Desquite en Argel

While this is contrived and silly at times, the best part of it, for me, was the fact that everyone knows what Holmes is up to and he still manages to come out on top. There are two plots at work here. One has to do with the transporting of stolen emeralds and the other the transporting of royalty. On numerous occasions, Holmes turns the tables on his adversaries. The dangers are everywhere and his head spins like an owls as he peers over his shoulder, through the fog, and through portholes. He sets up a wonderful ruse. The men who are out to squelch his efforts are really interesting: a mute thug who uses sign language, a wiry Peter Lorre type with a foreign accent, and a sort of Sydney Greenstreet wannabe. Watson becomes enamored with a pretty young singer who is carrying around secrets. He even belts out his own version of "Loch Lomond" and he proves to have quite a beautiful voice. Without giving anything away, Holmes keeps his cards close to his vest until the denouement. He suspects no one; he suspects everyone. I think this is a lesser effort, but still a lot of fun.

Despite planning a fishing and shooting holiday in Scotland, Holmes and Dr Watson are approached to help smuggle the Prince Royal of another country back into his homeland. The King has been assassinated already and the Prince is feared to be next. Holmes and the Prince go by plane while Watson travels by boat as a decoy. When Holmes' plane is shot down Watson fears the worst until he finds that Holmes et al are already on the boat. With many days left before Algiers, Holmes must outwit the assassins he suspects are onboard.

I've always enjoyed Watson's contribution to these films just as much as I have Holmes, so I was worried when it looked like Watson would be separated from Holmes for the film. So imagine my happiness when the film actually followed Watson rather than Holmes. Although the film brings Holmes back together with Watson quite quickly, it does give Watson a lot more screen time and respect than they usually do - even going as far to have Holmes praise Watson for his observational skills! This makes a refreshing change - of course Holmes is still the star but it is nice to see him on an almost equal platform for once.

The plot itself is a little worrying at the start but settles once Watson gets on the ship. It allows for some gentleman playing between Holmes and his pursuers who are known to him. This is fun and allows for some nice twists toward the end. The whole thing about the stolen jewels was lost on me and just distracted from the main narrative.

Rathbone is as good as ever and is well worth watching but it is Bruce that impresses here. He does his usual stuff but he gets time to do it and it is fun to see him not being put down by Holmes so much. Holmes' pursuers are better than his usual foes - the amount of screen time that they share and the fact that they are known to each other makes it more enjoyable.

This is a great entry in the series. Bruce rises to the occasion and the twisty confrontation on the ship is very enjoyable as Holmes stays one step ahead. And, having seen the last couple of films end on Holmes giving moral speeches here the film ends on a killer line from Holmes where he advises Watson `never become an actor' - hilarious!

Stolen emeralds, an endangered prince, a fog-bound steamship, a plane crash, a revolver hidden in a purse. Through a clever series of encounters, which Sherlock Holmes deciphers with his usual sharp intellect, Holmes and his dear friend, Doctor Watson, are directed to a specific address at a specific time in a foggy London back alley; there, Holmes is engaged by a group of foreign gentlemen to escort an important personage from England back to his home country. While Holmes and Watson do not battle spies in "Pursuit to Algiers," the sleuths do return to matters of foreign intrigue. Leonard Lee wrote the first of two Holmes screenplays for this, the tenth in Universal's Sherlock Holmes series. Lee's screenplay is light on suspense, and, despite the assured direction of veteran Holmes' director Roy William Neill, the film can only be rated better than average among the Rathbone-Bruce movies.

Despite some sinister fog-shrouded scenes in London's back streets, cinematographer Paul Ivano shoots most of the film aboard the S.S. Friesland, a steamer bound for Algiers. While interior shots are crisp black-and-white images, the deck scenes are murky and layered with obviously fake fog. Although the producer-director and the two above-the-title stars are back, not only the writer and cinematographer, but most of the supporting cast are fresh faces in the series. Basil Rathbone and Nigel Bruce are in good form, and Watson is given a bit more to do than usual, including a song entitled "The Bonnie Banks o'Loch Lomond" that spotlights Nigel Bruce's own fine voice; the retelling over dinner of a Holmes adventure, "The Giant Rat of Sumatra;" and a few solo errands of responsibility at Holmes's direction. None of the supporting players stand out, although lovely Marjorie Riordon as a young singer from Brooklyn has a nice voice, and the cold sexually ambiguous Martin Kosleck is appropriately sinister as the knife thrower.

Perhaps after ten episodes the Universal Holmes series had become routine and perfunctory to the participants. The proceedings play out almost entirely aboard a ship, and the plot lacks a single diabolical villain of the caliber of Professor Moriarty or Adrea Spedding, the Spider Woman. However, most Holmes fans should be pleased, and even the sharpest viewers may not guess Holmes's final revelation. While not the best of the series, "Pursuit to Algiers" is good fun and definitely entertaining.

Since the wartime production (1945) of the Sherlock Holmes' adventure, "Pursuit to Algiers", many films have been made involving a seagoing setting. Mysteries set aboard a ship I suggest are notoriously easy to begin and difficult to consummate; this is because it is easy to introduce characters in a claustrophobic setting but notoriously more difficult to arrange for a series of logical events perpetrated by them that is varied, believable and possessed of a wide-enough scope of action. I find "Pursuit to Algiers" to be an unusually believable decently-filmed low-budget ship-based adventure and a tidy storyline without any need for apologies. The writers began the piece on land, in fact using a low-grade but intriguing series of clues--recognized by detective Sherlock Holmes as such--to lure him to an expositional meeting. At that meeting, the Prime Minister of a fictitious Balkan country, one whose king has been murdered (though this fact has not been made public), hires the famous consulting detective to safeguard the nation's young prince as he heads home from his school in England to his homeland for a now-vital coronation ceremony. Holmes accepts the commission; then he heads off in an airplane, planning to meet his friend Dr. Watson later, for several reasons. Watson has cause to believe he has been killed; but he eventually does meet his partner aboard the ship they had planned to sail on, after several neat plot twists and a display of unusual intelligence by Holmes; and from then on, the two are kept exceptionally busy trying to assess who the potential murderers are (who will be their deadly opponents). They are given a fairly large cast of suspects to choose from. Holmes then neatly thwarts the villains at every turn, until near the end he is knocked unconscious and the prince is kidnapped--exactly as Holmes had planned. Basil Rathbone is less effective than usual as Holmes and Nigel Bruce more useful as Watson than he was usually permitted to be; he sings beautifully, and acts as an effective comedic foil to his sharp-eyed and sharp-witted partner throughout. Among the larger than usual cast for a Holmesian adventure, Rosalind Ivan as a noisy matron is far better than thin, pretty Marjorie Riordan who sings better than she acts. Veteran heavies Martin Kosleck, John Abbott, Rex Evans and Gerald Hamer steal the film as clever but outwitted suspects or murderers; aboard such a small ship, the scenarists permit the suspects and even the villains to interact with and try to outthink Holmes quite directly, a rarity outside seagoing comedic tales (and, I find, the film's primary distinguishing feature). Frederick Worlock is affecting as the Prime Minister; the young men in the cast are all routine at best. This film was kept moving swiftly and ably by its producer-director, veteran Roy William Neill; the script was done as a screenplay by Leonard Lee adapted from elements of an Arthur Conan Doyle story. The feature's cinematography by Paul Ivano and art direction by John B. Goodman and Martin Obzina are above average; Vera West's costumes are done on an admirably high level throughout. Bernard Brown, for once, keeps a British film's voices and sounds perfectly intelligible. Some of the scenes aboard the ship are quite realistic; others are less successful, although Russell A. Gausman and Ralph Sylos try manfully to make every setting from a cafe to cramped staterooms believable. The seminal portions of this film I assert are the dialogue interactions of the characters which take place throughout; despite the dialogue sometimes being low-key, it is adult, convincing and serviceable from beginning to end. This is a very good second feature by my standards, if no more, on a par with The Woman in White, and quite tightly plotted.

Pursuit To Algiers involves Sherlock Holmes and Dr. John Watson in a job of security more than detective work. Both are looking to get away to Scotland for a little rest and relaxation, but they get a curious call for help from the Prime Minister of some Balkan country where the king has died. Not by accident as reported, but was assassinated.

The Holmes mission is to get the Crown Prince to Algiers where presumably the state security people will take over. Why Algiers is never mentioned.

As Basil Rathbone so wisely puts it he dislikes plans made by other people as they have a habit of blowing up in their faces. Rathbone makes his own security arrangements and part of it is making poor Nigel Bruce a decoy in more ways than one. How he succeeds in his mission is quite a good tale.

Favorite scenes in this is Nigel Bruce singing Loch Lomond after singer Marjorie Riordan obliges him with a rendition of Flow Gently Sweet Afton. Nigel Bruce does not do bad with it either. The second scene is Rathbone outsmarting one of the three villains on a ship to Algeria. Martin Kosleck who is best known for playing Joseph Goebbels in several wartime films of varying quality plays an assassin skilled with the use of a thrown knife. I love how Rathbone not only foils him, but decommissions Kosleck for the rest of the film.

Pursuit To Algiers is not pure Holmes in terms of a faithful recreation of an Arthur Conan Doyle, but Rathbone and Bruce are in good form and back from wartime propaganda films and now doing good mysteries.