巴斯克维尔猎犬1937

A most pleasingly atmospheric rendition of the tale, noirishly photographed and moodily set, this is the version which probably would have delighted Conan Doyle the most. There is one important plot change which enables the beautiful Alice Brandt to enjoy both a larger role and a more intriguing part in the proceedings. This change also builds up the parts of Dr Mortimer and Lord Charles, yet at the same time provides a nice introduction to the is-he-sinister or is-he-a-good-guy Barrymore, deftly played here by Fritz Rasp.
Despite the sting of its well-developed story, the spellbindingly atmospheric direction and the engrossing performances delivered by the entire cast, many fans may find this version somewhat disappointing. For at least three reasons: As in the novel, the part played in the narrative by Sherlock Holmes, though vital, is minimal. And in this version, not only has no attempt been made to enlarge his role, if anything both writer and director do their best to minimize it. Holmes does not even make his entrance for half-an-hour, and when he does finally appear, he has his back to the camera. It is Fritz Odemar, as Dr Watson, who receives the more favorable camera angles. And there is a purpose in this. It is Watson, not Holmes, who figures as the main protagonist of The Hound of the Baskervilles. For the bulk of the narrative, Holmes disappears. It is Watson and Lord Henry (Peter Voss) who take up the running. The movie is almost over, before Holmes closes in on the villain. And even so, this is not the obsessed, self-important Holmes we are accustomed to see taking charge. Another problem is that the title hound itself does not figure a great deal in the action, a downgrading which will undoubtedly rate as another major disappointment for fans. And finally, it could be argued that the script gives too much attention to Conan Doyle's red herring, the escaped convict, and not enough to the real villain.
This said, it must surely be admitted by all, that Odemar's interpretation of Watson—intelligent, charming, level-headed, courageous and resourceful—is much closer to Conan Doyle's conception than either the bungling, inveterately stupid Nigel Bruce or the self-effacing Ian Fleming.
One other player deserves special mention: Erich Ponto (Dr Winkel in The Third Man) who seems exactly right for Stapleton. A difficult part, superbly played.
- JohnHowardReid, imdb

作为改编最多的福尔摩斯作品，原著魅力实在太强大，各版本在沼泽地迷雾氛围上下足功夫；此版颇有喜剧色彩，华生滑头，斯台普吞的阴险也未全力展现；福尔摩斯出场太晚，猎犬铺陈太少，个别镜头还穿帮，不过室内光影倒很有几分表现主义遗韵。
纳粹德国版，修果爵士行凶是因为妻子背叛，斯台普吞夫妻成了兄妹。福尔摩斯和猎犬的戏份非常少。有些情节说不通：比如贝丽尔在格林盆寄出的信，为何会有查令十字街的邮戳？十六世纪往后200年也不应该是现代诶
德国第三度改编福尔摩斯的猎犬故事，同时也是继英国后的第二个有声版本，纳粹时期的该版本也并未有政治痕迹。影片对福尔摩斯的猎犬的刻画并不多，前三分之一的内容几乎完全局限在对猎犬传说的强调，但中段对华生这一聪慧有能且独立的角色塑造以及对沼泽地氛围的营造较为成功。
仅仅是来膜拜30年代纳粹版的福尔摩斯的，但是福基本酱油且形象看的很不适应...估计很快就忘记了...
史上最丑福尔摩斯没跑了——关键是剧情甚至比选角还要扯淡。我简直怀疑德国人在1937年拍这部戏的时候满怀对英国人的恶意。据福迷友邻告知，希特勒的柏林地堡中藏有此片拷贝，不厚道地说，正常人看完此片也容易产生自杀的打算，还是不要轻易尝试了！
改动较大，bug也比较多，福尔摩斯戏份较少。
3.5，2017.06.21
这版华生挺聪明的，抢戏
法西斯统治期间的福尔摩斯电影，福尔摩斯本身戏份并不多，对案件的塑造颇具黑色电影质感，完全没有意识形态感。
“当罪案牵涉到漂亮的女人，所有的假设可能都是错的。”
改动也太大了，知名手杖推理无了
福尔摩斯演员不好看，出场还没华生多。
福尔摩斯和华生塑造的都很好
情节上作出大幅改动，如以事件始末而非正典中老福和华生的切入作为拍摄中心，如把道尔旅行箱的段子平移进去，又如给修果爵士洗白，使他变得几乎与水手布朗纳或圣西蒙勋爵一样悲催（其实并没有）……不过无碍观赏，大爱贝克街三人组，尤其这版华生。福枯瘦但强健，硬朗的气质颇为canonical.
挺符合原著，鉴于时代背景，有些差池也是可以接受的