F.E. Miller

An all-black horror comedy starring Mantan Moreland and sometimes partner (and straight man) F.E. Miller, Lucky Ghost is amusing low-brow fare that exploits the more base, stereotypical elements of old-time black life (chicken thievin', gamblin', runnin' from ghosteses) for laughs -- sort of like the BET of its day. Mantan and Miller win a house-cum-casino in a craps game, only to discover that the deceased former owners aren't too pleased that their old home is being used for "jitterbugging, jiving, and hullaballooing". I hate hullaballooing. The ghosts decide to scare everyone off by opening doors and windows, pulling out chairs, even playing the drums.

A wandering cowboy and his sidekick try to resolve a murder.

A cowboy helps a pretty young woman find lost gold. Restored by the Academy Film Archive with additional funding from the National Endowment for the Arts.

Bob Blake and his sidekick and four singing cowboys arrive at the Jackson ranch where Bob learns from Betty Jackson that her brother, Joe, is missing. Bob investigates and learns that there is gold on the Jackson ranch, and the neighboring rancher has kidnapped Joe in order to get his land.

Two men search the jungle for a woman who has been captured by a tribe of murderous gorillas. When they finally find her, they must fight off attacks by the gorillas, who are determined to keep her.

Tommy McCoy and "Dude" Markey are both in love with Harlem singer/dancer Nita. Markey robs a jewelry store and turns the loot over to gang-boss Murray Howard. Later, Markey robs the safe, steals the jewelry, and, in order to get rid of his rival for Nita, frames the robbery on McCoy. The latter's big-brother thinks otherwise and, with Nita's help, sets out to prove it.

Dancing great Bill Williamson sees his face on the cover of Theatre World magazine and reminisces: Just back from World War I, he meets lovely singer Selina Rogers at a soldiers' ball and promises to come back to her when he "gets to be somebody." Years go by, and Bill and Selina's rising careers intersect only briefly, since Selina is unwilling to settle down. Will she ever change her mind? Concludes with a big all-star show hosted by Cab Calloway.

In and around some great blues, swing and jazz music, a very unpopular band-leader. Prince Ellis, is killed in a Harlem nightclub, and, in and around some more great music, a detective finds the lists of suspects is very long, as Prince Ellis was indeed very unpopular with many citizens.

A young boy finds himself in a home for retired minstrel acts. He's anxious to find out as much as he can about them, and flashbacks show what it was like back in the days of the minstrel shows.

In this musical short, two night watchmen hear songs performed in a haunted pawn shop.

While serving time in county prison, Wallingford sees a story in the newspaper that his cellmate, Schenectady, has inherited a mansion from his recently deceased uncle. Hearing this, Schenectady dreams of luxury.

DJ Hal Jackson is the all-rhyming onstage host of this all-black musical.

Two cut-rate private detectives are broke, hungry and down to their last nickel. They decide to hock their banjo in order to get some money for food, and while one partner is negotiating the deal, the other one falls asleep and dreams that a wealthy society matron has hired them to investigate a string of suitors.

In order to make some cash, buddies Mantan and Alex found the "Ghost Association," which will hold mock seances for the local residents. After studying the details of the locals' various deceased relatives, Alex insist that the reluctant Manta, who is afraid of ghost, play "Prince Alabastar Amsterdam" and fool people into thinking that he is in communication with their dead loved ones.

Mr. Wilson hires Mantan to travel out West and clean out an old property. Mantan runs into trouble in believing the house is haunted while a gang uses it as a hideout. A race film Western produced by the Toddy Company; made for $500 over two days. Restoration by the Academy Film Archive and Blackhawk Films with funding from the estate of David Shepard from the only surviving 35mm nitrate print donated by Giancarlo Esposito and Laurence Fishburne.