Sherlock Holmes e a Voz do Terror

In wartime Britain, morale is falling among the troops as a covert radio broadcast calling itself `the voice of terror' directs Nazi agents to carry out attacks and espionage. The Government calls in Sherlock Holmes to track down and stop the broadcast and, as a result, the attacks and espionage.

I have seen several of the modern set Holmes films, most recently `Sherlock Holmes in Washington'. Despite not really liking that one, I decided to give this one a stab anyway. The modern setting seems as much a way of using the films as wartime propaganda rather than as a way of improving the film or anything like that. For that reason this film struggles simply because all the changes have been made for that reason and hence, if they do act as an improvement, then it is only by chance.

The plot is reasonable but not great. It is more about getting the Nazis rather than Holmes' taking on any one foe or trying to solve a specific crime. Rathbone is still good but he looks like a modern fop in his dapper clothes and silly hairdo! Bruce is good but not used as much as he has been in other films. The Nazi's have no character and the support cast is not that strong. Of the film only the conclusion is exciting but even that basically is hinted at heavily all the way through.

Overall, this has all the stuff that I like about Holmes but the modern setting really hurts it. Instead of a good plot, an existing story is twisted to be set in WW2 and deducting is replaced by propaganda and triumphalism over a foe that is never anything more than a caricature.

This Sherlock Holmes feature, the first of Universal's series that took the two stars (though little else) from the two earlier 20th Century Fox Holmes movies, got the new series off to a good start with an involved, entertaining story and a very good supporting cast. It has its flaws, but they by no means keep it from being an enjoyable movie with good characters and plenty of action. Though the credits cite the Arthur Conan Doyle story "His Last Bow" as the source, it is actually an entirely new story with only a handful of minor elements remaining from the original.

The choice to move the stories from the original Victorian setting to the (then) present meant that the new series would never have quite the same feel as the Doyle originals, but as some compensation it allowed for Holmes to be portrayed battling enemies that were then foremost in viewers' minds. This story of "The Voice of Terror" makes full use of anxieties and unpleasant possibilities that must have been only too frequently in the minds of its original viewers. It still succeeds in building tension and interest with its tale of Nazi-created disasters and mocking threats.

The story is very interesting, although it has a few overly convenient turns and plot holes. It gave Basil Rathbone and Nigel Bruce a chance to perform the kinds of material that they had already gotten used to doing together. They are helped considerably here by the supporting cast, which includes Reginald Denny and Henry Daniell as the most prominent members of the government council that is employing Holmes's services. But it is Thomas Gomez and Evelyn Ankers who really make a difference. Gomez has one of his best character roles as a crafty enemy agent, and Ankers does a fine job as a woman of low standing who gets a chance to serve her country.

The series would get even better as it went along, as Rathbone and Bruce continued to develop their camaraderie and as the production team eased into a familiar formula that could be varied as needed. But this one already got the series off to a solid start with a good movie that is still worth seeing.

After two features produced at Twentieth Century Fox in 1939, Sherlock Holmes and Doctor Watson moved to Universal Studios in 1942. Like the original Conan Doyle stories, the two Fox films were set in the Victorian era, but when the master sleuth and his side kick worked at Universal, the plots were moved to the then-present day, which was World War II. "Sherlock Holmes and the Voice of Terror," the first of the contemporary features, is heavy on British patriotism and anti-Nazi propaganda; the audience is even advised to "Buy War Bonds" after the end credits have faded. In a script adapted from Conan Doyle's story, "His Last Bow," classified information from the Inner Council is finding its way to the Nazis and has led to train crashes, bombings, and other sabotage in war-town Britain. The Council, against the wishes of some members, enlists the help of Holmes and Watson to track down the leak.

Although often expounding patriotism and anti-Nazi warnings, Basil Rathbone always remains in character and fine form as Holmes; his iconic performance is unerring and solid. Nigel Bruce is equally fine as Doctor Watson, who ably supported his friend and provided comic relief through 14 movies. While the film's low budget is evident, the cast is full of pros and boasts some excellent character actors beyond the reliable Rathbone and Bruce; Bruce Denny, Montagu Love, and Henry Daniell among others show the talent and dedication to craft that kept them consistently employed in dozens of classic and not-so-classic movies. Elwood Bredell, the cinematographer, lensed the film with skill; the inky black shadows of Limehouse, the foggy streets of London, the crisp closeups of Rathbone and Evelyn Ankers, the female lead, elevate the film's visuals to near-A-picture status.

While far from the best in the Sherlock Holmes series and a step down from the two preceding entries at Fox, "Sherlock Holmes and the Voice of Terror" has enough moments and assets to satisfy Holmes fans. The propaganda and message are heavy handed, dated, and only pad the running time; the screeching voice of terror grates on the ear; and experienced watchers of who-dunnits will easily pick out the villain. However, the acting is top notch, the photography first rate, and the fun of watching Rathbone and Bruce solve a crime is unmatched.

Basil Rathbone's third appearance as Arthur Conan Doyle's eccentric sleuth and the first in Universal's series of 12 films in which the master detective is transplanted from Victorian England to the modern era in which the films were made. "Sherlock Holmes and the Voice of Terror" was not that unusual in that, until 20th Century Fox produced "The Hound of the Baskervilles" in 1939, most previous Holmes films had also placed our hero in contemporary society. It was not until this film, however, that the contemporary aspects were given such strong emphasis.

There's no Moriarty on hand this time, as Holmes and Watson (played, of course, by Nigel Bruce) join Britain in battling the Nazis. It's all a little awkward, but there is some fine atmosphere, especially in a scene in which Holmes and Watson visit a seedy pub in search of information. The cast is good, with Thomas Gomez as a very effective villain, Evelyn Ankers as the proverbial bad girl with a heart of gold, and, as a diplomat, the wickedly suave Henry Daniell who would return to play Professor Moriarty in "The Woman in Green." Best of all is Rathbone, who is razor sharp despite a very peculiar hairstyle that looks like it belongs in a gladiator flick.

The series improved considerably once Roy William Neill took over as director with the second film, and later entries that did not emphasize the "modern" concept, like "Spider Woman" and, most particularly, "The Scarlet Claw," are far superior, but "Voice of Terror" is still an entertaining show, perfect viewing on a rainy, fog shrouded night.

While the pleasures of watching BASIL RATHBONE and NIGEL BRUCE play those world famous consulting detectives is undeniable fun, the real enjoyment of SHERLOCK HOLMES AND THE VOICE OF TERROR is it's rich noir atmosphere. The stand out player in this UNIVERSAL programmer is cinematographer ELWOOD "WOODY" BREDELL. Bredell had a nearly 30 year career which began during the silents, and he really had an eye for composition and lighting. Much of SHERLOCK HOLMES AND THE VOICE OF TERROR is shot at night, or in low light circumstances, and really displays the near lost art of high contrast, hard, hot light cinematography at it's artful best. As SHERLOCK HOLMES films go, THE VOICE OF TERROR is entertaining, but as an experience of "film noir" this film could be a minor classic.