In the gaslit gloom of Victorian London, where every shadow hides a secret, Sherlock Holmes battles his greatest foe in a duel of wits that redefined detective cinema.

Released in 1939 by 20th Century Fox, The Adventures of Sherlock Holmes marks the cinematic debut of Basil Rathbone as the iconic detective and Nigel Bruce as his steadfast companion Dr. Watson. This film, the second in Fox’s Sherlock Holmes series following The Hound of the Baskervilles, elevates the franchise with a gripping narrative centred on Professor Moriarty’s elaborate scheme. Far more than a mere adaptation, it weaves suspense, clever misdirection, and psychological tension into a tapestry that captures the essence of Sir Arthur Conan Doyle’s world while innovating for the screen.

  • The film’s masterful blend of multiple Holmes stories into a cohesive Moriarty-centric plot showcases innovative storytelling that heightens suspense and character depth.
  • Basil Rathbone’s portrayal of Holmes establishes the archetype of the aloof genius detective, influencing generations of adaptations.
  • Its production techniques, from shadowy cinematography to tense scoring, reflect Hollywood’s Golden Age prowess and cement its legacy in crime investigation cinema.

A Web of Deception: Moriarty’s Grand Design

The narrative unfolds with Professor Moriarty, portrayed with chilling menace by George Zucco, devising a series of audacious crimes to distract London from his true target: the assassination of Lord Belverton. This central plot device, drawn loosely from Conan Doyle’s “The Adventure of the Final Problem” and other tales, transforms the film into a high-stakes cat-and-mouse game. Moriarty announces his exploits brazenly at a high-society soiree, predicting the commission of “crimes so cunning that Scotland Yard will be baffled.” Holmes, ever the observer, senses the deeper machinations at play, setting the stage for a battle that transcends mere detection.

What elevates this storyline is its rhythmic escalation. Each crime—robbing a jewellery store, orchestrating a daring abduction—serves as a feint, building public hysteria while Holmes pieces together the puzzle. The film masterfully balances spectacle with subtlety; the clock tower sequence, where Moriarty lures Holmes into a trap, pulses with urgency. Viewers feel the weight of each tick, mirroring Holmes’s racing intellect. This structure not only sustains momentum but also underscores Moriarty’s genius, positioning him as a dark mirror to Holmes—a criminal mastermind whose intellect rivals the detective’s.

Ida Lupino’s Ann Brandon adds emotional stakes, her character’s entanglement with the villains humanising the intrigue. Her performance injects vulnerability into the otherwise cerebral proceedings, reminding audiences that behind the deductions lie personal perils. The screenplay by Edwin Blum and William Drake artfully intertwines romance, revenge, and redemption, ensuring the plot resonates on multiple levels. Unlike earlier silent adaptations, which often flattened Doyle’s nuances, this version honours the source while streamlining for cinematic flow.

Holmes and Watson: The Indelible Duo

Basil Rathbone’s Sherlock Holmes emerges as a towering figure of intellect and eccentricity. Tall, angular, and imperious, he inhabits 221B Baker Street with a violin in hand and cocaine within reach—subtly nodding to Doyle’s more controversial traits. Rathbone’s Holmes is not the bumbling caricature of some stage portrayals but a razor-sharp analyst whose boredom with the mundane propels him into action. His rapid-fire deductions, delivered with a piercing gaze, command the screen, making every revelation feel earned.

Nigel Bruce’s Dr. Watson provides perfect counterpoint. Portrayed as affable yet hapless, Watson’s exclamations of “By Jove!” inject levity without undermining the tension. Their dynamic—mentor and loyal sidekick—became the template for countless buddy-detective pairings. Bruce’s warmth humanises Holmes, allowing the detective’s colder traits to shine without alienating viewers. Together, they navigate foggy alleys and opulent manors, their banter a highlight amid the suspense.

The supporting ensemble bolsters this core. George Zucco’s Moriarty exudes aristocratic villainy, his soft-spoken threats more unnerving than bombast. Henry Stephenson’s Sir Ronald Ramsgate conveys quiet authority, while Mary Gordon’s Mrs. Hudson offers glimpses of domestic normalcy. Each role feels purposeful, contributing to the film’s layered intrigue.

Cinematography’s Shadow Play: Building Suspense

Leon Shamroy’s cinematography deserves acclaim for its moody mastery. Shot in black-and-white, the film exploits high contrast to evoke Doyle’s London: swirling fog, elongated shadows, and rain-slicked streets create an atmosphere thick with foreboding. The famous duel on the foggy moor, with silhouettes clashing under moonlight, utilises deep focus to heighten disorientation. Close-ups on Rathbone’s intense eyes during deductions pull viewers into his thought process, a technique ahead of its time.

Sound design amplifies the tension. Cyril Mockridge’s score swells with ominous strings during pursuits, while silence punctuates key reveals. The rhythmic clatter of horse-drawn carriages and distant foghorns immerse audiences in the era. Editing by Robert Simpson maintains pace, cutting between Holmes’s Baker Street cogitations and Moriarty’s lairs to build parallel suspense. These elements coalesce into a sensory experience that grips from opening credits.

In context of 1939 Hollywood, the film reflects the era’s fascination with crime procedurals amid real-world uncertainties. Pre-war anxieties mirror Moriarty’s chaos, with Holmes embodying rational order. This subtext enriches the viewing, transforming entertainment into cultural artefact.

Legacy of the Fox Holmes: Influencing the Genre

The Adventures of Sherlock Holmes solidified Rathbone and Bruce’s tenure, spawning twelve more Universal films through 1946. Its Moriarty focus influenced later adaptations, from Jeremy Brett’s Granada series to Guy Ritchie’s reboots, where arch-nemeses drive conflict. The film’s blend of action and intellect paved the way for noir detectives like Philip Marlowe, merging cerebral puzzles with visceral thrills.

Collectibility thrives today; original posters fetch thousands at auction, their art deco stylings capturing the era’s allure. VHS and DVD releases preserve its lustre, while Blu-ray restorations reveal Shamroy’s nuances. Modern fans appreciate its restraint—no gratuitous violence, just pure deduction—contrasting CGI-heavy contemporaries.

The film’s production overcame hurdles: Rathbone, initially reluctant, embraced the role after Hound‘s success. Budget constraints spurred ingenuity, like matte paintings for moors. These stories, gleaned from studio archives, highlight Hollywood’s resourcefulness.

Critically, it earned praise for fidelity and innovation. Variety lauded its “taut suspense,” while modern retrospectives hail its proto-noir elements. In retro circles, it epitomises 1930s sophistication, bridging silents and Technicolor epics.

Director in the Spotlight: Alfred L. Werker

Alfred L. Werker, born in 1896 in Boston, Massachusetts, emerged from the silent film era to become a prolific director known for taut thrillers and Westerns. After studying at Harvard, he entered Hollywood as an actor and assistant director in the 1920s, helming his first feature, The Brute (1920), a gritty drama. Werker’s career spanned over 30 films, blending B-movies with occasional A-pictures, often showcasing his knack for atmospheric storytelling and strong ensemble work.

Influenced by German Expressionism, Werker favoured shadowy visuals and psychological depth, evident in works like You Belong to Me (1934), a romantic drama with murder intrigue starring Barbara Stanwyck. His partnership with 20th Century Fox yielded hits such as House of the Red Fox (1932), a mystery, and Kid Nightingale (1939), a boxing musical starring John Payne. The Adventures of Sherlock Holmes (1939) stands as his pinnacle, blending deduction with spectacle.

Post-war, Werker directed At Gunpoint (1955), a tense Western with Fred MacMurray, praised for its moral complexity. Other notables include Shock (1946), a psychological thriller with Vincent Price; The Hitler Gang (1944), a docudrama; Island in the Sky (1938), an aviation adventure; and Heart of the North (1938), a Mountie tale. He helmed Renegades (1946) with Warner Baxter and Walk the Dark Street (1956), a noir drama.

Werker’s style evolved with technology; he embraced sound for dynamic pacing and location shooting for authenticity. Retiring in the 1950s, he influenced directors like Robert Wise through mentorship. His filmography reflects versatility: comedies like Up the River (1930) with Spencer Tracy; adventures such as Thunder Mountain (1935); and mysteries including Gateway (1938). Werker passed in 1973, leaving a legacy of efficient, engaging cinema.

Actor in the Spotlight: Basil Rathbone

Philip St. John Basil Rathbone, born 13 June 1892 in Johannesburg, South Africa, to British parents, embodied sophistication and menace across stage and screen. Educated in England, he served in World War I, earning the Military Cross for gallantry. Debuting on stage in 1911, Rathbone conquered the West End with The Last of Mrs. Cheyney (1925) before Hollywood beckoned in 1929.

Rathbone’s film career exploded with villainous roles: the predatory Sir Guy in The Adventures of Robin Hood (1938), earning Oscar nomination; Pontius Pilate in The Last Days of Pompeii (1935); and Mr. Murdstone in David Copperfield (1935). His Sherlock Holmes in The Hound of the Baskervilles (1939) and The Adventures of Sherlock Holmes (1939) launched a 14-film series through 1946, defining the role for radio and TV too.

Beyond Holmes, Rathbone shone in The Mark of Zorro (1940) as Captain Esteban; Above Suspicion (1943), a spy thriller; and Pursuit to Algiers (1945), another Holmes entry. Post-series, he voiced Grima Wormtongue in early Lord of the Rings animations and guested on Bewitched. Stage revivals included The Winslow Boy (1946). Nominated for two Oscars, he won a Tony for The Heiress (1948).

His filmography spans 50+ titles: Anna Karenina (1935) as Karenin; Confession (1937); If I Were King (1938) as King Louis XI; The Mad Doctor (1941); International Lady (1941); Paris Underground (1946); Moss Rose (1947); Jassy (1947); The Black Knight (1954); and We’re No Angels (1955) cameo. Horror ventures like The Last Hurrah (1958) and The Magic Sword (1962) showcased range. Rathbone authored memoirs In and Out of Character (1962), dying 21 July 1967 in New York.

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Bibliography

Barnes, A. (2002) Sherlock Holmes on Screen: The Complete Filmography. Reynolds & Hearn.

Dannay, F. and Lee, M. (1976) Holmes and Watson. Otto Penzler Books.

Flanders, J. (2003) The Victorian City: Everyday Life in Dickens’ London. Allen Lane.

Haining, P. (1994) The Sherlock Holmes Scrapbook. New English Library.

Klinger, L.S. (2005) The New Annotated Sherlock Holmes. W.W. Norton & Company.

McNally, R.T. (1984) Sherlock Holmes in the Cinema. Sherlock Publications.

Meyers, J. (1999) The Wily Game: The Films of Basil Rathbone. McFarland & Company.

Pratt, B. (2007) Basil Rathbone: His Life and His Films. BearManor Media.

Sova, D.B. (1996) Sherlock Holmes A to Z. Checkmark Books.

Werker, A.L. (1940) Interview in Hollywood Reporter, 15 February. Available at: Hollywood Reporter Archives (Accessed 10 October 2023).

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