Basil Rathbone Sherlock Holmes film series

Gillette's play, which I've never seen, is supposedly the basis for Orson Welles' Mercury radio version Sherlock Holmes. Welles' introduction is as interesting as the play itself, and he talks about Gillette quite a bit.

 

The problem is the book is white type on a black background. There is not a lot of dialog, I think I'll give it a try.

As for the William Gillette play, I had read because of the characters of Billy and Bassick were in the play, then it was
based upon the play, even though the story was not the same story at all.

 

The Adventures of Sherlock Holmes: Dialog cut from the final screenplay,
Intro scene in the courtroom when Holmes arrives too late:
Barrows (line in final cut) : Your Lordship, my client has been acquitted. He cannot be tried twice on the same charge!

Justice (dryly): I am only too well aware of that regrettable fact.

Moriarty leans forward in the prisoner’s box and speaks for the first time.

Moriarty (indulgently): Let him talk, Barrow! Mr. Sherlock Holmes will be unhappy if he doesn’t get to tell how clever he’s been!

Holmes glares at Moriarty, who grins back at him ironically. The implacable enmity of the two men is very apparent in this exchange.

Justice: It can’t help the case now, but I’ll hear you, Mr. Holmes. Clear the court!

Moriarty: A pity you are too late, Holmes – but it’s reassuring to see you here at all. I was beginning to fear your powers were failing… (his voice becomes almost sincere) … and that, I assure you, I should deplore to see happen.

Justice: Well, Mr. Holmes?

Holmes turns to the scholarly-looking little man who accompanied him into the courtroom.

Holmes: May I present Dr. Gates, chief astronomer at the Greenwich Observatory

Gates: On the night of February eighteenth between the hours of seven and eleven-thirty, the master motor clock at the Greenwich Observatory, which controls the standard chronometers in every part of the United Kingdom – that clock went mad!

Justice: What absurdity is this, Dr. Gates?

Gates (earnestly): Your Lordship, I would rather be discountenanced than know this true! How much the scientific data this fluctuation of time destroys…

Justice (impatiently): Can you explain this, Holmes?

Holmes: Well, my Lord, Moriarty’s alibi was based on directly wired Greenwich time. So I went down to the Observatory and found Dr. Gates already troubled about certain discrepancies in the observations for the night of February eighteenth. Together, we have figured out mathematically this phenomenon. Professor Moriarty found a means to tamper with the Greenwich control clock that night, to cover his alibi!

Justice: Ridiculous!

Moriarty: If you don’t mind, this is becoming boring. May I leave?

Additional dialog removed from the cab ride home after the court:

Moriarty (inhales deeply): Ah, this air – after six weeks in that foul place! An ingenious theory of yours, Holmes – that about the Greenwich clock. It might have done me much damage, if you had come upon it earlier. You’re clever, Holmes! Almost as clever as I! A pity we must always work against each other.

Holmes (calmly ignoring the implication): I’m curious to know how you managed to concentrate a counter magnetic field to sufficient intensity to affect the observatory clock motors.

Moriarty: So you found that out, too! You must stop pursuing me! You stand in the way, not only of an individual, but of an organization – the extent of which you do not realize! Not to stand clear will mean inevitable destruction for you!

Holmes (quietly): That risk is part of my trade…

Moriarty (with deadly venom): Then it is a duel to the end!

 

The first section of dialog would certainly explain the man that follows Holmes into the courtroom and stands behind him as Holmes pleads to testify against Moriarty. The second section would definitely explain a heavy edit that occurs in the middle of the cab ride. There is another section of dialog, the alternate ending scene, which I will try to get on here. It is the alternate ending dialog with Mateo.

 

Thanks for that.
Probably a good thing that they cut that.

 

Upcoming film of the week: Voice of Terror.
(Let's consider for this purpose that Sunday starts the new week.)

 

Last bit of discussion for Adventures of before going on to Voice of Terror:

Dialog from the alternate ending to The Adventures of Sherlock Holmes


Inspector Bristol is seated at his desk. Another inspector stands beside him. At the end of the desk Mateo is seated, handcuffed. Two detectives in plain clothes stand alongside him. On the other side of the desk stands Holmes – and near him, Ann and Watson.

Holmes: That’s why Mateo, here, was employed by Professor Moriarty – an important cog in the wheel of this rather extraordinary crime.

Ann: But Mr. Holmes – why should he have wanted to kill my brother – and me?

Holmes glances at her, somewhat disturbed, then decides to face the issue squarely.

Holmes: He claims – I’m terribly sorry, Miss Brandon – that your father killed his father many years ago – and stole the mine that made him rich.

Mateo (frenziedly): It’s true! And I swear to kill Senor Brandon and all his family!

With a vicious curse in Spanish,, he springs towards Ann – as if to strike her. Quickly Holmes jumps in front of him to protect Ann – just as the two detectives grab Mateo securely.

Holmes (turning to Bristol): Inspector, I think we can now dispense with his charming company now.

Inspector Bristol: Certainly, Mr. Holmes

He nods toward the detectives and they take Mateo out the door. Inspector Bristol and the other Scotland Yard man follow. Ann, frightened, sinks into a chair. Holmes crosses beside her and puts his hand on her shoulder. Ann pulls herself together with an effort, and looks up at Holmes bravely and with quiet courage.

Ann: Go on, Mr. Holmes. I want to know the truth.

Holmes: This Mateo is an Indian – there’s an element of blood vengeance to reckon with. That’s the explanation of the weird music that has disturbed you so – a tribal funeral dirge, and to his mind a necessary preliminary to the ceremonial of murder.

Ann: How horrible! But what did… it doesn’t seem possible that Jerrold Hunter should be a part of this.

Holmes (gently): Jerrold Hunter had nothing to do with it. As the family attorney, he knew your father’s early… operations in South America – and word of the threat over your brother and you. Whatever he had done has been only to to protect you – and spare you the pain of knowing.

Ann: Where is Jerrold? I must go to him… I’ve been so terribly unfair!

Watson, who has been watching this scene with mounting bewilderment, now breaks in:

Watson: But I saw Hunter myself – closeted with Moriarty

Holmes: Watson, I’d expect you to see through that trick! Moriarty went to Hunter with a trumped up lawsuit – to put us off the track.

Ann (Deeply troubled): And all those things I’ve said to him. He’ll never forgive me!

Holmes (smiles understandingly): Sometimes lovers are the happiest when there’s much to forgive.

Watson (cheerily): Don’t give it another thought, my girl! I’ll go find him for you and bring him here.

Holmes: There no need for that, old fellow! I’ve already sent Billy to fetch him, and… (he pauses and listens)… if I’m not mistaken, they’re here now!

The door opens and Jerrold enters, followed closely by Billy, who comes to the foreground importantly.

Billy: I’ve brought Mr. Hunter, sir!

Ann(emotionally): Oh, darling! What a blind fool I’ve been!

Jerrold (gently): It doesn’t matter now, dearest…

Watson (glancing nervously at his watch): I say, Homes…

Holmes: I know, Watson! You’re hungry. A constructive idea! We haven’t eaten since breakfast.

Watson (dreamily): Steak and kidney pudding!

Holmes: Ice Champagne!

Billy: (breaking in enthusiastically): Strawberries and cream, sir!

Watson: At the Savoy!

Holmes: Marvelous, my dear Watson!

Watson: Elementary, my dear Holmes.

 

I am sorry, but I am glad they did not use this alternate ending. As much as it ties up loose ends with Jerrold Hunter, the final bits come off so sappy and corny, I am glad they decided otherwise.

On another note, there is a trivia bit in IMDB that I added myself more than a year ago.
It was this one:

Alan Marshal, George Zucco, and Mary Gordon (uncredited) also appear in the 1936 movie, After The Thin Man.

 

Can someone tell me where these characters appeared in this film?
May Beatty-Mrs. Jameson
Ted Billings-Pub Customer (uncredited)
Harry Cording-Cragin

I don't recall a Mrs Jameson or a scene in a Pub. My conclusion about Cragin is that he may have
been the guy lighting the gaslight and coming down from a ladder.

 

The Universal years


Universal Pictures would continue the series for the next 12 films to the end.

Some changes would be made, the biggest one is Holmes would be now working in the present day, which was the 1940’s. Nigel Bruce would no longer dye his hair, but he would still carry on in his typical way. SH#3 through SH#5 would all have a theme related to World War II.

Each of the first 3 films in the Universal series starts off with this opening:

"Sherlock Holms, the immortal character of fiction, created by Sir Arthur Conan Doyle, is ageless, invincible and unchanging. In solving significant problems of the present day he remains -as ever - the supreme master of deductive reasoning."

Three actors from the 20th Century Fox films would appear in the Universal films and reprise the same roles. They were Basil Rathbone as Holmes, Nigel Bruce as Watson and Mary Gordon as Mrs. Hudson. A new member of the cast who played the same role would be Dennis Hoey as Inspector Lestrade.
Other players who were in the Fox films would also appear in one or more Universal Films.
These were:
Lionel Atwill
Morton Lowry
David Thursby
George Zucco
Arthur Hohl
Holmes Herbert
Mary Forbes
Ivo Henderson
Harry Cording

The Universal films, unlike the 20th Century Fox films were regarded as B-pictures. They were lower budget, used many of the same character actors among the rest of the series, and used basically the same opening titles for every film.

 

SH#3

The Voice of Terror (1942) (original title: Sherlock Holmes Saves London)

Director – John Rawlins


The Players

Basil Rathbone-Sherlock Holmes
Nigel Bruce-Doctor Watson
Evelyn Ankers-Kitty
Reginald Denny-Sir Evan Barham
Thomas Gomez-R.F. Meade
Henry Daniell-Anthony Lloyd
Montagu Love-General Jerome Lawford
Olaf Hytten-Admiral John Prentiss
Leyland Hodgson-Captain Roland Shore
Rudolph Anders-Schieler - Nazi at Church (uncredited)
Edgar Barrier-Voice of Terror (voice)
Robert Barron-Gavin (uncredited) - "Christoper!"
Ted Billings-Basement Dive Bartender
Arthur Blake-Crosbie (uncredited)
Hillary Brooke-Jill Grandis (uncredited) "I know, 221-B"
Harry Cording-Camberwell "I ought to be shot!"
Leslie Denison-Air Raid Warden Dobson (uncredited)
Herbert Evans-Smithson - Barham's Butler (uncredited)
Mary Gordon-Mrs. Hudson "oh, it always is..."
Fred Graham-Meade's Henchman (uncredited)
Alec Harford-Grimes - Basement Dive Patron
Charles Jordan-Duggan - Basement Dive Patron
Gavin Muir-BBC Radio Announcer (voice)
John Rogers-Basement Dive Patron (uncredited)
George Sherwood-London Cab Driver (uncredited)
Arthur Stenning-British Officer (uncredited)
Donald Stuart-Grady - Basement Dive Doorkeeper
Harry Stubbs-Taxi Driver 3016
John Wilde-Heinrich - Nazi at Church

Disguises - Sir Evan (Von Bork)

Locations in England referenced –

Limehouse
Christopher docks
Downing Street
Seven Oaks

Present day technology-
Airplanes
Cars
Oscilloscope
Radio
flashlight

Although based on the Sherlock Holmes’ story “His Last Bow” the only material taken from the original novel is the name of the spy Von Bork and the very last lines at the end of the film spoken by Holmes. The original title of the film was to be Sherlock Holmes Saves London, but was changed at last minute. The Voice of Terror is based on the real Nazi radio propaganda broadcast by William Joyce, aka Lord Haw-Haw.

There are also homages to the 2 Fox films. First Watson cleaning his gun, telling Mrs. Hudson they are back on a case, and being bit rusty, like his gun. Later, Watson makes Holmes keep his promise to not wear the iconic “deerstalker” hat.


Players that appeared in other SH films:

Evelyn Ankers 1st of 2 roles (Kitty)
Henry Danielle 1st of 3 roles (Lloyd)
Olaf Hytten 1st of 6 roles (Adm. Prentiss)
Leyland Hodgson 1st of 7 roles (Captain Shore)
Hillary Brooke 1st of 3 roles (Jill Grandis)
Harry Cording 2nd of 8 roles (Camberwell)
Leslie Denison 1st of 6 roles (Dobson)
Gavin Muir 1st of 4 roles (BBC Radio Announcer)


Ending quote:

Holmes: "There's an East wind coming, Watson."


Watson: "I don't think so. Looks like another warm day."


Holmes: "Good old Watson. You are the one fixed point in a changing age. But there's an East wind coming all the same, such a wind as never blew on England yet. It will be cold and bitter, Watson, and a good many of us may wither before its blast. But it's God's own wind none the less. And a greener, better, stronger land will be in the sunshine when the storm is cleared."

 

I like Voice of Terror just fine, once I accept both its modernization and its role in the war effort, a pretty early one. I would say that John Rawlins does fine directing, but there's a added warmth to the later ones directed by Roy William Neil. Whether this is due to something Neil brought or simply cast and crew familiarity as the series got underway, I'm not sure. To me, the entire Universal series is less stiff than either Fox entry.

Re: Modernization. The pre-Rathbone Reginald Owen Holmes film was modernized. I think it took the cinema community a while to realize the benefits of keeping Holmes in the Victorian age. Likewise, I keep waiting for James Bond to be set in the 1960s.

 

" think it took the cinema community a while to realize the benefits of keeping Holmes in the Victorian age."

I think Conan Doyle's sons were keen to make money, so they were more than happy for Holmes stories set in WWII

 

Yes, and Hollywood were also eager to prove their support of the war effort.

 

As noted this film was part of the support for the war effort. The first several Universal films also had the War Bonds ad at the end of the film. According to the MPI DVD liner notes, The estate of Sir Arthur Conan Doyle allowed this series to release 3 films a year and to have at least 1 of those films with story or elements from a Sherlock Holmes novel or short story.

 

It was probably cheaper to have the films set in contemporary time than Victorian (clothes, vehicles, etc).

 

My favorite line in Voice of Terror:

Holmes - A colossal piece of egocentric conceit.
Von Bork - One to match your own, Mr. Sherlock Holmes.

 

I was viewing Voice Of Terror the other evening and noticed Tom McKnight credited as technical advisor. Tom directed (and produced) the radio shows, and his wife was Edith Meiser, who adapted many of the original stories for their half-hour radio versions during the Rathbone/Bruce run. They were both considered Holmes scholars and usually worked as a husband-wife team. Any time I see Meiser or McKinght's name it's a good sign to me. I find it interesting that one or both of them (my guess is you always got both, credits notwithstanding) had something to do with the film. I checked and the credit continues for at least two other Universal films.

Here's a photo of McKnight flanked by Bruce and Rathbone.

 

There is one thing common with Voice of Terror and the later film, House of Fear. In both films, there is a host of suspects, and both films have a scene with just Homes and Watson, discussing the various suspects and whether any of them could be the culprit in the case.
A common aspect of all the Universal films is the role of woman in the stories. Most have some strong aspect, whether they were the villains or represent good. For Voice of Terror, there is Kitty who helps by infiltrating Meade, and Jill Grandis, who is on top of where Holmes needs to travel. We can look into this in the discussions of the later films to follow.

 

I'm really enjoying this thread!

 

It has been written that Basil Rathbone was all for the Holmes in a more modern setting, it allowed them to expand the stories in ways that were limited in the Victorian era setting.

 

In listening to many Rathbone/Bruce radio Holmes adventures, it seems the way they got around this seeming inconsistency with the Universal film series was to introduce Watson in, of course, present time, and then have him recall a Holmes story, thus keeping a contemporary wrap while making past-tense Victorian London the usual story setting. Curiously, I just listened to an episode from this series that must have been set in recent times as its plot was about radium experiments, but yes, most of the adventures seemed closer in texture to the Fox Victorian setting then the Universal contemporary one.