The Spider Woman

In wartime Britain, a series of well-known men commit suicide - their only connection being the fact that they are all gamblers. This happens while Holmes and Watson are holidaying in Scotland when this is happening and Holmes fakes his own death to be able to go back to London in disguise and work on the case. He finds the killer with ease but not the method or motive for the murders.

The interesting set up of graphic suicides (or at least graphic for the time) had me from the start but the film didn't manage to hold me throughout the running time although it got better towards the end. The usual `he's dead - oh, he's not' thing didn't really work for me but happily the film didn't labour this ruse too long. The plot does have certainly `different' aspects to it, they may not be supernatural as such but they are certainly different from the usual fare. There isn't anything too wrong about this but I didn't totally get won over by it.

The film does have some fine moments to it - the scene where Watson unwittingly is made to try and kill Holmes, very tense and enjoyable and ends with a Holmes line that Bond himself would have been proud of: `I was just going round and round but my heart wasn't really in it'! The confrontations between Holmes and Spedding are enjoyable - she is an extraordinary villain and she matches Holmes well.

Rathbone does good work and he does bring out a reasonable chemistry with Sondergaard that helps the fact that they are meant to be against each other. Bruce is good and seems to be growing in confidence (or at least what the film allows him to do) with some good quips of his own. Hoey is always a welcome addition to the cast and he is a good comic relief that takes the pressure off Bruce somewhat.

Overall, the plot didn't totally hang together for me and it lacked a little bit of logic as a result of the slightly unusal nature of the murders and the criminals involved but it is still very enjoyable and the conclusion in the fairground is a lot tenser than a B-movie deserves to be!

This might rate as the most entertaining of all the Basil Rathbone Sherlock Holmes films, which I still think are the best renditions on film of the famous detective.

This has a surprising amount of action and is simply a fun story to watch. Packed into just one hour are such scenes as Holmes faking his death, a near-poisoning of he and Dr. Watson by gas, a strange little boy who hops around a room, tarantulas on the loose, on and on.

Nigel Bruce is his normally funny Dr. Watson and Gale Sondergaard makes an excellent villain. Credibility is stretched in the beginning and ending scenes but it's an enjoyable ride all the way through.

The 1942-43 Holmes/Watson films are often pathetic nonsense involving Nazi spies and have Holmes dashing all over the place firing guns at all and sundry, which doesn't work at all.

Yes, this is wartime, and the targets in the fairground shooting gallery are Hitler, Hirohito and Mussolini, but this is a proper detective story about mysterious murders.

It's an amalgam of Conan Doyle's original stories The Sign of Four and The Final Problem rather than a farrago of cod secret agents, and it works pretty well as a mystery.

Gale Sondergaard makes a marvellous villain, and plays excellently opposite Rathbone's Holmes.

Well worth while

I'm becoming a huge fan of Universal's classic Sherlock Holmes series. The more of them I see, the more I enjoy the series and the more I am impressed by Basil Rathbone's excellent portrayal of the great literary detective. This mystery follows a mysterious series of suicides and it sees Holmes and his good friend Dr Watson at their best once again. While I wouldn't consider this entry in the series as one of the very best, it's certainly very good and anyone who likes this sort of thing will no doubt enjoy themselves. Really, though, Holmes could be investigating what makes steam come out of the kettle and it would be invigorating and exciting just thanks to the way that Basil Rathbone plays the man. The mannerisms, the voice and the screen presence of the great actor combine to create a fantastic representation of the eloquent detective and you really can't imagine anyone but Basil Rathbone playing Sherlock Holmes in these films. One problem with this entry in the series, however, is that it's very short at just an hour long and this ensures that the film can never really get it's teeth into the central mystery plot line, and it feels somewhat underdone because of this. However, this is made up for with some great sequences, most notably the one in which Doctor Watson meets an entomologist that Holmes has hired, which I say is the best scene in any Sherlock Holmes movie, ever. These sorts of films work because they're a lot of fun to watch, and this instalment is no different. If you like Sherlock Holmes mysteries; this isn't as good as the likes of Hound of the Baskervilles, The Scarlet Claw and The Adventures of Sherlock Holmes; but it stands up as an admirable entry into the series in it's own right!

The "hopping boy" with cat-quick reflexes is one of the most unusual and unsettling figures of the decade. I don't think I've ever seen such an imaginative and offbeat use of a young person in any other movie. The film itself has many imaginative touches, but among them, it's that bizarre little "hop" (never explained, and neither is the boy) that's so memorable. He's a perfect adjunct to the leeringly evil Adrea (Sondergaard) who looks like she's having a delicious time playing cat-and-mouse with the tricky Sherlock (Rathbone). In fact, their devious encounters are models of beautifully "layered" acting as each has several things going on internally at the same time. She's a perfect foil for the master detective, with a flashy smile that says one thing while her eyes say another. Too bad the imperious Sondergaard was lost to the blacklist of the early 50's.

I never did figure out just how the pygmy (Angelo Rossito in blackface) fit into the suicide scheme, but that's okay because the movie has so many intriguing touches, including the highly contrived but suspenseful climax. Even Hoey's Inspector Lestrade is wisely restrained, and when he walks off proudly arm-in-arm with the eye-catching Adrea at the end, it's a rather charming little moment. I guess my only complaint is with the poorly done process shot of the raging river that contrasts starkly with the well-stocked foreground. Nonetheless, this is one of the most imaginative entries of any detective series of the period.