{"id":42516,"date":"2012-11-27T16:30:22","date_gmt":"2012-11-27T21:30:22","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=42516"},"modified":"2013-04-22T18:56:36","modified_gmt":"2013-04-22T22:56:36","slug":"books-on-film","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2012\/11\/27\/books-on-film\/","title":{"rendered":"Early Adaptors"},"content":{"rendered":"<p><em>Sherlock Holmes Baffled<\/em>, which Arthur Marvin made in 1900 (and released three years later), is acknowledged to be the sleuth\u2019s first onscreen appearance. However, it would seem that the thirty-second film may also be the very first cinematic literary adaptation. (Although in fairness, it would be hard to say which case the film portrays. One in which Holmes is baffled, presumably.)<\/p>\n<p><object width=\"600\" height=\"360\"><param name=\"movie\" value=\"http:\/\/www.youtube.com\/v\/-eO3EbFG0ak?version=3&amp;hl=en_US\"><\/param><param name=\"allowFullScreen\" value=\"true\"><\/param><param name=\"allowscriptaccess\" value=\"always\"><\/param><embed src=\"http:\/\/www.youtube.com\/v\/-eO3EbFG0ak?version=3&amp;hl=en_US\" type=\"application\/x-shockwave-flash\" width=\"600\" height=\"360\" allowscriptaccess=\"always\" allowfullscreen=\"true\"><\/embed><\/object><\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Sherlock Holmes Baffled, which Arthur Marvin made in 1900 (and released three years later), is acknowledged to be the sleuth\u2019s first onscreen appearance. However, it would seem that the thirty-second film may also be the very first cinematic literary adaptation. (Although in fairness, it would be hard to say which case the film portrays. One [&hellip;]<\/p>\n","protected":false},"author":178,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1539],"tags":[3965,9305,2307,9304],"class_list":["post-42516","post","type-post","status-publish","format-standard","hentry","category-video-multimedia","tag-arthur-conan-doyle","tag-arthur-marvin","tag-sherlock-holmes","tag-sherlock-holmes-baffled"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.4 (Yoast SEO v25.4) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Early Adaptors by Sadie Stein<\/title>\n<meta name=\"description\" content=\"November 27, 2012 \u2013 Sherlock Holmes Baffled, which Arthur Marvin made in 1900 (and released three years later), is acknowledged to be the sleuth\u2019s first onscreen appearance.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2012\/11\/27\/books-on-film\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Early Adaptors by Sadie Stein\" \/>\n<meta property=\"og:description\" content=\"November 27, 2012 \u2013 Sherlock Holmes Baffled, which Arthur Marvin made in 1900 (and released three years later), is acknowledged to be the sleuth\u2019s first onscreen appearance.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2012\/11\/27\/books-on-film\/\" \/>\n<meta property=\"og:site_name\" content=\"The Paris Review\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/parisreview\/\" \/>\n<meta property=\"article:published_time\" content=\"2012-11-27T21:30:22+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2013-04-22T22:56:36+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-1.png\" \/>\n\t<meta property=\"og:image:width\" content=\"1200\" \/>\n\t<meta property=\"og:image:height\" content=\"675\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"author\" content=\"Sadie Stein\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@parisreview\" \/>\n<meta name=\"twitter:site\" content=\"@parisreview\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Sadie Stein\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2012\/11\/27\/books-on-film\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2012\/11\/27\/books-on-film\/\"},\"author\":{\"name\":\"Sadie Stein\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/a1aef49f81bfc540a37e03590f3bb4d9\"},\"headline\":\"Early Adaptors\",\"datePublished\":\"2012-11-27T21:30:22+00:00\",\"dateModified\":\"2013-04-22T22:56:36+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2012\/11\/27\/books-on-film\/\"},\"wordCount\":64,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"keywords\":[\"Arthur Conan Doyle\",\"Arthur Marvin\",\"Sherlock Holmes\",\"Sherlock Holmes Baffled\"],\"articleSection\":[\"Video &amp; Multimedia\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2012\/11\/27\/books-on-film\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2012\/11\/27\/books-on-film\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/2012\/11\/27\/books-on-film\/\",\"name\":\"Early Adaptors by Sadie Stein\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\"},\"datePublished\":\"2012-11-27T21:30:22+00:00\",\"dateModified\":\"2013-04-22T22:56:36+00:00\",\"description\":\"November 27, 2012 \u2013 Sherlock Holmes Baffled, which Arthur Marvin made in 1900 (and released three years later), is acknowledged to be the sleuth\u2019s first onscreen appearance.\",\"breadcrumb\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2012\/11\/27\/books-on-film\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2012\/11\/27\/books-on-film\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2012\/11\/27\/books-on-film\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.theparisreview.org\/blog\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Early Adaptors\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/\",\"name\":\"The Paris Review\",\"description\":\"The best prose, interviews, poetry, and art. Since 1953.\",\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/www.theparisreview.org\/blog\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\",\"name\":\"The Paris Review\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png\",\"width\":696,\"height\":696,\"caption\":\"The Paris Review\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/\"},\"sameAs\":[\"https:\/\/www.facebook.com\/parisreview\/\",\"https:\/\/x.com\/parisreview\",\"https:\/\/www.instagram.com\/parisreview\"]},{\"@type\":\"Person\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/a1aef49f81bfc540a37e03590f3bb4d9\",\"name\":\"Sadie Stein\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/147299ffa10db51f1ff44a626a9211650a1c11f8fc07d102ab48e63ab3be037b?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/147299ffa10db51f1ff44a626a9211650a1c11f8fc07d102ab48e63ab3be037b?s=96&d=mm&r=g\",\"caption\":\"Sadie Stein\"},\"url\":\"https:\/\/www.theparisreview.org\/blog\/author\/sstein\/\"}]}<\/script>\n<!-- \/ Yoast SEO Premium plugin. -->","yoast_head_json":{"title":"Early Adaptors by Sadie Stein","description":"November 27, 2012 \u2013 Sherlock Holmes Baffled, which Arthur Marvin made in 1900 (and released three years later), is acknowledged to be the sleuth\u2019s first onscreen appearance.","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/www.theparisreview.org\/blog\/2012\/11\/27\/books-on-film\/","og_locale":"en_US","og_type":"article","og_title":"Early Adaptors by Sadie Stein","og_description":"November 27, 2012 \u2013 Sherlock Holmes Baffled, which Arthur Marvin made in 1900 (and released three years later), is acknowledged to be the sleuth\u2019s first onscreen appearance.","og_url":"https:\/\/www.theparisreview.org\/blog\/2012\/11\/27\/books-on-film\/","og_site_name":"The Paris Review","article_publisher":"https:\/\/www.facebook.com\/parisreview\/","article_published_time":"2012-11-27T21:30:22+00:00","article_modified_time":"2013-04-22T22:56:36+00:00","og_image":[{"width":1200,"height":675,"url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-1.png","type":"image\/png"}],"author":"Sadie Stein","twitter_card":"summary_large_image","twitter_creator":"@parisreview","twitter_site":"@parisreview","twitter_misc":{"Written by":"Sadie Stein"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.theparisreview.org\/blog\/2012\/11\/27\/books-on-film\/#article","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/2012\/11\/27\/books-on-film\/"},"author":{"name":"Sadie Stein","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/a1aef49f81bfc540a37e03590f3bb4d9"},"headline":"Early Adaptors","datePublished":"2012-11-27T21:30:22+00:00","dateModified":"2013-04-22T22:56:36+00:00","mainEntityOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2012\/11\/27\/books-on-film\/"},"wordCount":64,"commentCount":0,"publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"keywords":["Arthur Conan Doyle","Arthur Marvin","Sherlock Holmes","Sherlock Holmes Baffled"],"articleSection":["Video &amp; Multimedia"],"inLanguage":"en-US","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/www.theparisreview.org\/blog\/2012\/11\/27\/books-on-film\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/www.theparisreview.org\/blog\/2012\/11\/27\/books-on-film\/","url":"https:\/\/www.theparisreview.org\/blog\/2012\/11\/27\/books-on-film\/","name":"Early Adaptors by Sadie Stein","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/#website"},"datePublished":"2012-11-27T21:30:22+00:00","dateModified":"2013-04-22T22:56:36+00:00","description":"November 27, 2012 \u2013 Sherlock Holmes Baffled, which Arthur Marvin made in 1900 (and released three years later), is acknowledged to be the sleuth\u2019s first onscreen appearance.","breadcrumb":{"@id":"https:\/\/www.theparisreview.org\/blog\/2012\/11\/27\/books-on-film\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.theparisreview.org\/blog\/2012\/11\/27\/books-on-film\/"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/www.theparisreview.org\/blog\/2012\/11\/27\/books-on-film\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.theparisreview.org\/blog\/"},{"@type":"ListItem","position":2,"name":"Early Adaptors"}]},{"@type":"WebSite","@id":"https:\/\/www.theparisreview.org\/blog\/#website","url":"https:\/\/www.theparisreview.org\/blog\/","name":"The Paris Review","description":"The best prose, interviews, poetry, and art. Since 1953.","publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/www.theparisreview.org\/blog\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/www.theparisreview.org\/blog\/#organization","name":"The Paris Review","url":"https:\/\/www.theparisreview.org\/blog\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png","width":696,"height":696,"caption":"The Paris Review"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/parisreview\/","https:\/\/x.com\/parisreview","https:\/\/www.instagram.com\/parisreview"]},{"@type":"Person","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/a1aef49f81bfc540a37e03590f3bb4d9","name":"Sadie Stein","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/147299ffa10db51f1ff44a626a9211650a1c11f8fc07d102ab48e63ab3be037b?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/147299ffa10db51f1ff44a626a9211650a1c11f8fc07d102ab48e63ab3be037b?s=96&d=mm&r=g","caption":"Sadie Stein"},"url":"https:\/\/www.theparisreview.org\/blog\/author\/sstein\/"}]}},"_links":{"self":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/42516","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/users\/178"}],"replies":[{"embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/comments?post=42516"}],"version-history":[{"count":14,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/42516\/revisions"}],"predecessor-version":[{"id":51088,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/42516\/revisions\/51088"}],"wp:attachment":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/media?parent=42516"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/categories?post=42516"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/tags?post=42516"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}