Reviewed by Colin Jacobson (February 18, 2025)
Arthur Conan Doyle’s Sherlock Holmes first appeared as a literary character in 1887, and the character leapt to movie screens all the way back in 1900. The beloved detective’s most successful run probably came when Basil Rathbone took on the part for a 14-film franchise that launched with 1939’s Hound of the Baskervilles.
Immediately prior to that iconic series, Arthur Wontner starred as Holmes in five British produced films. For the fourth of these, we go to 1935’s The Triumph of Sherlock Holmes.
Now retired from sleuthing, Sherlock Holmes (Wontner) lives in the country south of London. Despite his desire to stay idle, he finds himself drawn back to his old job due to a murder.
An American gang kills local man John Douglas (Leslie Perrins). When this crime appears connected to Holmes’ old rival Professor Moriarty (Lyn Harding), the detective feels compelled to take on the case.
What if they gave a murder mystery and no one cared? Triumph would feel like the result, as it provides a surprisingly dull affair.
Too much of Triumph comes across more like “who cares?” than “whodunnit”. Some of the issues stem from the film’s awkward structure.
Although most of the movie’s first half focuses on Holmes’ attempts to find clues, it then suddenly launches into flashback mode. This allows us to see what actually occurred.
This feels like a bad choice for a mix of reasons, in particular because it leaves our lead character on the sidelines for a long time period. A Sherlock Holmes movie that loses Sherlock Holmes for an extended stretch seems misguided.
The flashbacks also flop because the actors involved fail to connect to their characters. Granted, no one in Triumph excels, but the supporting cast we find in these expository sequences seems especially inept.
Even without these issues, Triumph sputters. Wontner doesn’t make a bad Holmes, but he seems wholly underwhelming in the role.
Wontner comes across more as a fussy academic than a shrewd detective. He fails to give Holmes much charisma and seems detached from the role’s strengths.
Even with a more dynamic lead, I suspect Triumph would sputter due to its indifferent direction from Leslie S. Hiscott. The filmmaker tells the tale in a sluggish manner that seems slow and aimless.
All of this leads to a mystery with little suspense or drama. Triumph becomes a flat and forgettable Sherlock Holmes effort.