Destinazione Algeri

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.

An unusual 'job' is being offered (or rather commanded) to Holmes this time: he's supposed to guard the heir, whose father has just been assassinated, of the throne to an obscure little kingdom safely to Algiers, from where he'll be taken home.

So an ADVENTUROUS ship's passage lies ahead of Holmes, Watson, and the young monarch; the atmosphere is quite dense (even the fog on deck is thicker than in the streets of London...), the plot is suspenseful and has got its pretty surprising moments; and a special feature for friends of Scottish nostalgia and our good Doctor Watson: here Nigel Bruce gets the opportunity to sing (undubbed!) the old Scottish tune "Loch Lomond"!

One of the lighter entries in the Rathbone/Bruce series, good, solid, classic crime entertainment.

I've seen nearly all of Universal's Sherlock Holmes series by now, and have found that the level of quality doesn't vary too much between each instalment. Every entry in the series is worth watching, and I haven't seen any that I would describe as 'bad'. Pursuit to Algiers fits into this equation snugly, but even so; it's definitely one of the lesser Holmes mysteries. It does feature most of what makes the series great beyond the central plot line - such as a great performance from both the leads, a constant stream of intrigue and some great dialogue; but the actual mystery itself is rather lazy. It simply follows Holmes and Watson looking after a prince onboard a ship full of assassins. Adding to this is the fact that the sets are fairly samey, which doesn't help the film as it a few changes of scenery wouldn't have gone amiss. The film seems to know that it isn't the greatest of Holmes mysteries as well; and this translates to the screen. Holmes himself doesn't appear in the film for a proportion of the running time, which is never good when he's the main reason people are watching; and as good as Nigel Bruce is, he's not enough to carry a film about the great literary detective all on his own. I much prefer it when LeStrade features as well. Still, despite it's bad points, Pursuit to Algiers is a worthy yarn and still worth seeing for fans of these films.