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Originally, the scenes featuring the Loch Ness Monster were intended to be filmed in the actual Loch. A life-size prop was built which had several Nessie-like humps used to disguise floatation devices. The humps were removed, however, at Billy Wilder's request. Unfortunately, during a test run in Loch Ness, the Monster-prop sank and was never recovered. A second prop (just the head and neck) was built, but was only filmed inside a studio tank.
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Originally Peter O'Toole was going to play Sherlock Holmes with Peter Sellers playing Dr. Watson, but Billy Wilder decided to go with lesser known stars instead.
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With a 260-page script and a budget of $10 million, this was set to be a 165-minute Road Show picture with an intermission for comfort. It was to be the "Big One" for Billy Wilder. The shooting schedule ran for six months and resulted in a rough-cut that came in at three hours and 20 minutes. The film was originally structured as a series of very specifically structured linked episodes, each with a particular title and theme. The opening sequence was to feature Watson's grandson in London claiming his inherited dispatch box from Cox & Co. and there was also a flashback to Holmes' Oxford days to explain his distrust of women. All were shot, but deleted from the final print. So what happened? Well, it appears that United Artists suffered a number of major film flops in 1969 that pretty much scuppered the road show format for Wilder's massive project. Studio execs ordered the film to be cut to fill a regular theatrical running time, whittling it down to a 125-minute version. The episodic format made the pruning process relatively simple, so cut were the opening sequence, the Oxford flashback and two full episodes entitled "The Dreadful Business of the Naked Honeymooners" at 15 minutes and "The Curious Case of the Upside Down Room" at 30 minutes. We can only hope that the full footage can one day be restored, although a full print is not currently thought to exist.
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According to Billy Wilder, since because of schedule conflicts he couldn't himself supervise the bowdlerization of the picture demanded by the Studios, he entrusted the task to the editor, Ernest Walter. Nevertheless, Wilder supposedly strongly disliked the cuts made by Walter, and couldn't re-edit the movie because all the deleted scenes were lost or thrown away. Some of those scenes are available today, but never with both the audio and the video intact.
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Christopher Lee replaced George Sanders on short notice.
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At the request of director Billy Wilder, composer Miklós Rózsa adapted music from his own 1956 Violin Concerto as the basis for the film score, supplementing this with further original music.
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Last cinema film of Catherine Lacey.
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Stills and soundtrack show John Williams in a substantial role as a bank official and Edward Fox as Inspector Lestrade. All their scenes were ultimately cut.
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Christopher Lee comes the role of Mycroft with considerable experience in the Sherlock Holmes universe: he previously played Sherlock Holmes and Sir Henry Baskerville.
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Sir Robert Stephens and Sir Christopher Lee have both appeared in adaptations of The Lord of the Rings. Stephens played Aragorn in the BBC Radio broadcast, while Lee played Saruman in Peter Jackson's films.
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Playing Sherlock Holmes in this film, actor Robert Stephens also played Holmes on the stage, in the William Gillette theatre production. His very next film & TV gig after this film was the TV series 'The Rivals of Sherlock Holmes', in an episode called 'The Missing Witness Sensation' [see: The Rivals of Sherlock Holmes: The Missing Witness Sensation.
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Actress Geneviève Page said of this film in the biography 'Nobody's Perfect: Billy Wilder' by 'Charlotte Chandler'): "When we lost our Loch Ness monster, he wasn't too concerned, even though he was also the producer. He was more concerned about how the man who made it felt when all his work sank to the bottom of the Loch Ness. He went over and comforted him."
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Apparently, Billy Wilder had been a fan of Sherlock Holmes for many years prior to making this picture.
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Billy Wilder said of this film in the book 'Conversations with Wilder' by 'Cameron Crowe', "... when I came back [from Paris], it was an absolute disaster, the way it was cut. The whole prologue was cut, a half-sequence was cut. I had tears in my eyes as I looked at the thing...It was the most elegant picture I've ever shot."
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Cameo 

Miklós Rózsa:  Uncredited, the film's composer as an orchestra conductor of the Swan Lake ballet.
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