Sherlock Holmes e a Voz do Terror

The first two Basil Rathbone - Nigel Bruce Sherlock Holmes outings (THE HOUND OF THE BASKERVILLES and THE ADVENTURES OF SHERLOCK HOLMES) are usually considered the best of the series, although several of the "modernized" ones (THE SCARLET CLAW, SHERLOCK HOLMES FACES DEATH, THE HOUSE OF FEAR) have really really clever mystery stories in them. This one, the first of the 20th Century FOX modern stories, is based on HIS LAST BOW. But it has an interesting modern source to the tale, as well as a secondary source from a non-Conan Doyle writer.

The original Conan Doyle story is (chronologically) the last one in the canon (of 56 short stories and four novels by Sir Arthur). HIS LAST BOW was written in 1917, and was supposed to be a memoir of Holmes final espionage service for the British Government in wrecking the espionage work of one Heinrich Von Bork, the Kaiser's most brilliant agent in England. There are references in it to zeppelins and other wartime machines and events (including the involvement of Irish - American allies to the Kaiser against the hated British). Suffice it to say that it has, what is the classic ending (in terms of dialog) for Holmes and Watson. This is the "There's an east wind, Watson...." dialog, which actually ends this story. I am glad (at least for this much) that the screenplay writers knew enough to use this wonderful dialog to conclude the movie.

To bring it up to date (1939 - 40), the story includes reference to the antics of one of the most aggravating people the British people faced between 1939 and 1945: Mr. William Joyce, a.k.a. "Lord Haw Haw". There are elements of Joyce in the character of Meade (Thomas Gomez) and the basic story in the film about the radio broadcasts. Joyce was an Irish American (he was born in New York City), who moved to England in the 1920s. He was a very intelligent man, who felt he was ignored by too many inferior people, and harbored great resentments as a result. This is Meade to a tee. Joyce happened to have a wonderful speaking voice, but he looked rather ordinary. He gravitated to Fascist circles, soon rising in the British Union of Fascists (BUF) and becoming a leading speaker and propagandist for Sir Oswald Mosley (the would-be Fascist dictator of England).

Mosley was quite an egomaniac, but so was Joyce. After awhile a split developed between the men, as Joyce felt that Mosley was depending too much on British democracy (which Joyce despised). Joyce increasingly looked with admiration at the Nazi model (more so than Mosley was ever willing to look). When the two nations drifted into war Joyce traveled to Germany and offered his services to Josef Goebbels. Goebbels knew a good thing when he could use it, so he agreed. Joyce (once war began) had a German passport that was dated prior to September 1, 1939. But he also had a British passport and an American passport. Joyce planned carefully to keep all three - just in case.

Soon he began broadcasting in his nasal, but pleasing voice, as "Lord Haw Haw". He was an expert in presenting brutality as an expected future way of life - Osama Bin Laden and Al Quaeda could take good lessons from Joyce's still surviving propaganda recordings. For the first three years of the war the British public had to live through his broadcasts, on top of the Blitz by his allies in the Luftwaffe. At the time THE VOICE OF TERROR was made, everyone in Britain, the United States, and the world knew who was the model for that radio voice of doom in the movie.

I don't know if Joyce ever saw the film, but he probably would have dismissed it as allied propaganda (which it was). It might even have flattered him that he was targeted in it. At the time the Axis was winning the war (Stalingrad, El Alemein, and Midway were in the future). But as the war turned against the Axis, Joyce found that his role in Nazi circles was not as grand as he had hoped. Had they won against England, probably he would have been important (as Meade hoped to be in the film), but as England and the U.S. and the Soviet Union advanced (and were gradually joined by France in 1944), Hitler and Goebbels basically treated Joyce as a paid employee. He took to drink - he could see the war was going badly, despite the propaganda he spewed out. When the regime collapsed in ruins in May 1945, Joyce got shot by an Allied soldier, and was returned to the British to stand trial for treason.

It's an interesting trial (if you study the business about the three passports). To this day there is an actually good argument to say Joyce had not committed treason in 1939 - 45 because the German passport made him a German citizen. But his defense was brushed aside, he was found guilty, and he was hanged.

The third element in the film was the novel, THE GREAT IMPERSONATION, by E. Phillips Oppenheimer. Set before World War I, it describes how a German aristocrat meets his exact double (Sir Everard Dominey) in Africa, and decides to kill him and take his place in British society in order to help German war plans. This is part of the conclusion of the film, regarding one of the council.

It is a good film, because of the performances of Rathbone, Bruce, Henry Daniell, Reginald Denny, Evelyn Ankers, and (best of all) Thomas Gomez as the power-hungry/paranoid Meade. But it is not among the best of the Sherlock Holmes series. As for "Lord Haw Haw" it is not the only film that his character popped up in. Trevor Howard plays a character based on him in RUN FOR THE SUN with Richard Widmark.

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.

When the sinister Voice of Terror taunts England over the radio with news of acts of sabotage against the Allies, the Inner Council of British Intelligence has no choice but to turn to England's greatest detective, Sherlock Holmes (Basil Rathbone). Holmes, with help from his criminal underworld connections, investigates and uncovers the true identity of the Voice of Terror.

After two fine films at Fox and a three-year gap, the Sherlock Holmes series movies to Universal. The change of studios also brings with it the updating of Holmes to the 1940s, where he understandably spends the early entries in the series battling Nazis. This change upsets many purists, who already have problems with the Rathbone series for its portrayal of Watson as comic relief and its deviations from the books. If you're one of those, I doubt anything I can say will alter your opinion. I don't happen to be bothered by the changes. I actually enjoy the movies more because of them.

As in his two films at Fox, Rathbone here is the perfect Holmes. One of my favorite scenes from any of his Holmes films occurs in this one when Holmes and Watson go to a seedy pub frequented by criminals. One of the criminals, a particularly frightening thug Sherlock put away years before, approaches the duo and we're led to believe any second now he will try to exact some violent revenge on Holmes. I won't spoil how the scene ends but pay attention to the way Rathbone plays this entire scene. It's wonderful stuff. I would be remiss in doing any kind of review for Voice of Terror without mentioning Rathbone's hairstyle. For some reason they decided to give him a rather silly-looking haircut where the hair on the sides is combed forward. It's hard not to chuckle when you first see it. Thankfully he wears a hat for a lot of the picture.

For his part, Nigel Bruce is a great sidekick. He has less to do here than some of the other movies but, as always, he's pleasant and fun to watch. The supporting cast is great, with the likes of Henry Daniell, Reginald Denny, and Thomas Gomez giving solid turns. Special mention goes to Evelyn Ankers, who gives one of her most different performances here. She plays the wife of a criminal killed for helping Holmes who then agrees to help the detective herself. Not for the sake of law & order but for the love of country. Her best scene is when she gives a rousing speech to her fellow criminals and lowlifes, enlisting them to help Holmes and England.

This is a solid start to the Universal Holmes series. Not the best but very entertaining nonetheless. Reading some of the older reviews here is a bit stomach-churning. Jeez, you'd think these people WANTED the Nazis to win! They seem so bitter and angry over the film being pro-England during World War II. What's this world coming to when people hate patriotism and nationalism so much they gripe about it more than the Nazis? The fact that most of these reviewers identify themselves as being from England or America makes the whole thing doubly sad.

This is such an unusual outing for Holmes and Watson, made when World War II was happening, it sees Holmes battle the Nazis. I can imagine at the time this was in the Cinemas this would have had a massive effect on the British audiences, it has hugely patriotic themes throughout, The BBC, spitfires and British commandos etc, I can almost imagine the creators of the story writing it in a way to offer hope to the British audiences watching, fearing the Nazis were infinite.

It's not my favourite of Rathbone's outings, Holmes and Watson seem to fit awkwardly into this story, but it's very worth of a watch, it is beautifully filmed, it looks incredible, amazing to consider it's over seventy years old.

It features a good cast, Rathbone and Bruce work tremendously well together as always, sadly it just lacks any of the humour that later productions would have.

Worth a look, a bit different.

6/10.

SHERLOCK HOLMES AND THE VOICE OF TERROR (Universal, 1942), directed by John Rawlins, marks the return of Basil Rathbone and Nigel Bruce in their now legendary screen roles as Sherlock Holmes and his friend/associate, Doctor Watson. Having been last seen in a pair of 1939 releases ("The Hound of the Baskervilles" and "The Adventures of Sherlock Holmes") for 20th Century-Fox, this edition was an easy attempt for a new film series (1942-1946). Aside from its lead actors now performing their original roles for another studio, the Victorian characters of the 1890s have been modernized into the now contemporary locale set during the London blitz of World War II. For this rather drastic change, the opening title explains its reasoning for it: "Sherlock Holmes, 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." And there you have it. In true Hollywood fashion, Holmes and Watson, having moved fifty years into the future from a trip down the Time Tunnel, physically showing Holmes, Watson and their landlady, Mrs. Watson, all haven't aged a bit. The only change would be their clothing. Gone are the horse and buggy replaced by automobiles. Gone are the gas-lit street lamps replaced by electric light-bulbs. What retains here is Sherlock Holmes masterful reasoning of crime solving that never goes out of style.

For this newly formatted series opening, the story, based on Conan Doyle's "His Last Bow," starts off with a view of Germany before revealing those listening to a radio broadcast from an Axis enemy mastermind known as "The Voice of Terror" predicting various acts of sabotage that are to take place in their homeland of England. Sir Ryan Barham (Reginald Denny) of the British Inner Council, calls in ace detective Sherlock Holmes (Basil Rathbone) and Doctor Watson (Nigel Bruce) of 221B Baker Street, to help stop Nazi saboteurs working in England. During his latest assignment, Holmes soon finds his life threatened, followed by Gavin (Robert Barron) stumbling into his apartment to keel over with a knife in his back. His last words before dying is "Christopher." Later, Holmes and Watson, come to Limehouse in a very rough section of town to notify, Gavin's girlfriend, Kitty (Evelyn Ankers) of what has just occurred. Holmes acquires further assistance from the young girl whose determined to fight for England and get the one responsible for Gavin's death. Because of her secret meetings with R.F. Meade (Thomas Gomez - in movie debut), it is uncertain whether Kitty is secretly working for or against this supposed Nazi, adding more suspense to the story, which is the writer's intention.

Also in the supporting cast are Henry Daniell (Anthony Lloyd); Leyland Hodgeson (Captain Roland Shore); Montagu Love (General Jerome Lawford); Olaf Hytten (Admiral Fabian Prentiss) and Hillary Brooke (Jill Grandis, a female taxi cab driver). Mary Gordon as Mrs. Hudson appears with no screen credit.

Placing Sherlock Holmes in contemporary times is nothing new, having been done previously in some earlier screen adaptations, notably SHERLOCK HOLMES (Fox, 1932), where Holmes (Clive Brook) and Watson (Reginald Owen) are seen in 1930s Chicago. Universal's view of modernizing Holmes was to take advantage of its dated wartime propaganda theme commonly used in countless other films in the early forties. After a few more similar war-related themes, the writers of this series eventually had it phased out in favor of either original screenplays or those adapted whole or in part from the Conan Doyle stories. Many Holmes fanciers label Rathbone's initial Universal entry to be somewhat on the weak side, making its 65 minute presentation to feel a bit longer that it actually is, but overall, it does have some good points, too. Fortunately under Roy William Neil, who was to direct all future films in the series, some even improving from its predecessor, even to a point of reviving Holmes' arch enemy of Professor Moriarty such as THE WOMAN IN GREEN (1945) as played by Henry Daniell, the same Daniell who appears in this edition of THE VOICE OF TERROR.

Sherlock Holmes is ageless, and quite popular, proving so to what developed into a 16 film theatrical series that lead to Sherlock Holmes festivals quite commonly broadcast on television on any given weekend from the 1950s to 1980s, mainly those Universal editions that open with Holmes and Watson, with credits superimposed over their images as the camera follows them walking through the street of uncertainty.

Distributed to home video in the 1980s and later DVD, SHERLOCK HOLMES AND THE VOICE OF TERROR's most recent cable TV offering turned up on Turner Classic Movies where this, and others in that series, premiered December 26, 2009, to commemorate the release of the latest theatrical SHERLOCK HOLMES as portrayed by Robert Downey Jr. Though the 2009 edition of Holmes retained its turn of the century outlook, it's even more contemporary through its actions. Regardless of how many actors have played Holmes and Watson on screen, the best remains for many, to be the one and only Basil Rathbone and Nigel Bruce. Next installment: SHERLOCK HOLMES AND THE SECRET WEAPON (1942) (***)