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Historical and faithful, wonderful and trend-setting, and with a noir-themed foggy soundstage, in an era just before World War, expressing the accumulated sophistication of the movie making of the 1930s, with more to commend it than simply its being a pure and fun expression of the Holmes story, as well as being the first of 14 films, which came to type a legend into the annals of cinema, drama, and noir.
Out on Fox's enormous back lots, the landscapes of Devonshire came to life and notably there was no hint at all with any participating artist, producer nor technician, no suggestion that there would be any more Sherlock Holmes films after this one.
After landing the role, Basil Rathbone said:
"I think that Holmes is one of the greatest characters in fiction. With all the thousands of detective and mystery stories that have been written since, the name of Sherlock Holmes still stands at the head of the roster of famous sleuths. It is synonymous with the very word 'detective'. To play such a character means as much to me as ten Hamlets."
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It was also the only Holmes film in which Basil Rathbone was not billed as the lead actor. You'll note immediately on arrival that upcoming English actor — and Devonian — Richard Greene was seen as and marked as the lead revving up to be a super new big name star for Fox.
1939 is a year of big cinema hits and this was a big cinema hit among big cinema hits.Relished by all for its chiller mood, The Hound is a lord among pictures, and it set a bar and the public wanted more. At least is received thought. Actual calls for more are usually commercial, although that is at the end of the day the same thing. It is up to you to see if you can defy, define and repeat your formula, resolving it in different ways.
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Nigel Bruce had been in a dark place before he was awarded this role, following the failure of a project he was involved in, and it appears to have made a fair difference in his life.
The huge soundstage in use for the this epic dark romp was painted brilliantly to give the fantastical impression of being on Dartmoor, as well as large plaster of Paris boulders, with freshly pumped smog bunging up the actors, smoke making an excellent effect it has to be seen, it is beautiful, almost the quintessential 1930s and 1940s smoke filled stage.
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The film was apparently shot in a mood of light hearted enjoyment, taking about eight weeks, and Basil earned about $10,000 in the process. the wild success of the film was not anticipated by anybody, and there began a whole new chapter in 20th Century mass media culture — the Basil Rathbone Sherlock Holmes films.
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The Hound of the Baskervilles stands as a landmark in cinematic history, a 1939 American gothic mystery film that brought Sir Arthur Conan Doyle's iconic detective Sherlock Holmes to life on the silver screen.
Directed by Sidney Lanfield and released by 20th Century Fox, this adaptation captivated audiences with its gripping narrative, atmospheric setting, and stellar performances by Basil Rathbone as Holmes and Nigel Bruce as Dr. John Watson. Set against the backdrop of the Victorian era, the film unfolds the chilling tale of the Baskerville family curse and the sinister forces lurking on the fog-shrouded moors of Devonshire.
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The plot of The Hound of the Baskervilles revolves around the enigmatic death of Sir Charles Baskerville, whose passing sets off a chain of eerie events. Dr. James Mortimer, a family friend, seeks the assistance of Holmes and Watson in unravelling the mystery before Sir Henry Baskerville, the last surviving heir, falls prey to the same fate.
Mortimer's apprehension stems from the ancient legend of the Hound of the Baskervilles, a spectral canine said to haunt the family and claim the lives of its members. Despite Holmes' initial skepticism regarding the existence of such a curse, he agrees to investigate the matter upon Mortimer's insistence.
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As Sir Henry arrives at Baskerville Hall to assume his inheritance, the ominous atmosphere thickens with each passing moment. Suspicious occurrences, including an attempted assassination and sightings of a phantom hound, heighten the sense of dread that permeates the estate. Holmes, employing his keen powers of observation and deduction, pieces together clues that lead him to suspect foul play behind Sir Charles' demise.
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The discovery of footprints resembling those of a gigantic hound only serves to deepen the mystery, fuelling rumours of a supernatural entity stalking the moors.
Amidst the intrigue, Holmes and Watson encounter an array of intriguing characters, each harboring secrets of their own. From the enigmatic naturalist Jack Stapleton to the mysterious Miss Stapleton, whose true identity remains shrouded in mystery, the inhabitants of Baskerville Hall add layers of complexity to the unfolding narrative. As Holmes delves deeper into the case, he uncovers a web of deceit and betrayal, with Stapleton emerging as the mastermind behind the sinister plot.
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One of the film's most striking departures from the original novel lies in its portrayal of Stapleton's relationship with Miss Stapleton. Unlike the source material, where Miss Stapleton is depicted as Stapleton's wife and an unwitting accomplice to his schemes, the film presents her as his stepsister, oblivious to his nefarious activities.
This alteration not only adds a romantic subplot to the story but also serves to heighten the tension as Sir Henry finds himself drawn to Miss Stapleton, unaware of the danger that lurks beneath her seemingly innocent façade.
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Another notable deviation from Conan Doyle's text is the inclusion of a séance scene, orchestrated by Dr. Mortimer's wife, Mrs. Mortimer. This eerie interlude, absent from the original novel, injects an element of the supernatural into the narrative, further blurring the line between reality and superstition. While purists may question the inclusion of such a scene, it undeniably contributes to the film's overall atmosphere of foreboding and unease.
Despite these departures, The Hound of the Baskervilles remains faithful to the spirit of Conan Doyle's work, capturing the essence of Holmes' deductive brilliance and Watson's steadfast loyalty. Rathbone's portrayal of Holmes is nothing short of masterful, capturing the character's sharp intellect and aloof demeanor with aplomb. Likewise, Bruce imbues Watson with warmth and humanity, serving as the perfect foil to Holmes' cold logic.
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In addition to its compelling narrative and strong performances, The Hound of the Baskervilles is renowned for its evocative visual style, courtesy of director Sidney Lanfield. From the mist-shrouded moors to the imposing grandeur of Baskerville Hall, Lanfield's cinematography brings Conan Doyle's fictional world to vivid life, immersing viewers in a landscape where danger lurks around every corner.
The film's success paved the way for a series of sequels, cementing Rathbone and Bruce's status as the definitive Holmes and Watson of their era. Over the course of fourteen films produced between 1939 and 1946, Rathbone and Bruce would continue to captivate audiences with their dynamic portrayal of literature's most famous detective duo.
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In recognition of its enduring legacy, The Hound of the Baskervilles has received numerous accolades and honours over the years. From its inclusion in the American Film Institute's list of the top 100 thrillers to its nomination for AFI's 100 Years...100 Heroes & Villains, the film's impact on popular culture remains undeniable. Even decades after its initial release, The Hound of the Baskervilles continues to enthral audiences with its timeless tale of mystery, intrigue, and the enduring power of Sherlock Holmes.
In 1939, audiences were treated to the debut of Basil Rathbone as Sherlock Holmes, a portrayal that would go on to define the character for generations. Accompanied by Nigel Bruce's portrayal of the bumbling yet endearing Dr. John H. Watson, Rathbone made his first appearance as the legendary detective in The Hound of the Baskervilles, the inaugural instalment of a series of fourteen films produced between 1939 and 1946 by 20th Century-Fox and Universal Studios.
The true excitement was in every lobby and all in time for the war, it was one last historic taste of innocent and modernist glory, the fury of high art brought to bear on mass art, the creation of the movie going wonder and the early signs of noir, because light-hearted as it was, this did pave the way for more. It's lobby teaser and press taglines were as follows:
CURSE...OF THE BASKERVILLES (print ad - Lubbock Evening Journal - Lindsey Theatre - Lubbock, Texas - April 24, 1939 - all caps)
Could the wild deeds of a Godless ancestor keep this youth from claiming his beloved? (print ad - Lubbock Evening Journal - Lindsey Theatre - Lubbock, Texas - April 24, 1939)
SPINE-CHILLING! The adventures of Sherlock Holmes on the ghostly moor! (Print Ad-The Pilot, ((Southern Pines, NC)) 7 April 1939)
SHERLOCK HOLMES lives again in a masterpiece of mystery! (print ad - Lubbock Morning Avalanche - Texan Theatre - Lubbock, Texas -July 4,1939 )
THE Thriller-Chiller OF ALL TIME! Spine-tingling...hair-raising...engulfing the emotions like a whirlpool!! (Print Ad- Florence Times, ((Florence, Ala.)) 29 May 1939)
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The production quality of The Hound of the Baskervilles sets it apart from its successors, with 20th Century-Fox's resources evident in the lavish sets and attention to detail. Unlike later Universal films, which often relied on fog to mask modest sets, the grandeur of the moor set in The Hound of the Baskervilles is striking, spanning an impressive 300 by 200 feet. Even the miniature models used for certain scenes, such as the approach to Baskerville Hall, are executed with remarkable craftsmanship, while the interior sets boast intricate designs and ornate furnishings.
Behind the camera, cinematographer Leon Shamroy's skilful lens captures the eerie beauty of the moors, while director Sidney Lanfield brings Conan Doyle's iconic setting to life with finesse. Lanfield, known for his work on films like My Favorite Blond, demonstrates his versatility in crafting both suspenseful mysteries and light-hearted comedies.
Despite the film's visual splendour, Cyril Mockridge's minimalistic musical score leaves much to be desired, with little more than main and end titles to accompany the action on screen. Uncredited contributions from David Buttolph and David Raksin fail to compensate for the absence of a more robust musical accompaniment, leaving pivotal moments devoid of the emotional resonance that music can provide.
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At forty-seven, Rathbone initially faced skepticism from some reviewers who deemed him too young to portray Holmes convincingly. Yet, Rathbone's performance proved to be a revelation, ushering in a new era for the iconic detective on screen. In the years following Rathbone's portrayal, actors like Peter Cushing, Christopher Lee, and John Neville would put their own spin on the character, each bringing a unique interpretation to the role.
In 2012, Sherlock Holmes made a resounding comeback, captivating audiences across various mediums. From the BBC series to the CBS adaptation and Robert Downey Jr.'s portrayal on the silver screen, the celebrated sleuth was omnipresent. Wherever Holmes ventured, Watson faithfully followed, albeit with a twist in the CBS version, where Watson stepped out in high heels. Oh this was not noir, and was as far from noir and as far from our smoke-flooded sound stages as we could get. Holmesians and Rathbonians don't bother with this or give it any mind, and it is what it is and for fans of Guy Ritchie, which isn't anything to do with classic film noir, nor even in fact classic Sherlock Holmes.
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Purists of Arthur Conan Doyle's work often criticize Nigel Bruce's portrayal of Watson, labelling him as a bumbling fool. However, upon revisiting the 1939 film The Hound of the Baskervilles, such critiques are challenged.
While Bruce's rendition deviates from Doyle's original depiction, the dynamic between him and Basil Rathbone's Holmes undeniably creates cinematic magic. Holmes, with his brilliance and intensity, can come off as pompous and unapproachable.
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However, with the affable and comedic Watson by his side, Holmes becomes more relatable and his genius more palatable. Bruce's portrayal adds a layer of charm and warmth to the duo, showcasing Hollywood's prowess in crafting endearing companionships.
The Hound of the Baskervilles also takes liberties with Doyle's plot elements, and despite its age, it retains its allure. Constructed within the vast confines of a Fox sound studio, the sets exude an otherworldly aura. The outdoor scenes, although clearly artificial, possess a gothic charm, with surreal landscapes shrouded in eerie shadows and mist.
The story revolves around Holmes and Watson investigating the infamous curse of Baskerville Hall, where descendants are rumoured to meet their demise at the hands of a diabolical hound prowling the moors of Devon.
Doyle's narrative, albeit atypical, captivates with its mysterious allure. Interestingly, Holmes takes a backseat for a significant portion of the tale, allowing Watson to take centre stage as he documents and unravels the enigmatic occurrences at the hall. Bruce's portrayal of Watson shines through, making his solo escapades equally engaging and enjoyable.
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In 1939, audiences were treated to the debut of Basil Rathbone as Sherlock Holmes, a portrayal that would go on to define the character for generations. Accompanied by Nigel Bruce's portrayal of the bumbling yet endearing Dr. John H. Watson, Rathbone made his first appearance as the legendary detective in The Hound of the Baskervilles, the inaugural instalment of a series of fourteen films produced between 1939 and 1946 by 20th Century-Fox and Universal Studios.
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The production quality of The Hound of the Baskervilles sets it apart from its successors, with 20th Century-Fox's resources evident in the lavish sets and attention to detail. Unlike later Universal films, which often relied on fog to mask modest sets, the grandeur of the moor set in The Hound of the Baskervilles is striking, spanning an impressive 300 by 200 feet. Even the miniature models used for certain scenes, such as the approach to Baskerville Hall, are executed with remarkable craftsmanship, while the interior sets boast intricate designs and ornate furnishings.
Behind the camera, cinematographer Leon Shamroy's skillful lens captures the eerie beauty of the moors, while director Sidney Lanfield brings Conan Doyle's iconic setting to life with finesse. Lanfield, known for his work on films like "My Favorite Blond," demonstrates his versatility in crafting both suspenseful mysteries and lighthearted comedies.
Despite the film's visual splendour, Cyril Mockridge's minimalistic musical score leaves much to be desired, with little more than main and end titles to accompany the action on screen. Uncredited contributions from David Buttolph and David Raksin fail to compensate for the absence of a more robust musical accompaniment, leaving pivotal moments devoid of the emotional resonance that music can provide.
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The Hound of the Baskervilles exudes an old-world charm, embracing its formalities while weaving suspense from a tapestry of dated tropes. The film creates an insular, eerie atmosphere using stagy backdrops and exaggerated expressions, drawing viewers into a horror-tinged whodunit. However, its reliance on loud performances and a booming soundtrack often obscures narrative shortcuts, leaving the core puzzle obscured beneath lengthy exposition and antiquated intertitles.
Basil Rathbone's portrayal of Sherlock Holmes stands out, his cocksure demeanor and quick wit contrasting Nigel Bruce's skeptical Dr. Watson. Their snappy discourse injects vitality into the film, with Rathbone's knowing glances and self-possession captivating audiences. Screenwriter Ernest Pascal wisely forgoes an origin story, thrusting these iconic literary figures directly into the narrative, leveraging their well-established quirks.
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The plot revolves around murder on the ominous Dartmoor moors, steeped in superstition and local legend. Richard Greene's portrayal of Henry Baskerville, the last living heir, navigates the treacherous waters of family curses and phantom canines with a mix of skepticism and curiosity. Despite its familiarity, the Gothic horror elements sustain interest, particularly the eerie ambiance of the moors, shrouded in dense fog and haunted by convicts.
The film's technical prowess shines through in its use of shadowing and natural lighting, evoking German Expressionist influences. The séance scene, bathed in flickering candlelight, adds depth and tension to the narrative. However, attempts to integrate romance feel strained, detracting from the film's overall impact.
At a lean 80 minutes, The Hound of the Baskervilles struggles to fully explore its premise, with Sherlock Holmes absent for a significant portion of the runtime. Visual depictions of letters and notes expedite the plot but leave Holmes' deductions feeling rushed in the film's closing moments. Despite its visual appeal, the film ultimately feels slight and lacking in intrigue, a pretty picture devoid of depth and substance.
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At forty-seven, Rathbone initially faced skepticism from some reviewers who deemed him too young to portray Holmes convincingly. Yet, Rathbone's performance proved to be a revelation, ushering in a new era for the iconic detective on screen. In the years following Rathbone's portrayal, actors like Peter Cushing, Christopher Lee, and John Neville would put their own spin on the character, each bringing a unique interpretation to the role.
In hindsight, Rathbone's legacy as Sherlock Holmes endures, his portrayal standing as a testament to the enduring appeal of Conan Doyle's timeless creation. From the fog-drenched moors of Devonshire to the halls of Baskerville Hall, Rathbone's Holmes remains the quintessential embodiment of the world's greatest detective, captivating audiences with his intellect, wit, and indomitable spirit.
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In essence, The Hound of the Baskervilles may stray from Doyle's original vision, and its thrills may pale in comparison to modern standards. However, its enduring appeal lies in its timeless charm and the endearing chemistry between Holmes and Watson, brought to life by the unforgettable performances of Basil Rathbone and Nigel Bruce.
In hindsight, Rathbone's legacy as Sherlock Holmes endures, his portrayal standing as a testament to the enduring appeal of Conan Doyle's timeless creation. From the fog-drenched moors of Devonshire to the halls of Baskerville Hall, Rathbone's Holmes remains the quintessential embodiment of the world's greatest detective, captivating audiences with his intellect, wit, and indomitable spirit.
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[last lines]
Sherlock Holmes: Oh, Watson... the needle.
*
Sherlock Holmes: There are still some gaps to be filled in, but all in all, things are becoming a little clearer.
Dr. Watson: Not to me, I assure you. It's still a hopeless jumble. Mr. Franklin, Doctor Mortimer, the Barrymans... put it all together and what have you got?
Sherlock Holmes: Murder, my dear Watson. Refined, cold-blooded murder.
Dr. Watson: Murder?
Sherlock Holmes: There's no doubt about it in my mind. Or perhaps I should say, in my imagination. For that's where crimes are conceived and where they're solved... in the imagination.
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Dr. Watson: It's a pity you didn't think about bringing that infernal violin of yours... to regale me with some of your enchanting music!
Sherlock Holmes: I *did*, my dear Watson! Anything to oblige!
[he whips out the violin and begins to play]
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Sherlock Holmes: Did he tell you his name?
Cabby: Yes sir.
Sherlock Holmes: What did he say it was?
Cabby: Sherlock Holmes, sir
Sherlock Holmes: What?
Cabby: Well, that's the name what he give me, sir. Sherlock Holmes!
[all laugh]
Sherlock Holmes: Well, whoever it is, at least has a sense of humour!
*
James Mortimer, M.D.: Mr. Holmes, we've admired you in the past, as does every Englishman. Your record as our greatest detective is known throughout the world. But this... seeing how you work... knowing that there is in England such a man as you, gives us all a sense of safety and security. God bless you, Mr. Holmes.
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James Mortimer, M.D.: Mr. Holmes, you're the one man in all of England who can help me.
Sherlock Holmes: Well, won't you sit down.
James Mortimer, M.D.: Thank you. A friend of mine is in grave danger.
Sherlock Holmes: May I inquire his name?
James Mortimer, M.D.: Sir Henry Baskerville. Hier to the estate of Baskerville Hall.
[Holmes and Watson exchange a look]
James Mortimer, M.D.: I am in mortal fear Sir Henry's life will be... snuffed out.
*
Sherlock Holmes: The only way is to catch him red handed. To catch him in such a way that there's no escape, no alibi. That means gambling with Sir Henry's life.
Dr. Watson: [horrified] But you can't poss...
Sherlock Holmes: Gambling to save his life. But we've got to take that chance.
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Sherlock Holmes: Do you remember that missing boot, Watson? Why do you suppose the brown one, the one that had never been worn, was so mysteriously replaced and the black one taken?
Dr. Watson: Why?
Sherlock Holmes: Because a boot that had never been worn wouldn't have had the scent of the owner... and the black one had!
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Sherlock Holmes: [a portrait that he has just seen fascinates him] You must... you must dine with us before you sail.Sir Henry Baskerville: Well, there's the old boy himself... Sir Hugo. Hugo, the Beast of the Baskervilles.
Dr. Watson: Not a bad bit of brush work. By Ransome, one of the minor painters.
Sir Henry Baskerville: Oh, I don't imagine it's very valuable.
Sherlock Holmes: I can't quite agree with you, Sir Henry.
Sherlock Holmes: [ominously] One day, it might prove to be of the greatest value.
In the film adaptation of the classic detective story, several changes are made to the original narrative. Beryl is depicted not as Stapleton’s wife but as his stepsister, unaware of his nefarious plans, adding a layer of Adaptational Heroism. Dr. Mortimer’s appearance is altered to appear more sinister, serving as a Red Herring. The adaptation streamlines the plot by removing Franklin’s daughter and simplifying the Selden subplot, a process known as Adaptation Distillation.
Adaptation Expansion introduces new elements, such as a séance scene and Holmes’s playful disguise as a peddler on the Moor. However, an Adaptation-Induced Plot Hole emerges with the mysterious letter warning Sir Henry, as Beryl’s ignorance of Stapleton’s scheme leaves the sender’s identity unresolved. The butler’s name is changed from Barrymore to Barryman to avoid confusion with the famous Barrymore acting family.
The film adaptation of the classic detective story The Hound of the Baskervilles introduces several changes and unique elements to the original narrative. The movie begins with a Dramatic Chase Opening, setting a suspenseful tone as Sir Charles Baskerville is pursued by the ominous sounds of a howling dog, leading to his death from a heart attack. Sherlock Holmes is portrayed with a touch of humour as a Dreadful Musician, only to reveal his true talent once Watson leaves the room.
The story explores themes of familial love with Seldon, the escaped serial killer, who is still cherished by his sister despite his crimes, showcasing that Even Evil Can Be Loved. The film also plays with expectations, as seen when the peddler, who is actually Sherlock in disguise, uses Exact Words to lure Watson to the moor under the pretence of revealing something interesting.
The adaptation takes liberties with the setting, as 221B Baker Street is depicted as more luxurious than its literary counterpart, a nod to “Friends” Rent Control. The concept of a Fright Deathtrap is used to explain Sir Charles’s death, emphasizing the psychological torment inflicted by the Hound. Mr. Frankland’s character indulges in Frivolous Lawsuits, adding a comedic element to the otherwise tense narrative.
Sherlock’s decision to volunteer Watson for the investigation without his consent injects a moment of levity, while the relationship between Sir Charles and Dr. Mortimer is highlighted as that of Heterosexual Life-Partners, underscoring the doctor’s determination to protect Sir Charles’s nephew. The film employs Hollywood Darkness to maintain visibility during night scenes, and Sherlock’s impulsive decision to investigate a cellar alone, resulting in him being trapped, is an example of the Idiot Ball trope.
The villain’s motive for murder is revealed to be inheritance, as he is a descendant of Hugo Baskerville, and the film includes a flashback where Sir Hugo insists on the existence of a girl who escaped, playing with the trope It Was Here, I Swear!. Hugo Baskerville’s death is depicted as a Karmic Death, fitting for his villainous deeds.
The Barryman family’s Legacy of Service to the Baskervilles is acknowledged, and moments of romantic tension between Sir Henry and Beryl are humorously interrupted, serving as Moment Killers. Sherlock’s fascination with the macabre is highlighted, portraying him as a Nightmare Fetishist who finds the prospect of murder intriguing.
The film sets the scene with an immortal opening scroll that describes the bleakness of Dartmoor, and Watson’s competence is shown to be overshadowed by awesome when compared to Holmes’s brilliance. A Photo doodle recognition scene reveals the villain’s identity, and the Hound is presented as a very large and vicious dog in a pragmatic adaptation, avoiding any supernatural implications.
The dangers of the Grimpen Mire are demonstrated through quicksand, and the film makes effective use of quieter then silence type of pausing in the smoke to build tension. Beryl’s relationship to Stapleton is Related in the Adaptation, changing her from wife to stepsister. The Hound’s nature is explained as a Scooby-Doo-style hoax, and the storytelling technique of separate scene storytelling is used for Dr. Mortimer’s reading of the Baskerville legend.
That legend is cornily played to perfection, flashing back to yore, cinematic transportation at its 1939 best.
Sherlock’s keen observational skills are showcased in a Sherlock Scan, and the film addresses the Sins of the Father trope by subverting the legend of the Hound. Stapleton’s fate is left ambiguous in a Spared by the Adaptation twist, and the Hound’s ability to track Sir Henry is explained through the scent from a stolen boot.
Watson’s exasperated reaction to Sherlock’s violin playing after a grim tale is a humorous take on matters serious and brings the fun to the chase. The dynamic between Sherlock and Watson is characterized by playful banter, making them kind of best buds, sometimes in disagreement but never vitriolic. Sherlock’s deception about his whereabouts is justified as necessary for the investigation, and a rock thrown through Sir Henry’s carriage window serves as a warning in a smashed window pane messaging kind of moment.
Finally, Dr. Mortimer’s reluctance to report the footprints of a gigantic hound is explained with a kind of you wouldn't believe it if I told you rationale, adding to the mystery and intrigue of the story. These adaptations and creative choices contribute to a film that both honors and reimagines the classic detective tale for a new audience.
The film plays with the tropes of sceptic and believer, almost a kind of Mulder and Scully style of relationship, with Dr. Mortimer as the believer in the supernatural and Sir Henry as the sceptic. The narrative maintains the suspense of a murder mystery, with characters in-universe convinced of foul play despite the coroner’s verdict of natural causes. Baskerville Hall is depicted as a Big Fancy House, and the butler Barryman is initially cast as suspicious, though he is later revealed to be innocent of Sir Charles’s murder.
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Overall, the film adaptation makes creative adjustments to the source material, adding new scenes and altering character dynamics while preserving the essence of the mystery and the iconic detective’s sharp intellect.
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THE HOUND OF THE BASKERVILLES (1939)
78 mins | Drama | 31 March 1939
Series: Sherlock Holmes | Release Date:31 March 1939 | Production Date:late Nov 1938--8 Feb 1939 | Twentieth Century Fox Film Corp.31 March 1939LP8875 |Western Electric Mirrophonic Recording
Length (in feet): 7,142 | Length (in reels): 8 | PCA No: 5037
Wikipedia The Hound of the Baskervilles (1939)
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