The story opens with a written disclaimer explaining why the famous Victorian-era detective is living and working in London of the 1940s. Sherlock Holmes' appeal is timeless, the producers claim, and he is quite capable of entertaining audiences in stories set during the then-present day. They are, of course, correct, although the real reason for updating him was that it allowed the filmmakers to produce a series of propaganda films wherein the greatest British detective of all time goes head to head with German spies. When the sleuth emerges victorious (as he must always), he can make a patriotic oration that parallels the real world situation (the "there's an East wind coming" speech from "His Last Bow" given here neatly ties in with the WWII theme). The format is a complete success. I love these films, as far removed from Sir Arthur Conan Doyle's original stories as they are. They may get many of the details wrong, but they get the heart right, and they have exactly the correct atmosphere.

The beginning film in this Sherlock Holmes series as produced by Universal jumps right into its Sherlock Holmes vs. the Axis Powers motif. The British government is stumped. At regular intervals, a radio signal is beamed into England from somewhere in Germany. A pompous voice (of terror) gloats about terrible acts of sabotage that then simultaneously occur. The British Intelligence agency, unable to locate the source of the broadcasts or prevent the acts of terrorism is forced to call for Sherlock Holmes.

Many of the films in this series were less mysteries, and more straightforward thrillers. This is no exception. In fact, this is one of the weaker entries in the series as far as its plot is concerned. The storyline relies a bit too strongly on leaps of logic and sheer coincidences; the climax is just a bit too silly. If you're looking for a mystery in the style of the original Doyle stories, you'll be disappointed. There's too much that is held away from the audience, meaning that there's not much left for the viewer to figure out before the detective does.

But where this film succeeds is in its style, regardless of its actual substance. A lot of the story takes place in dark rooms, smoky bars and other sinister locales. The direction, lighting and cinematography are great. The scene in the saloon where Holmes (via a widow) turns a den of criminal elements into a force fighting for the Allies is particularly strong. The director plays the visuals for all they're worth; the craggy faces of the outlaws peering out of the dark, raising drinks to their lips, while Basil Rathbone's sharp features gaze out into the light. Scenes like this are what raise the film above the limitations of its plot.

The acting also serves to this film's advantage. Honestly, I could watch Basil Rathbone and Nigel Bruce reading the phone book. Yes, I realize that Bruce's interpretation of Dr. Watson is totally at odds with the original (in Doyle's stories, Watson, while not the equal of Holmes, is an intelligent and insightful character, capable of logic and independent thought; on the other hand, one wonders how Nigel Bruce's Watson manages to feed himself every day). But I don't care; I think the two of them are great fun and play off each other well. Henry Daniell makes the first of several appearances in the Sherlock Holmes movies here, playing a member of the intelligence council.

The DVD features are rather light (there aren't any), but the restoration that's been done to the print is astounding. The picture couldn't be any sharper and the sound is very crisp.

As the film reaches its conclusion, the plot holes become harder to ignore. It's a pity because the movie has so much going for it. It is worth watching though, just because it is so successfully stylish. The propaganda elements aren't at all distracting and in fact have become rather endearing as time has passed. This probably isn't the place for a newcomer to the series, as there are better films to choose from. But fans of these Sherlock Holmes films will almost certainly enjoy it as much as I did.

This was the first in the 11 film series featuring Basil Rathbone ( excellent ) and Nigel Bruce (irritating ) as the great team of Holmes and Watson respectively .They are called in by the British government ,then conducting the war against Hitler , to unmask a traitor ,the eponymous Voice .He is infiltrating the airwaves broadcasting dire prophecies of defeat to the British nation .His prophecies of impending military disaster come true .In the face of opposition from some Cabinet members Holmes digs into the case uncovewring a traitor from within the Cbinet itself ,eventually unmasking the culprit in a climax in a ruined church
Good performances all round apart from Bruce ,who to be fair was compelled to play the role as bumbling comic relief and not the stalwart comrade that Doyle wrote .Henry Daniell is excellent as a supercillious civil servant who turns out to be on the side of the angels .

Enjoyable B -movie that shows what an accomplished actor Rathbone was -pure class in every role however under-written

I assume that they changed the timeline; can't you understand that, that they moved the movies from the Victorian age to WWII?

Anybody besides me ever wonder why Holmes, Watson,Mrs. Hudson, etc., don't age a day between ADVENTURES OF SH and VOICE OF TERROR? 45 years go by inbetween the films! ADVENTURE is set in 1897; VOICE in 1942. Yet nobody has aged a day! I wish they would have explained this in some way, maybe Moriarity froze them all in ice or something ... as is, it makes no sense.

The first in Universal's series of Sherlock Holmes films, "The Voice of Terror" was widely condemned at the time of its release by critics who were offended by the studio's attempt to modernize the great detective for 1940's audiences whom, they believed, would consider Holmes irrelevant in the age of the Holocaust. Holmes resembles James Bond (not yet created) more than Arthur Conan Doyle's creation in this effort. He's less a private detective than a secret agent, working with the British government that is helpless in dealing with a series of taunting radio broadcasts that predict widespread destruction.

If this film is not true to Doyle (the credits claim the story is based on "His Last Bow," but other than the name of the chief villain and Holmes' closing remarks, there is no resemblance), it is nonetheless a fascinating time capsule that demonstrates the way Hollywood aided the war effort, using a beloved character from fiction to propagandize against the Nazi threat.

But the film has other virtues. Film scholars generally credit director Roy William Neill for the beautifully mysterious atmosphere that was as much an attraction of the Holmes series as Basil Rathbone's portrayal, but that atmosphere is apparent even here with John Rawlins at the helm. Much of "Voice of Terror" is cloaked in dark shadows that will make you forget the more awkward aspects of the screenplay. The scene in which Holmes and Watson visit a waterfront saloon is superbly staged with a noirish quality not found in 20th Century Fox's earlier Holmes adventures.

The dialogue also deserves praise, and as another reviewer pointed out, puts today's films to shame. Thomas Gomez makes an excellent villain, and, of course, Rathbone is brilliant, further putting his stamp on the role.