Phantom Lady

Phantom Lady

Jack Marlow

Scott Henderson

Estela Monteiro

Inspector Burgess

Ann Terry

Cliff

Bartender

Detective Chewing Gum

Detective Tom

Kettisha

Dr. Chase

District Attorney

Guitarist (uncredited)

Dancer (uncredited)

Man with Poodle (uncredited)

Jive Club Clarinetist (uncredited)

Dancer (uncredited)

Theatre Patron (uncredited)

Drummer (uncredited)

Courtroom Spectator Next to Carol (uncredited)

Girl in Tag Sequence (uncredited)

Prison Guard (uncredited)

Girl (uncredited)

Claude (uncredited)

Worker (uncredited)

Apple Annie (uncredited)

Brunette (uncredited)

Desk Clerk (uncredited)

Jive Club Trumpeter (uncredited)

Monteiro's Maid at Casino (uncredited)

Prison Guard (uncredited)

Courtroom Spectator (uncredited)

Judge (voice) (uncredited)

Miss Payton (uncredited)

Dancer (uncredited)

Girl in Tag Sequence (uncredited)

Sanders - Stage Manager

Dancer (uncredited)

Max - Proprietor (uncredited)

Al Alp - Taxi Driver (uncredited)

Theatre Patron (uncredited)

Jive Club Trombonist (uncredited)

Anselmo (uncredited)

Bar Customer (uncredited)

Mrs. Witherspoon (uncredited)

Woman at Train Platform (uncredited)

Court Guard (uncredited)

Barfly with Racing Form (uncredited)

Monteiro's Secretary (uncredited)

Jive Club Bass Player (uncredited)

Jive Club Pianist (uncredited)

Ticket Agent (uncredited)

Mama Rosette (uncredited)

Worker (uncredited)

Show Backer (uncredited)

Blonde (uncredited)

After the film's release, Jacques Press and Eddie Cherkose sued Universal for $20,000 for not getting on-screen credit for their song "Chick-ee-Chick."

In the courtroom scene we see the pen of a court reporter transcribing the trial in shorthand. The date under the criminal court letterhead is August 6, 1943. This may be coincidental or an inside reference to the birthday of Ella Raines, August 6, 1920.

Although Franchot Tone is given top billing in this film, he does not appear for the first 45 minutes.

The crux of this murder mystery involves a hot-headed Broadway diva who becomes so enraged when a woman attends her revue wearing an exact duplicate of the bizarre highly-distinctive hat she sports during an onstage musical number, that she immediately destroys the hat after the performance and later falsely tells police she would never wear anything but a one-of-a-kind creation, even though this misinformation (the theater-goer wearing the copy of the chapeau provided to be an alibi) will erroneously send a man to his death for a crime he didn't commit. In reality, police could have cleared up this point immediately had they simply questioned the show's costume designer or even checked the credits in the show's program to find the milliner who created it - performers never wear their personal wardrobes in elaborate musicals. Furthermore, the show in question was a long-running hit, suggesting there would have been publicity pictures of the star wearing the hat - or, if anyone had bothered to alert newspapers, thousands of theater-goers who could vouch they had indeed seen her wear it onstage during earlier performances.

During the theatre visit, near the beginning of the film (c.5 minutes), we hear a loud and isolated cymbal crash but the percussionist/kit player does not move at all at this point. It is inconceivable that a pit orchestra would employ a second percussion player and the plot-reason for this isolated cymbal crash is clearly that the drummer (Cliff) is distracted by the "Phantom Lady" in the audience.

Near the end, when Carol (aka Kansas) is in Jack's apartment, she places the hat on a large statue-head, then tends to Jack who is lying down. When she then walks to the bedroom, the hat is no longer on the statue.

Scott Henderson: [Carol 'Kansas' Richman listens to a message left on a Dictaphone machine] Hello, Kansas. Renew my membership in the Architects and Engineers Association, and call Mason Follett, the contractors, and make an appointment with them for tomorrow morning.

Ann Terry: [to bartender] Give me a nickel, please.

Mac: Yes, Miss?