Alex Pan Being a big fan of S.H. stories both in screen and paper, I admired this edition of the, dare say, best S.H. long story, because of the stunning atmosphere and setting. Jeremy Brett is the true example of how Holmes should be portrayed on screen, but this rendition of Watson by Hardwicke compared to the great David Burke brings a big disappointment. Could be a 9/10, possibly a 10 as it goes for Sherlock Holmes adaptations but the nature of the story sadly makes Watson the protagonist this time.With this Watson, a 7/10 is a fair grade.

agni0504 I think I was ten when I first read this novel. It was fascinating, brilliant and exciting,it became one of my favourites from Conan Doyle.I really liked the Granada version of it and the Granada Holmes series too.The studio fulfilled a hard task by remaining faithful to the original stories, and the result is:many-many fans of the series all over the world. But the success mostly depended on the wonderful cast. For me Jeremy Brett and Edward Hardwicke were not playing Holmes and Watson, they simply identified themselves with the characters.They share a unique, noble friendship which you cannot find in today's movies.Though Holmes is sometimes rude and impatient with Watson, you can always sense this deep sympathy between them.Brett's Holmes is a cool, elegant and eccentric detective, master of some martial arts, who has all-embracing knowledge.He calls his method deduction: he examines everything thoroughly and completes the puzzle.It is really sad that Jeremy Brett died and the series had to be ended. I liked his Holmes very much. I read many interviews with him and these show a charming, friendly man with a great sense of humor (and he was handsome too!). Thank you very much, Granada Studios. And above all: thank you, Mr. Brett.

ma-cortes Sherlock (Jeremy Brett) and Watson (Edward Hardwicke) are hired by Doctor Mortimer (Neal Duncan) for the investigation a killing , the deceased Sr. Baskerville , who has been inherited by his brother Sir Henry (Kristoffer Tabori) . Watson goes to the mansion , there are the servants (Ronald Pickup) and he meets Stapleton (James Faulkner) and his sister . Meanwhile , an inmate has escaped and on the moors sounds the barking a savage beast . This is an excellent film of the splendid Sherlock Holmes/Jeremy Brett TV series . It's a genuine ripping yarn with much suspense and intrigue . The film gets mystery , tension , detective action and packs an exciting deal of outstanding surprises with great lots of fun , despite being a known story . Jeremy Brett's magnificent interpretation , although the best Sherlock is forever Basil Rathbone . Brett plays as Holmes as an intelligent , obstinate , broody , pipesmoking sleuth , his acting is similar to Peter Cushing in television or Nicol Williamson (Seven-per-cent-solution) or Christopher Plummer (Murder by decree) in cinema . Here Dr. Watson isn't a botcher , bungler or clumsy partner usually incarnated by Nigel Bruce , but a cunning and astute pal well incarnated by Edward Hardwicke who even achieved recently success as co-protagonist in Oliver Twist (by Roman Polanski) . The movie has a creepy as well as eerie atmosphere , specially when is developed on the moors where lives the fearful giant beast ; besides , the London streets and 223 Baker Street house are well designed . The motion picture was well directed by Peter Hammond .Other versions about this notorious novel are the followings : 1939 classy recounting by Sidney Landfield with Richard Greene , Basil Rathbone , Nigel Bruce , Lionel Atwill , Wendy Barrie ; 1959 by Terence Fisher with Peter Cushing , Andre Morell and Christopher Lee ; 1977 spoof rendition by Paul Morissey with Peter Cooke and Dudley Moore ; 1983 by Douglas Hickox with Ian Richardson and Donald Churchill ; 2000 TV by Rodney Gibbons with Matt Frewer and Kenneth Welsh , 2002 retelling with Richard Roxbough and Richard Hart , among others .

tedg If you want to understand film, you need to understand the three main narrative types: noir, that genre derived from the musical, and the detective story.While the detective story in film essentially means Agatha Christie, you can't understand that unless you understand Holmes. And the "Hound", my friends is the only long form we have of the Holmes stories.Further, if you are looking for a version that is true to the source (more or less) plus being slightly engaging, this is your station for the evening. There are lots of problems, not the least of which is the material. The Holmes stories are impossibly unfilmable: it is "precinematic" literature that imagines engravings first (a severed engineer's thumb for instance) and then spins an intellectual universe around that. Within this is the yeoman reportage of Watson which is distinctly journalistic. This only works well on the short form. "Hound" was a failure even by Victorian pulp standards, because it attempted subplots and parallel threads and succeeded imperfectly. So in "Hound" we start with a poorly crafted story that is also inherently uncinematic.But what a story! Doyle was by this time just entering his own belief that the supernatural did exist. In fact, he became the leading figure in the world-wide spiritualist movement. After this period he would famously play the "modern" scientist to the debunking Houdini an amazing reversal of roles: Conan Doyle invented the "thinking machine" human rooted in logic and Houdini made a living fostering the illusion of hidden powers. Doyle's struggle with the two sides mirrors that of the story. Add to that the production values of this series. Of all attempts, this has the best depiction of Holmes, or at least it started out that way. Brett's Holmes is full of private and explosive thoughts. His character is bipolar and attracted to drugs.True to the established BBC model, the producers shifted the creative team around for each episode so the quality varies. The director this time, Mills, takes a Sherlockian perspective himself. When the story starts and before we get banished to the moor, he establishes the detective's eye. His camera swoops about, examining details of the situation as if it were our eye and we were Holmes.As an example, there's a great scene with the doctor from the moors ("Mortimer," get it?), the new Sir Baskerville, Holmes and Watson having breakfast in a fancy hotel. While another TeeVee director would give us two alternating over the shoulder shots with an establishing one, Mills swoops all about the whole room then after a 180 degree swing settling on the threatening letter. It is dePalma drawn smallish for the little screen, but its nice.And overlain on all this is Brett's second edition of Holmes. It is after his breakdown and first institutionalization. After he has disfigured his hair, after the lithium has added 40-50 pounds and drained all the life from his face and spirit. To get the value of this we need to remember his previous Holmes version from the motions he copies from that time.And so we have the rule of twos set in discovery: an author casting reason against magic and personally deciding on magic; his character casting the same and deciding the opposite; the filmmaker (such as they are in TeeVee projects) casting the alert eye against an uncinematic vision and personally winning; and the actor casting the same and personally losing.Along the way the adapter forgets the brutish, wife beating artist, the one concession Doyle made to reflection.Ted's Evaluation -- 2 of 3: Has some interesting elements.