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Taking the master detective out of Victorian London into World War Two, Sherlock Holmes and the Secret Weapon has little in common with anything penned by Conan Doyle, but it is a hokey, entertaining spy thriller.
Holmes (Basil Rathbone) is up against his old nemesis Professor Moriarty (Lionel Attwill who had played Dr Mortimer in the earlier Rathbone version of The Hound of the Baskervilles), with both on the trail of a missing scientist and his invention, a revolutionary bomb sight that could change the course of the war.
The screenplay take it's cue from the Conan Doyle short story The Adventure of the Dancing Men, but there is little left of the original, beyond the plot device of an alphabet substitution code. The character of Holmes is a world away from the dispassionate Victorian gentleman, only taking cases that tickled his intellectual fancy. Here is a paid up patriotic Brit, doing his bit against the Nazis. As such there are no baffling, impossible murder mysteries to solve, just standard spy stuff like disguises and code breaking. Nevertheless, Rathbone brings the sort of energy and focus needed for the part, and Nigel Bruce as Watson is dimwitted but so charming and affable it is impossible not to like him.
In keeping with the secret agent feel of the film, Lionel Atwill plays Moriarty like a James Bond villain, and even has a secret lair with trapdoors and an entrance hidden by a moving bookcase.
The propaganda is kept to a minimum for most of the film, with the war being the McGuffin to drive a standard espionage plot. It only takes over in the closing minutes, with Holmes gazing wistfully into the distance reciting the "Fortress built by nature" speech from Richard II.
The first film to pair Basil Rathbone and Nigel Bruce as Sherlock Holmes and Dr Watson, The Hound of the Baskervilles is great fun, with a fast paced story, two perfect actors in the lead roles and lashings of spooky foggy atmosphere.
Sticking closely to the novel by Arthur Conan Doyle, the story sees Holmes and Watson investigating the legend of a deadly supernatural beast that has been haunting the Baskerville family for hundreds of years. After his Charles Baskerville is found dead, his face twisted in horror and giant paw marks near the body, his nephew Henry, the last of the line, inherits the family estate – but has he inherited the family curse? Or is there a more down-to-earth explanation?
Moviegoers in the 1930s had no shortage of detectives to watch, such as The Thin Man, Bulldog Drummond, The Saint, Charlie Chan and Mr Moto. One element of The Hound of the Baskervilles that makes it stand out from these is one that we might take for granted nowadays, which is the fact that it is set in the Victorian era it was originally written in, rather than the time it was released in.
Another factor that sets The Hound of the Baskervilles aside from other contemporaries is that, as well as a detective story, it is a wonderfully spooky Gothic tale, with a crumbling mansion, a seemingly supernatural beast and fog shrouded moors, all of which translate perfectly to the screen, with an ambience reminiscent of the classic Universal horror films. It is perhaps not surprising that Hammer chose this same tale to follow up their Dracula and Frankenstein films.
Of course, a detective story is only as good as the detective and thankfully we have one of the best portrayals of Holmes ever. Rathbone is a dead ringer for the Holmes depicted in the Sidney Paget illustrations that accompanied the original publication, but he also brings a steely determination and energy to the part, and makes such an impact that it is easy to forget that the character is absent from most of the middle third of the story.
Nigel Bruce's take on Watson has come in for some stick over the years and there is no denying that this is a far more buffoonish than the book version. However, in his defence, Watson does have to be slightly behind events so that Holmes has someone to explain things to for the benefit of the audience, and in addition, there is no shortage of the other essential traits we associate with the character, the tenacity and loyalty.
Rounding out the films credentials as a work of horror is the supporting cast of suspicious characters, featuring no less than John Carradine as the Baskerville butler, a man who could read a shopping list and make it sound like a sinister threat, and Lionel Attwill as Dr Mortimer, the man who brings the whole matter to Holmes in the first place for reasons that seem unclear. Attwill usually gets typecast as sinister or sleazy villains and it is not surprising that he would go on to play Holmes nemesis Professor Moriarty in the later Rathbone film Sherlock Holmes and the Secret Weapon.
Making less of an impression is Sir Henry Baskerville himself, played by future TV Robin of Sherwood Richard Greene, although perhaps that is more a case of being overshadowed by the charisma and talent of the rest of the cast. In a sign perhaps of how little 20th Century Fox anticipated the success of the film, and the chances of any sequels, Greene actually gets star billing on the poster, over Rathbone and Bruce, despite this only being his second movie outing.
All of this is helped by a script that sticks to the basic storyline and zips along a good pace, intriguing without being confusing, while still leaving time to learn about something of the character of Holmes and soak up the glorious gloomy atmosphere of Grimpen Mire.
The recent BBC TV series was not the first attempt to move Sherlock Holmes from Victorian times into a more contemporary setting. Universal set several of the series of films starring Basil Rathbone as Holmes and Nigel Bruce as Dr Watson, during the wartime 1940s world that they were released in. What makes Sherlock Holmes Faces Death one of the best of these is that the war is now the backdrop to, not the driving force behind, the story, and the filmmakers went back to the source, adapting the Conan Doyle story "The Adventure of the Musgrave Ritual".
The plot sees Watson working at to the Musgrave estate, a country mansion turned makeshift hospital for soldiers wounded in World War Two. When one of his colleagues is mysteriously attacked, Watson asks Holmes to help investigate, but when the great detective arrives, he finds one of the Musgrave family murdered, a long list of suspects, and a possible link to an old and sinister family tradition.
The script plays fast and loose with the original short story, making it more of a straightforward murder mystery, set in a slightly hokey haunted house, complete with thunder, lightning, suits of armour, secret passages and cobwebs. The story plays out in a somewhat formulaic manner, quickly setting up the story and showing us the suspects one by one.
Rathbone's take on Holmes is one that keeps many of the traits of the books, such as the unpredictable energy, fierce intelligence and eccentricity (we first see him shooting bullets into his living room wall in order to test a theory, and he also has an encyclopaedic knowledge of train times and current affairs). His portrayal is the one that I grew up with, and is the one that perhaps set the public perception of the character in the twentieth century,
Watson is not as quick-witted as in the books, but he is a loyal and likeable fellow, as well as, for the audience sake, filling the role of giving Holmes someone to explain the story to (and being the sort of Doctor who prescribes patients "those American cigarettes you like")
Regular Holmes foil Inspector Lestrade is on hand to provide the comic relief, bumbling from one mishap to the next, even though nobody has any explanation for why a London police officer is investigating a murder in Northumberland. Having said that, nobody has any explanation as to why the English village has a distinctly Mediterranean look either.
Unlike previous wartime Holmes films, here, he is not working for the Allies, and the conflict seems rarely to get a mention. Interestingly though there are hints at some tensions between the British and the billeted US soldiers, with one villager talking disapprovingly of somebody "running off with a Yankee". The only time war comes to the fore is the stirring speech by Holmes at the very end, talking of "a new spirit abroad in the land" where "the old days of grab and greed are on their way out". It feels tacked on, and jars somewhat with the rest of the film, which is a fun, interesting, and atmospheric mystery thriller.
