THE HOUND OF THE BASKERVILLES

Twice before The Hound of the Baskervilles has reached the screen, but this is the first time since 1922 — a curious lapse in the movie history of one of the most gripping mystery tales ever written with a strong and popular central character to assure appeal. the explanation, perhaps, is that the story, running perilously close to what is fantastically ludicrous instead of dramatically credible, is not worth doing unless it is done well. Mr. Zanuck and the 20th Century-Fox technicians have done it well. Their picture has not the steady, accelerating, cumulative terror of the film which imagination insists some master director will some day make of the story. But it reproduces the Conan Doyle tale with admirable fidelity, creates and maintains the proper shivery atmosphere and moves along in forthright film-mystery manner.

As a prelude to modern times the film sketches the origin of the legend of the Hound of the Baskervilles. There on a bleak moor in Devonshire stands Baskerville Hall and strange events have convinced the natives that there may be some truth in the old legend of a ghostly hound that destroys the Baskervilles in revenge for a crime committed centuries ago. So strong is the belief that when word comes that young Sir Henry Baskerville plans to leave Canada and return to the ancestral hall, one of the neighbors seeks our Sherlock Holmes in London to prevent a tragedy. Sir Henry arrives and stays despite warnings of death, finding the stepsister of a strange naturalist sufficient incentive. Holmes and Dr. Watson discover that a diabolical schemer has taken advantage of the legend to let loose on the moor a huge hound. They announce their return to London, knowing this will inspire the villain to action. As the fog drifts over the moor, the hound pursues Sir Henry — and in the chilling climax Sherlock Holmes unmasks the murderer and his motive.

No one, of course, could ever match Sherlock Holmes as he exists in the minds of his admirers, but Basil Rathbone is as true a choice as the movie roster could offer. Nigel Bruce is dr. Watson to perfection, a complete and credible characterization, inclined to steal all his scenes by the sheer solid sincerity of his performance. Richard Greene is an adequate Sir Henry, while Wendy Barrie is rarely more than nice to look at as his sweetheart. The supporting cast carries such stalwarts as John Carradine, Lionel Atwill and E.E. Clive to create good atmosphere and supply brief bits of excellence. The settings and photography conjure scenes of ghostly impact and the musical score, punctuated by the spine-chilling howls of the hound, is properly eerie in tone. Young romance and an occasional flash of humor find their place, but are subordinate to the grim business which Sherlock Holmes sums for Dr. Watson: "It's murder, Watson, murder!"

—The Movies ... and the People Who Make Them, 1939

The Hound of the Baskervilles
Sherlock Holmes Lives Again

This is a quite direct picturization of the Sir Arthur Conan Doyle story of the same name. Basil Rathbone portrays the great Sherlock Holmes in completely satisfactory manner and Nigel Bruce's performance as the faithful Dr. Watson is straight from the Doyle text. The film is so precisely the book, in substance, tone and spirit, that the obvious exploitation cur is for a straight campaign addressed to the millions who have read it and such other millions as may not have got around to reading it but have meant to some time, and now, under the circumstances, needn't.

The Doyle technique for creating an atmosphere of gloom, mystery and suspense is duplicated by Ernest Pascal's play, by Sidney Lanfield's direction and by the performances of Lionel Atwill, John Carradine, Nigel de Brulier and Beryl Mercer, the principals chiefly charged with creating audience apprehension. Richard Greene and Wendy Barrie take care of the romantic side of the story, given more prominence than in the printed original but still secondary.

The well remembered story is about a hound, rumored to be something of a phantom, which roams the moor in savage hostility to the successive masters of the House of Baskerville. Friends of the family bring the matter to the attention of the famous criminologist, who solves the mystery by a process of hypothetical deduction, personal investigation and, of course, disguise.

Mr. Rathbone's enactment of the Holmes role is a business-like job. He looks the part and talks it. He plays the fiddle once or twice, briefly, but he does not resort to the needle for inspiration, surcease or other reason during the picture. First, and last, reference to it comes in the final line of dialogue when, leaving the Baskerville drawing room for his chambers after announcing himself fatigued by his exertion, he calls back to his associate, "Watson—the needle." Dr. Watson picks up his medicine case and follows him out of the picture.

Gene Markey is down as associate producer of the film.

—Motion Picture Herald, April 1, 1939

"The Hound of the Baskervilles"

IMPRESSIVE PRODUCTION OF FAMOUS SHERLOCK HOLMES THRILLER SPLENDIDLY ACTED.

A really impressive achievement in bringing the famous Conan Doyle spine-chiller to the screen, the story wherein the [?] and ferocious hound bounds over the bleak English moor in Devonshire to perpetrate its ghastly work. Perhaps no other detective murder thriller has been so widely read in this country, so it should prove easy for the exhibitor to get them in, especially with the distinguished cast that play the principal roles. Richard Greene has the part of Sir Henry Baskerville, the heir to the ancestral Hall on the forbidding moor, who comes from Canada to open the place after the mysterious death of his uncle. Lionel Atwill as Dr. Mortimer suspects that murder has been done, and that other crimes will be perpetrated, so he sends for Sherlock Holmes to come from London. The part of the great sleuth is impressively handled by Basil Rathbone. His friend and companion, the famous Dr. Watson, is in the hands of Nigel Bruce. The thriller works up to the celebrated scene on the moor the night of the attempted murder of the heir to the Baskerville estate by the loosing of the vicious hound. Sherlock Holmes practically stages the setting for the attempted murder, for that is the only way he can get the evidence to prove who the criminal is. The moor in the fog with the moon shining through, the onrushing figure of the great hound, baying bloodcurdlingly, has been thrillingly staged, and will send delightful shivers along the spine of any normal person. Of course Holmes and Watson are on hand to kill the brute and save the intended victim. Later at the Hall they expose the murderer, who had attempted to do away with the great detective a few minutes before by locking him in the dead hound's prison box. Exceptionally fine performances by a practically all-English cast, in keeping with the story. Selling angles: The famous Sherlock Holmes thriller come to the screen with a great English cast.

DIRECTION, Very Good. PHOTOGRAPHY, Excellent.

—The Film Daily, March 27, 1939

"Hound of the Baskervilles" Standard Thriller

There is an inherent eerie quality about Conan Doyle's "Baskerville" story that would inevitably make any picture based upon it a fairly safe bet as program thriller entertainment. American exhibitors however, will have to sell the fact to adolescents that "Baskervilles" means Sherlock Holmes—and then emphasize Sherlock Holmes for all they are worth.

As a picture making job "The Hound of the Baskervilles" comes as close to being a good London-made picture as any American studio is apt to turn out this year. In stodginess of screenplay construction and static talkiness of many scenes it measures up with London's best.

So the exhibitor will also have to figure that he is selling a British picture made in Hollywood, with marquee names not much stronger than the average British picture would give him.

The tip-off on the story construction is that if the Conan Doyle story had anything, it had two stars. One was the "Hound," the other was "Sherlock Holmes." The Hound doesn't get enough footage to realize half of his possibilities, while Sherlock Holmes is off the scene for at least two and a half reels in the middle portion of the picture, while we keep in touch with him by means of printed inserts. And so little use is made of Sherlock's immortal astuteness in the solving of the mystery that we don't really think they had to call him in on the case—a dog catcher would have done just as well.

But Twentieth Century has given the picture impressive atmospheric production, and that production quality plus the basil chill of the theme, will carry it through for fair audience satisfaction. Peveral Marley's photographic achievement will help as much as any other factor.

Performances are top hole, as is to be expected from the group of troupers listed in the credits. Basil Rathbone may be more Basil Rathbone than Sherlock Holmes, but then, every individual is entitled to his own conception of Sherlock Holmes (In our humble opinion, though it is a mistake trying to get anywhere with Rathbone in straight roles. For audience purposes he has to be a rat—whether it is a butler rat, a royal rat, or a relative of Frankenstein's.)

Nigel Bruce, Beryl Mercer, and E.E. Clive—the latter in a small bit—highlight the support, though it is unfair to mention any names in a skilful trouping cast. The picture won't do Richard Greene any good, or any particular harm. Wendy Barrie does the best she can with nothing. Director and scripter are good in spurts.

Exhibitors' Booking Suggestion: Play the words "Sherlock Holmes" and the shocker angle on the title and you'll get the customers who buy that. They won't complain.

—Box Office Digest, March 27, 1939

"The Hound of the Baskervilles"

"The Hound of the Baskervilles" may well be a preview of your next nightmare! Those who follow a name to the movies will be a bit disappointed to see Basil Rathbone as Sherlock Holmes, for his ability is in  no way taxed by this run-of-the-mill part. Set in a manor house of grim history on the bleak, craggy, treacherous moors of Devonshire, the story has a background of supernatural suspense which is emphasized by telling photography and eerie sound effect. Sir Henry Baskerville inherited the Baskerville estate and with it a certain bit of folklore concerning the violent deaths of his predecessors. Determined to rid himself of this legend, Henry goes to Devonshire and is almost killed by a huge dog which has been brought to the scene by the heir next in succession. Richard Greene and Wendy Barrie are necessary bits of sunshine in this all too grim tale, and if you aren't frightened out of your wits by the time the mystery is solved, you'll be amused by Mr. Rathbone's last line, "Come Watson, the needle."

—Motion Picture Reviews, April 1939