During WWII several murders occur at a convalescent home where Dr. Watson has volunteered his services. He summons Holmes for help and the master detective proceeds to solve the crime from ... See full summary »
When a Nazi saboteur jeeringly predicts to the nation new depredations, via their radio 'Voice of Terror', the Intellegence Inner Council summons Sherlock Holmes (Basil Rathbone) to help in... See full summary »
When the fabled Star of Rhodesia diamond is stolen on a London to Edinburgh train and the son of its owner is murdered, Sherlock Holmes must discover which of his suspicious fellow passengers is responsible.
Sherlock Holmes investigates when young women around London turn up murdered, each with a finger severed off. Scotland Yard suspects a madman, but Holmes believes the killings to be part of a diabolical plot.
Sherlock Holmes takes on a case that the press has dubbed the pajama suicides. Eminent men are going to bed in the safety of their own homes, with everything seemingly being normal, only to commit suicide in the night. Holmes fakes his own death in the hopes of giving him a freer hand in the investigation and is convinced that a woman, a female Moriarty as he describes her, is behind the deaths. The dead men were all eminent and very wealthy. He impersonates a wealthy retired Indian military officer in the hope of drawing out the woman and he soon meets Adrea Spedding but she quickly sees through his disguise and proves herself to be the challenge Holmes predicted she would be. She is a worthy adversary and soon traps him setting him up in a carnival shooting gallery that seems to assure his death. Written by
At one point Holmes says to Watson, "If you ever see me getting too sure again, fancying myself more clever then Adrea Spedding, just whisper one word to me: pygmy." This line was inspired by the short story "The Adventure of the Yellow Face," in which Holmes tells Watson, "If it should ever strike you that I am getting a little over-confident in my powers, or giving less pains to a case than it deserves, kindly whisper 'Norbury' in my ear, and I shall be infinitely obliged to you." See more »
When the impostor posing as Matthew Ordway knocks a terrarium of black widow spiders onto the floor and Watson reaches for the gun among them, Holmes shouts "Stop it, Watson! Those insects are deadly!" Spiders are not insects, and Holmes, having just revealed Ordway to be an impostor on the basis of the man's lack of knowledge about spiders, should know this. See more »
[on the pyjama suicides]
Directing them is one of the most fiendishly clever minds in all Europe today. I suspect a woman.
Dr. John H. Watson:
You amaze me, Holmes. Why a woman?
Because the method, whatever it is, is particularly subtle and cruel. Feline, not canine.
Popycock. When a bloke does himself in, that's suicide.
Unless a bloke is driven to suicide; in that case it's murder.
Dr. John H. Watson:
Driven? That *sounds* like a woman, doesn't it?
Definitley - a female Moriarty. Clever. Ruthless. And above all, cautious.
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One of the best in Universal's Sherlock Holmes series, The Spider Woman dispenses, for the most part, with the overt WWII subject matter (which was also reasonably sparse in the previous outing, Sherlock Holmes Faces Death). The climax does make use of the image of Hitler and other Axis figures, but this was (aside from a brief mention in Dressed to Kill) the final direct war reference in the series. This bears mentioning because the film benefits strongly from the general lack of wartime subterfuge. Rather than battling Nazi agents, Rathbone's Sherlock is embroiled in a truly Holmesian mystery, surrounding several apparent suicides...which Holmes, naturally (and correctly), deduces to be homicides.
Though the opening credits proclaim "Based on a Story by Arthur Conan Doyle," The Spider Woman adapts (quite freely) major incidents from no less than five of Conan Doyle's tales...The Sign of Four, The Speckled Band, The Final Problem, The Empty House (also referenced in Sherlock Holmes and the Secret Weapon), and The Devil's Foot. False advertising, maybe...but the script (courtesy of Bertram Millhauser) manages to weave them all into a framework that makes for a fun and intriguing mystery.
Other assets include the performances, which are better than in some of the earlier films (though Rathbone and Bruce never disappointed), and the more sure-handed guidance of regular directer Roy William Neill...by this time, a vast improvement over the direction in his first Holmes outing, Sherlock Holmes and the Secret Weapon. It's also appropriate (if somewhat superficial) to note that Holmes's hairstyle, which changed for the better in Sherlock Holmes Faces Death, thankfully does not revert in this one (nor at any time for the duration of the series) to the shambles that it was in the first three films.
All in all, one of the best made, and most entertaining, films in the Universal series. It doesn't quite rise to the heights of The Scarlet Claw, but it's easily one of the best.
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