Hammer Studio's greatest stars in top form prove to this day that old-fashioned, relatively cheap yet eerie good films can look and work when quality pros are at work. Conan Doyle did not focus here on detective intrigue, but on a gloomy atmosphere, since the surroundings of the Baskerville estate over which the family curse prevailed favored a Gothic mood. The sequences with the tarantula thrown up on Sir Henry Baskerville (suffering from arachnophobia), Sherlock's visit to an abandoned mine collapsing through the efforts of some undetermined criminal, exemplify the fine pumping up of suspenseful strain. There are also some lightweight scenes - for example, with the participation of a good-natured bishop whose distraction almost costs the young aristocrat his life. Hitchcockian "Hammers", which included the director Terence Fisher, hardly used to claim the laurels of major artists, being more modestly content with the title of artisans. Be that as it may, the studio's default experience with the horror genre in its classical form enriched the Holmesian cult. One can't help comparing it to other (at this point about two and a half dozen!) attempts to adapt the famous story. The 1939 version was quite good by the way.