Cast:
Basil Rathbone (Sherlock Holmes), Nigel Bruce (Dr. Watson), Alan Mowbray (Major Duncan-Bleek), Dennis Hoey (Inspector Lestrade), Renee Godfrey (Vivian Vedder), Frederick Worlock (Professor Kilbane), Mary Forbes (Lady Margaret Carstairs), Skelton Knaggs (Sands), Billy Bevan (Ticket Collector), and Geoffrey Steele (The Honourable Roland Carstairs) Produced and Directed by Roy William Neill (#846 - Frankenstein Meets the Wolf Man, #873 - Sherlock Holmes and the Secret Weapon, #925 - Sherlock Holmes in Washington, #936 - Sherlock Holmes Faces Death, #1021 - The Spider Woman, #1040 - The Scarlet Claw, #1056 - The Pearl of Death, #1161 - The House of Fear, #1216 - The Woman in Green, and #1262 - Pursuit to Algiers)
Review:
This was the thirteenth film to star Basil Rathbone and Nigel Bruce as Sherlock Holmes and Dr. Watson, respectively, and this is the penultimate feature in the 14-film series loosely based on the works of Sir Arthur Conan Doyle. Honestly, one probably would need a primer on just what happened before in this series to really compare the quality of the films from 20th Century Fox and Universal Pictures; the first film is likely the most interesting, while the war-themed films were certainly offbeat, ranging from sabotage ring voices to the return of Moriarty (twice) to microfilm matchbooks to Rondo Hatton to Algiers. Decrying the shift to modernizing the tales is an easy out, but it was the mindset of the producers at Universal to try and keep up with the tastes of young filmgoers (much to Rathbone and Bruce's reluctance, as pointed out by Bruce in his unpublished autobiography). Besides, it wasn't the first Holmes adaptation to turn to modern-day technology, as Sir Doyle had decried the use of telephones for his Victorian icon for the Stoll Pictures series of shorts/features (Doyle lived long enough not only to introduce The Lost World but also admire Eille Norwood as his favorite portrayal of Holmes on screen). At any rate, Rathbone and Bruce (who were good friends besides acting) were also starring in The New Adventures of Sherlock Holmes, with Rathbone and Bruce starring in over 200 episodes before Rathbone left in 1946 (Bruce would leave the following year) that served as adaptations of the Doyle works into 30 minutes. The Neill films were generally made fast (roughly taking over three weeks to make, generally shot out-of-sequence), but they were efficient enough to keep the ball rolling for further interest while usually only running an hour.
So here we are, back with a series that now has a train murder mystery on its hands with a group of character actors and a hour to spend in the public domain. The film was written by a new writer this time with Frank Gruber, who generally specialized in writing in detective stories and Westerns through magazines and features (he would also write the next film). If you've kept up with the series by this point, there is no good reason to stop now, and what we have is a fairly serviceable film, fair in its setup of mystery in false leads and twists without devolving into anything out of step in nonsense. One gets to see a bit of danger for the lead, a bit of comic amusement (for better or worse), and other familiar aspects and folks (such as Hoey and Worlock, regulars at this point) that prove just diverting enough to keep the tone up to the usual Neill levels. In other words, it will keep your attention for those who seek an effort from the 1940s (read: 75 years ago), with relatively standard acting and pace with its one set (and jewel) keeping focus well. At this point in time, Rathbone was clearly itching to spirit away from playing Holmes (amid the fear of typecasting), but it never seemed to interfere with his work. As is the case for the standard bearer of calm analytical disposition, he delivers a fine performance, one that makes an encounter with a would-be killer while outside seem like a walk in the park. Bruce does what is given to him in retorts for clues and/or offbeat bumbling, whether that means in interacting with passengers that range from friend to foil or in dealing with thieves (teapot or otherwise) - there may be better portrayals of Watson out there, but Bruce will stick with you regardless. Mowbray follows along with Bruce with useful presence, a fair presence to counteract the other supposed figures of suspicion without being reduced to the stature of a coat rack. Hoey makes his last appearance as Lestrade go well enough, even sharing an interesting moment of discussion with Rathbone and Bruce that keeps the film on the conventional toes. Godfrey, sporting an "accent", does okay but is overshadowed by the burrowing bluster of Worlock (who gets the better of Bruce in one amusing sequence). Others fill the detail to what is needed, whether that involves stuffiness in Forbes or conniving with Knaggs, each longtime presences in cinema. As a whole, the film makes enough sense of itself with execution in intrigue and its setting to make for a relatively useful affair in a series winding down but still packing interest in a neat one hour package. If you've done one, what's another one (or thirteen) going to hurt?
Overall, I give it 7 out of 10 stars.
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