The Sign of Four: Sherlock Holmes' Greatest Case

Regarded by many critics as the best cinematic Holmes, Arthur Wontner made his debut as the great detective in "The Sleeping Cardinal" (1931). Although prints are available, this one has not yet been released on DVD. Wontner's second impersonation, "The Missing Rembrandt" (1932) is indeed missing, so we are forced to pick up his career with "The Sign of Four" (1932, which is available on a DVD of reasonable quality from St Clair. "Four" used no less than three directors. Graham Cutts directed most of the film, including all the chilling material with Graham Soutten (surely one of the most frightening heavies ever presented in a movie), plus the lively scenes at the fun fair, while Rowland V. Lee handled the great action climax. Some of the dull dialogue scenes, such as all those with the Sholto brothers, were directed by Basil Dean. Compared to other screen characterizations, Wontner generally comes across as more cerebral and subdued. On the other hand, he reverses the process when he dons a disguise. Some of the other screen Sherlocks seem positively anxious not to call attention to themselves when in disguise, whereas Wontner stridently plays these scenes at full volume. In this one, his Dr Watson is none other than the ubiquitous Ian Hunter (that guy will take any role!) who is at least certainly presentable enough to date the lovely Isla Bevan. (A few half-witted contemporary critics, would you believe, criticized screenwriter W.P. Lipscomb for adding a romance to the story, not realizing that this aspect is a feature of Conan Doyle's original novel).

The form — at least as established in the Holmes stories and subsequent early detective fiction, has the reader experience things in the order the detective does. In the best, there is some tension as we know the detective is ahead of us in deducing the truth from the same information we have. If you deviate from this, there should be some value because the cost is relatively high.

Now here we have one of the earliest experiments with detective talkies and they went directly to Holmes. What they did here was break the rule in an odd and experimental way. All the history that we are supposed to discover is presented before we even meet Holmes. That is, the story is presented in the historical order of events instead of the order of discovery.

I cannot know the effect this had on the audience when it was new. This film is far closer to when the Holmes stories appeared than it is to me here now. But my guess is that it failed.

There is another experiment, and pretty interesting. Two scenes are shot from high. One of these has an established human perspective: Holmes climbs up a ladder and when he comes down, the camera stays there looking down. Later, when the big chase/fight climax is going on, we again have the camera at this angle — a little further away. The effect must have been striking to the contemporary audience.

These two decisions are at least consistent: we don't *see* things the way our detective does.

The DVD I got of two Arthur Wontner Sherlock Holmes movies listed this one as Sign of the Four. The print was pretty bad and the dialogue was not very easy to understand (though the British accents may have also have been a factor). Still, I found myself mesmerised by many of the set-ups especially the London-Years Later scene as the man who killed his partner for the treasure confesses to his two sons about what he did with his fear of the one-legged man he betrayed coming to get him having just broken out of prison. Great use of sound effects here to convey possible sounds of a wooden leg off screen. The rest of the film hardly comes close to that in effectiveness but by that time Wontner and Ian Hunter as Watson are on screen with their entertaining banter of Holmes' powers of deduction. There's also a pretty entertaining chase scene at the end. Worth a look for Holmes fans but I hope anyone reading this can find a better print than I saw here...

This Sherlock entry is more a colorful character crime drama than a Holmes whodunit. Wortner's okay as the cerebral detective, less forceful and more recessive than Rathbone's iconic role. Still, he makes you believe. On the other hand, Ian Hunter's Watson carries much of the action load. He's both sleeker and less bumbling than Nigel Bruce's comedic version. Here Holmes is trying to retrieve a stolen necklace and protect its rightful owner, Bevan, from the fearsome one-legged Soutten. In fact, Bevan's disability is real and not faked. At the same time, he shows a new and non-medical use for a wooden stump. It's a bang-up finale, made more so by director Cutts's imaginative camera angles. I suppose the generally poor sound and picture quality of my DVD is due to the age of the original. However that may be, the programmer amounts to a generally entertaining and sometimes interesting 75-minutes from a rather unknown production company.

I've seen all four extant films with Arthur Wontner playing Sherlock Holmes (the others are "The Sleeping Cardinal," "The Triumph of Sherlock Holmes" and "Silver Blaze"), and this one is definitely the best. Associated Talking Pictures clearly had better facilities than Twickenham (the company that made the others), and the multiple producers (including Rowland V. Lee and Basil Dean, who had previously directed a Holmes film himself) picked a story with lots of action and hired a capable director, Graham Cutts. Cutts usually gets dismissed patronizingly in biographies of Alfred Hitchcock (Cutts directed a number of films in Britain in the early 1920's on which Hitchcock assisted, including "The Rat" and "The Triumph of the Rat" with Ivor Novello) as a mediocre director who drank and womanized his way out of a major career. Judging by his work here, Hitchcock fans should probably be looking at Cutts as an influence on the Master; this film MOVES (most of the other Wontner Holmes films are boring and plodding), it's clearly staged with a sense of pace, it makes good use of unusual camera angles (including a surprising number of overhead shots), and the final fight scene (though obviously done with a stunt double for Wontner) is a genuinely exciting action highlight. Cutts also gets a marvelous villain performance out of Graham Soutten, and effectively uses the sound of his peg leg at a time when the art of suggesting off-screen action with sound effects was common in the U.S. but relatively unknown in Britain. He also makes Wontner a more convincing Holmes than in his other films in the role — Wontner even LOOKS younger here than he did in "The Sleeping Cardinal," made two years earlier — and Ian Hunter is a more effective Watson than usual even though it's a bit jarring to see a Watson who's clearly taller than his Holmes. As someone who'd watched the other Wontner Holmes films wondering what all the fuss was about — he's always seemed overrated in the role to me — this one has raised my opinion of Wontner as Holmes considerably. Isla Bevan is a striking leading lady with an interesting resemblance to Ginger Rogers — later one of the cinematographers on this film, Robert de Grasse, became Ginger Rogers' favorite cameraman at RKO.