One side of this is as dramatic as Bette Davis while the other obviously emulates Bob Hope. It's a weird combination of a psychological melodrama from PRC, the studio often known as "Pretty Rotten Cinema". While this isn't rotten, it's very perplexing, rather flip on the Enoch Arden theme of coming back from the dead with June Lockhart nonchalantly getting into the ready to speed off car of husband Mark Daniels, leaving her funeral. She'd been apparently burnt to death in a fire, and explains rather flippant exactly where she's been. He doesn't even act like someone who believes he's seen a ghost, getting this off to a bizarre start.
While dark comedy is a good thing, it isn't presented realistically here, and the desperation for laughs involving murderous intrigue comes off weakly. Cathy O'Donnell is obviously more than just a friend to Daniels while long time friend Hugh Beaumont obviously has string feelings for Lockhart. The sight of Beaver's father with Will Robinsons mother will be a nostalgic treat for TV fans, but it's a shame that the film they are in is poor. Some amusement is provided by Virginia Farmer as the suspicious housekeeper, but this one is just plain weird, and not in a good way.
While dark comedy is a good thing, it isn't presented realistically here, and the desperation for laughs involving murderous intrigue comes off weakly. Cathy O'Donnell is obviously more than just a friend to Daniels while long time friend Hugh Beaumont obviously has string feelings for Lockhart. The sight of Beaver's father with Will Robinsons mother will be a nostalgic treat for TV fans, but it's a shame that the film they are in is poor. Some amusement is provided by Virginia Farmer as the suspicious housekeeper, but this one is just plain weird, and not in a good way.