick gag. The production values are better than the Roach films, but production value is a poor substitute for comedy. The predicament can be summed up in the casting. In this film the boys are menaced by Elisha Cook, Jr.. Don't get me wrong. I think Elisha Cook, Jr., is an terrific supporting actor, but against Humphrey Bogart, not Laurel and Hardy. The boys are better menaced by a comic heavy like Walter Long.Still, although many Laurel and Hardy fans castigate Fox and MGM for their treatment of the duo during the 1940s, I don't honestly see how it could have been much different anywhere in Hollywood. Laurel and Hardy were products of the 1920s and 1930s, the golden age of screen comedy. The 1940s were the nadir of comedy. By the time "A Haunting We Will Go" hit the screens in 1942, all of the greats were all essentially gone. Chaplin was inactive, and never returned to the comedy which made him great. Harold Lloyd had retired. Buster Keaton's career was in ruins. W.C. Fields' career was over. The Marx Brothers' film career was essentially over. Even the Ritz Brothers only had two more films in them. When you look at Laurel and Hardy in the context of their peers, it is a great testimony to their popularity that their film career continued as long as it did. The 1940s would forever belong to Abbott and Costello and Bob Hope, the likes of whom would make some funny films, but decade never had the comic vitality of the 1930s.

Raymond Valinoti, Jr. In this film, some thugs hired Laurel and Hardy to transport a coffin containing a live thug to Dayton, Ohio in order to claim an inheritance. But the coffin is mixed up with another used in Dante the Magician's stage act with bizarre results.As a crime drama, A-HAUNTING WE WILL GO is fine, conveying a ominous, suspenseful aura. As a Laurel and Hardy film, however, it is lousy. The grim gangster milieu is inappropriate for Stan Laurel and Oliver Hardy's clownish characters. Most of the supporting actors are too humorless and realistic to successfully interact with the Boys. In the Hal Roach films, supporting actors like James Finlayson and Charlie Hall worked well with Laurel and Hardy because they performed in a farcical, larger-than-life manner.What hurts this film even more is the scenario's contemptuous treatment of Laurel and Hardy's characters. At the Hal Roach lot, where they peaked, Laurel and Hardy became popular because even though audiences laughed at their blunders, the characters conveyed a sweet innocence that endeared moviegoers. In A HAUNTING WE WILL GO, the Boys are a pair of stupid jerks undeserving of respect or sympathy. A particularly revealing moment is when romantic lead John Shelton, who is working with Laurel and Hardy in the Dante the Magician's act, chastises them for misunderstanding the magician's props. The audience is supposed to share Shelton's disdain of Laurel and Hardy's ineptitude.Dante, a magician in real life, gets to perform some tricks. Unfortunately, a levitation stunt passed off as his own actually seems to have been devised by the film's special effects department. Without meaning to belittle Dante's talents, one must say that when geniuses like Laurel and Hardy are in a film, who needs magic acts?So far, I have only seen one other film Laurel and Hardy made after leaving Hal Roach, THE DANCING MASTERS. That film wasn't bad. But despite a few isolated laughs, A-HAUNTING WE WILL GO deserves its poor reputation among film comedy historians. For Laurel and Hardy completists, it's only worth seeing once.