Basil Rathbone
Philip St. John Basil Rathbone MC (13 June 1892 – 21 July 1967) was a South African-born English actor renowned for his commanding stage presence and screen portrayals of aristocratic villains and the detective Sherlock Holmes.[1][2] Born in Johannesburg to British parents, he was educated in England and made his professional stage debut in 1911 with a repertory company.[1] During World War I, Rathbone enlisted in the Liverpool Scottish Regiment in 1915, serving as an intelligence officer in France where he conducted perilous night patrols into no man's land, earning the Military Cross in 1918 for conspicuous gallantry and resourcefulness in reconnaissance operations that captured enemies and mapped German positions.[3] Resuming his acting career postwar, Rathbone excelled in Shakespearean productions on London and Broadway stages before entering films with The Fruitful Vine in 1921, though his breakthrough came in Hollywood during the 1930s with villainous roles that showcased his fencing skills and resonant voice, including Murdstone in David Copperfield (1935), Levasseur in Captain Blood (1935), and Sir Guy of Gisborne opposite Errol Flynn in The Adventures of Robin Hood (1938).[2] He received an Academy Award nomination for his portrayal of King Louis XI in If I Were King (1938) and was the first actor nominated for a Shakespearean film role as Paris in Romeo and Juliet (1936).[1] Rathbone's most iconic association came from embodying Sherlock Holmes in 14 films from 1939 to 1946, beginning with The Hound of the Baskervilles and including the 20th Century Fox and Universal series alongside Nigel Bruce as Watson, cementing his legacy despite his later frustration with typecasting that prompted a return to theater, radio, and television work.[2] Over a 56-year career spanning stage, screen, and literature—including his 1962 autobiography In and Out of Character—Rathbone distinguished himself as a versatile performer whose precise diction and physical elegance defined era-spanning characterizations.[1][2]
Early Life
Birth and Family Background
Philip St. John Basil Rathbone was born on 13 June 1892 in Johannesburg, Transvaal (now Gauteng province), South Africa.[4][2] His parents were British subjects: his father, Edgar Philip Rathbone (1856–1924), served as a mining engineer and later as Chief Government Inspector of Mines for the Transvaal government, a position held by only one Englishman under Boer administration.[5][6] His mother, Anna Barbara George (c. 1860–1940s), was a professional violinist born in Grahamstown, South Africa, to British parents.[2] Rathbone was the eldest of three sons; his younger brothers were Harold and Horace.[2] The Rathbone family traced its paternal lineage to the prominent Liverpool Rathbones, a merchant dynasty known for 19th-century involvement in shipping, philanthropy, and opposition to the slave trade, though Edgar had pursued engineering abroad.[7] Edgar's career drew the family to Johannesburg around 1891, amid the Witwatersrand gold rush, where he worked in mine inspection and consulting.[6][5] Anna's musical background influenced the household, fostering an early exposure to the arts for her children.[2] In late 1895, amid rising tensions preceding the Second Boer War (1899–1902), the family fled South Africa after Boers accused Edgar of espionage for Britain, prompting fears for their safety as pro-British expatriates.[8][7][5] They sailed to England in January 1896, settling initially in London before moving to rural areas, where Rathbone spent his formative years.[5][2] This relocation severed direct ties to South Africa, shaping Rathbone's identity as an English gentleman despite his birthplace.[8]Education and Early Influences
Rathbone attended Repton School, a boarding school in Derbyshire, England, from 1906 to 1910, following his family's relocation from South Africa to Britain in 1895.[3] At Repton, he received a classical education but struggled academically, earning the nickname "Ratters" from classmates while excelling in sports, particularly fencing.[9][10] His participation in the school's debating society and musical society honed skills in public speaking and performance, fostering an early affinity for the arts amid a curriculum emphasizing literature and history.[9] These school experiences shaped Rathbone's inclinations toward theatrical expression, as he later recalled discovering the stage during his Repton years, though his father initially directed him toward a conventional career in insurance with the Liverpool and Globe Insurance Companies upon graduation.[11] His mother's background as a violinist may have contributed to his musical interests, providing a cultural foundation that contrasted with his father's engineering profession and preference for practical pursuits.[3] Rathbone's physical prowess in athletics and fencing, developed at school, later informed his on-screen agility and swordplay in roles requiring dramatic action.[8]Military Service
World War I Enlistment and Experiences
Rathbone enlisted in the British Army on 31 March 1916 as a private in the London Scottish Regiment, amid the ongoing demands for volunteers following the introduction of conscription earlier that year.[12] He underwent initial training at Richmond Park near London before applying for a commission and attending officer training school.[13] Commissioned as a lieutenant, he was assigned to the 10th Battalion, King's (Liverpool) Regiment, known as the Liverpool Scottish.[3] In his role as battalion intelligence officer, Rathbone led reconnaissance patrols into No Man's Land, typically twice weekly, to gather information on enemy positions ahead of larger operations.[10] After recovering from an episode of measles, he was posted to the front line at Bois Grenier in April 1917, where the regiment endured trench conditions characteristic of the Western Front, including artillery barrages and disease risks.[14] His duties involved not only night patrols but also organizing entertainments for troops, drawing on his pre-war acting experience to boost morale amid the static warfare and high casualties.[15] In September 1918, during the Allied Hundred Days Offensive, Rathbone volunteered for highly hazardous daylight reconnaissance missions to track German troop movements and dispositions.[10] For his leadership in these patrols, which yielded critical intelligence despite intense enemy fire, he was awarded the Military Cross on 9 September 1918; the official citation, published in The London Gazette on 5 November 1918, commended his "conspicuous daring and resource," noting his skilful handling of small teams that obtained valuable data on enemy advances.[3] [16] Rathbone later expressed profound aversion to the war's brutality, having witnessed its toll firsthand before the Armistice in November 1918.[17]Awards and Post-War Transition
Rathbone received the Military Cross on 9 September 1918 for conspicuous bravery during a daylight reconnaissance patrol near the front lines in France, where he, accompanied by one other officer and one non-commissioned officer, successfully identified several enemy machine-gun emplacements and posts, enabling precise artillery bombardment.[10] The award citation, published in The London Gazette on 7 November 1918, praised his "courage and initiative."[12] No other military decorations are prominently recorded for his service with the King's (Liverpool) Regiment.[3] Following the Armistice on 11 November 1918, Rathbone was demobilized in 1919 after over three years of active duty, during which he had been wounded once.[2] He promptly resumed his pre-war pursuit of acting, returning to the stage at Stratford-upon-Avon to perform in Shakespearean productions, including roles that honed his classical training.[8] This transition marked his shift from military intelligence and patrol duties back to the theater, where he built upon earlier experience gained before enlisting in 1915.[3] By 1920, he had relocated to London, securing roles that advanced his career toward prominence in British theater.[10]Stage Career
Debut and Shakespearean Training
Rathbone's entry into the theater followed a brief stint as a junior clerk at the Globe Insurance Company in Liverpool, after which he auditioned successfully for Sir Frank Benson's Shakespearean touring company, a relative who led a prominent repertory ensemble focused on Elizabethan drama.[3] His professional debut occurred on 22 April 1911 at the Theatre Royal in Ipswich, Suffolk, where he portrayed Hortensio in William Shakespeare's The Taming of the Shrew with Benson's No. 1 Company.[18] [19] From 1911 to 1915, Rathbone toured extensively with Benson's company across the United Kingdom, performing in multiple Shakespearean productions that formed the core of his early training in classical verse, stage combat, and character interpretation.[20] These roles included appearances in The Taming of the Shrew, Romeo and Juliet, and at least a half-dozen other plays from the canon, honing his skills under Benson's rigorous direction, which emphasized authentic period staging and ensemble discipline.[20] This apprenticeship interrupted by World War I enlistment in 1915, provided Rathbone with foundational expertise in Shakespearean performance, distinguishing him from contemporaries reliant on modern drama.[8]Major Theatrical Roles and Acclaim
Rathbone achieved significant acclaim on Broadway with his role as Dr. Nicholas Agi in Ferenc Molnár's The Swan, which opened at the Cort Theatre on October 23, 1923, and ran for 388 performances before touring.[21] The production, starring Eva Le Gallienne as Princess Alexandra, was praised for its sophisticated comedy, with Rathbone's portrayal contributing to its success as a key American theatrical event, as noted in contemporary reviews.[22] This role marked Rathbone's breakthrough to stardom in New York, solidifying his reputation as a versatile leading man adept in romantic and dramatic parts.[4] Throughout the 1920s and early 1930s, Rathbone continued to excel in Shakespearean productions, drawing on his early training with F.R. Benson's company where he performed over 30 roles across nearly all of Shakespeare's plays, including Laertes in Hamlet, Orsino in Twelfth Night, and the Duke of Aumerle in Richard II.[22] His affinity for Shakespeare culminated in a lauded 1934 Broadway revival of Romeo and Juliet at the Martin Beck Theatre, where he starred as Romeo opposite Katharine Cornell's Juliet for 12 weeks starting December 20; Rathbone had first played the role in 1915 and regarded it as his favorite.[23] Critics highlighted his energetic and sincere interpretation, enhancing the production's prestige amid Rathbone's growing stage prominence.[24] Another pivotal role came in Rudolf Besier's The Barretts of Wimpole Street, where Rathbone portrayed poet Robert Browning during a seven-month transcontinental tour from December 1933 to June 1934, commencing at the Erlanger Theatre in Buffalo.[25] Reviews in outlets such as the Milwaukee Journal (December 5, 1933) and Oakland Tribune (February 7, 1934) commended his vigorous romanticism and depth, often favoring it over the original Broadway casting.[25] This performance underscored Rathbone's command of historical drama, earning sustained applause and reinforcing his status as a premier stage actor before his film career overshadowed his theatrical achievements.[26]Film Career
Entry into Cinema and Initial Roles
Rathbone entered cinema in the early 1920s, shortly after his demobilization from military service, with his screen debut in the British silent drama Innocent (1921), directed by Sidney Franklin.[27] [28] He quickly followed with supporting roles in other silent productions, including The Fruitful Vine (1921), a drama adapted from a Frederick Harbottle novel, and the comedy The Loves of Mary, Queen of Scots (1923).[29] These early appearances were modest, reflecting his primary commitment to stage acting during the decade, though he continued sporadic film work such as The School for Scandal (1923), an adaptation of Richard Brinsley Sheridan's play, and Trouping with Ellen (1924).[29] [30] By the mid-1920s, Rathbone's film roles remained limited, with credits like the romantic drama The Great Deception (1926), where he portrayed a key character amid a tale of mistaken identity and inheritance.[30] His entry into talking pictures marked a pivotal shift, debuting in the sound version of The Last of Mrs. Cheyney (1929), directed by Sidney Franklin, in which he played the suave Lord Arthur Dilling opposite Norma Shearer.[28] This role, drawn from Somerset Maugham's play, showcased Rathbone's refined British demeanor and verbal acuity, earning praise for its sophistication and helping transition him from theater to Hollywood's emerging sound era.[31] Initial sound assignments continued in supporting capacities, such as in The Bishop Murder Case (1930), a Philo Vance mystery, solidifying his presence in American cinema before more prominent villainous parts emerged.[27]Iconic Villain Portrayals
Rathbone's transition to film in the mid-1930s showcased his aptitude for portraying sophisticated antagonists, leveraging his aristocratic demeanor, precise diction, and fencing expertise to create menacing yet elegant villains. His roles often featured characters driven by ambition, cruelty, or rigid authority, establishing a template for Hollywood's urbane adversaries that influenced subsequent portrayals.[28] In MGM's David Copperfield (1935), directed by George Cukor and released on January 18, Rathbone embodied Edward Murdstone, the stern, disciplinarian stepfather who imposes brutal control over young David and his mother Clara, drawing from Charles Dickens' depiction of unyielding moral rigidity. Rathbone's interpretation emphasized Murdstone's psychological intimidation over physical violence, with his cold stare and measured threats amplifying the character's domestic tyranny, earning praise for capturing the essence of Dickensian villainy without caricature.[28][32] Rathbone further honed his antagonistic edge as Tybalt in Metro-Goldwyn-Mayer's Romeo and Juliet (1936), directed by George Cukor and released on August 26, where he played the hot-tempered Capulet enforcer whose fatal duel with Mercutio ignites the feud's tragic escalation. His Tybalt exuded aristocratic pride laced with volatility, with Rathbone's authentic swordplay—rooted in his pre-war fencing championships—lending visceral intensity to the film's pivotal fight scenes, distinguishing the role as a kinetic blend of honor-bound aggression and familial loyalty.[28] Arguably Rathbone's pinnacle pre-Holmes villainy came as Sir Guy of Gisbourne in Warner Bros.' The Adventures of Robin Hood (1938), directed by Michael Curtiz and William Keighley and premiered on May 14, opposite Errol Flynn's titular hero. As Prince John's scheming deputy sheriff, Sir Guy pursued Robin with calculated malice, plotting ambushes and vying for Maid Marian's favor, culminating in a famed forest duel that highlighted Rathbone's balletic fencing against Flynn's robust style. The performance solidified Rathbone's reputation for suave perfidy, with critics noting how his Gisbourne balanced intellectual cunning and physical menace in Technicolor spectacle.[33] In Universal's Tower of London (1939), released November 17 and directed by Rowland V. Lee, Rathbone portrayed Richard Plantagenet, Duke of Gloucester—a historically inspired precursor to Shakespeare's Richard III—whose deformities and ruthless machinations propel him toward usurpation amid the Wars of the Roses. Paired with Boris Karloff's tortured executioner Mord, Rathbone's Gloucester conveyed serpentine ambition through subtle manipulations and veiled threats, infusing the horror-inflected drama with psychological depth and foreshadowing his later typecasting concerns.[34]Sherlock Holmes Films
Basil Rathbone portrayed Sherlock Holmes in 14 films released between 1939 and 1946, co-starring with Nigel Bruce as Dr. John Watson in each.[29] These productions established Rathbone's interpretation of the detective as lean, hawkish, and intellectually commanding, drawing on his prior stage experience with the role.[35] The series began with two period-accurate adaptations by 20th Century Fox, followed by 12 lower-budget entries from Universal Pictures that relocated Holmes to the 1940s amid World War II, often incorporating espionage elements to support the Allied war effort.[36] The inaugural film, The Hound of the Baskervilles (1939), directed by Sidney Lanfield, adapted Arthur Conan Doyle's novel with Richard Greene as Sir Henry Baskerville and emphasized supernatural horror alongside deduction.[29] Released on May 31, 1939, it grossed over $1.5 million domestically, prompting Fox to produce a sequel. The Adventures of Sherlock Holmes (1939), directed by Alfred L. Werker, featured an original plot by Edwin Blum and William Drake pitting Holmes against Professor Moriarty, played by George Zucco, and premiered on October 30, 1939.[29] These Fox films maintained Victorian settings and received praise for Rathbone's precise embodiment of Doyle's character, including his violin playing and cocaine use references.| Film Title | Release Year | Director | Studio | Key Notes |
|---|---|---|---|---|
| The Hound of the Baskervilles | 1939 | Sidney Lanfield | 20th Century Fox | Adaptation of Doyle's novel; budget $420,000 |
| The Adventures of Sherlock Holmes | 1939 | Alfred L. Werker | 20th Century Fox | Original story featuring Moriarty |
| Sherlock Holmes and the Voice of Terror | 1942 | John Rawlins | Universal | Contemporary WWII espionage |
| Sherlock Holmes and the Secret Weapon | 1942 | Roy William Neill | Universal | Involves inventor and Nazi spies |
| Sherlock Holmes in Washington | 1943 | Roy William Neill | Universal | Holmes protects microfilm in U.S. |
| Sherlock Holmes Faces Death | 1943 | Roy William Neill | Universal | Murder at psychiatric hospital |
| The Spider Woman | 1943 | Roy William Neill | Universal | Features Gale Sondergaard as villainess |
| The Scarlet Claw | 1944 | Roy William Neill | Universal | Set in foggy Quebec; werewolf-like murders |
| The Pearl of Death | 1944 | Roy William Neill | Universal | Adaptation involving Borgia pearl |
| The House of Fear | 1945 | Roy William Neill | Universal | Five retirees murdered; inspired And Then There Were None |
| The Woman in Green | 1945 | Roy William Neill | Universal | Hypnosis and severed fingers plot |
| Pursuit to Algiers | 1945 | Roy William Neill | Universal | Holmes guards royal heir on ship |
| Terror by Night | 1946 | Roy William Neill | Universal | Train-bound diamond theft |
| Dressed to Kill | 1946 | Roy William Neill | Universal | Counterfeit plates hidden in plates |