Sherlock Holmes: Basil Rathbone
Dr. Watson: Nigel Bruce
Year: 1945
Case: non-Canon
Rating: 
Plot:
Without going into detail (because the plot was so convoluted that I honestly don’t think I can summarize it), Woman in Green has Holmes aiding the police in a quest to bring down the worst serial killer since Jack the Ripper. Nothing, however, is what it seems.
Delightful elements:
Basil Rathbone, as Sherlock Holmes:
I will confess that I adore Rathbone as Holmes. He’s a brilliant Holmes. Like Wontner, he looks like Holmes, he sounds like Holmes, he acts like Holmes; he is Holmes and I was thoroughly impressed by his portrayal of Holmes.
And that’s pretty much it.
Less delightful elements:
Nigel Bruce, as Dr. Watson:
Oh. My. God.
He mumbles. Constantly.
Holmes: Come, Watson! The game’s afoot!
Watson: ghsgdjhlfdskj!
Me: What?
Holmes: Capital, Watson!
Watson: ghzlkdsgljhg!
Me: Seriously, what?!
It gets worse, though, because in addition to mumbling half of his lines, Bruce’s Watson is also an idiot. He’s comedic relief, there for our amusement, and to make Holmes look even more brilliant than he usual does. In some regards, Doyle did do this (purposely downplayed Watson’s intelligence to highlight Holmes’), but never once did he turn Watson into a blundering idiot. This adaptation (and Bruce’s portrayal) does exactly that, and so Watson is automatically dismissed, something that is insulting to fans of Canon, and misleading to those who have never read Canon. I hated every minute of it.
And Holmes. Holmes would have hated it to. He could not abide stupidity, so it is completely incomprehensible that he would tolerate this Watson. This is not Holmes’ intimate friend and companion. This is not Holmes’ loyal biographer. The Holmes that I know would have thrown this Watson to the wolves, and been better for it.
Sadly, Watson was not my only issue with this movie.
The era change, again, frustrated me. I don’t want to see Holmes talking on the telephone, and riding around in cars, and wearing a fedora. I want to see Holmes hailing a hansom cab, and sending telegrams, and riding around in trains. I want Victorian Holmes, not WWII Holmes. The Victorian feel is what makes these stories so nostalgic (even though I am far too young to have experienced the Victorian era). Removing this element takes away from the story, from the atmosphere and feel of them, and I honestly feel this change was detrimental.
Again, I was unimpressed by Moriarty. He was entirely too young, and meant (one can assume) to be attractive, and this is not how I picture Moriarty. On a more personal note, the actor reminded me of someone I used to go to school with, and that was just creepy.
I’m hesitant to comment on the plot, because I’m not sure words will adequately describe how convoluted and unbelievable it was. In the end, I was left with more questions than answers. Why was Moriarty hypnotizing people? Why was Moriarty arranging for the deaths of anonymous women? Why was Moriarty there at all? This story would have been a thousand times better if Moriarty had been left out of it and there had actually been a serial killer. That, at least, would have been interesting.
I’m not going to comment on the end, except to question why people are so obsessed with having Moriarty plummet to his death somewhere other than Reichenbach Falls.
The Slash:
Despite my ranting, this movie is slashy. It’s actually kind of amusing, because regardless of the adaptation (in terms of writers, actors, production date), the slash element doesn’t go away. It’s recognized and acknowledged in everything I’ve seen, which is highly suggestive of Canon.
I want to touch on a few incidences of slash, because the theme comes up quite early, and reoccurs throughout the movie.
Shortly into the movie, there is a scene where Watson receives a phone call and has to leave. Moments after his leaving, Moriarty shows up. The natural Moriarty-Holmes pissing contest begins, and Holmes threatens to simply call the police and have Moriarty escorted away. Moriarty counters by telling Holmes that if he wants to see Watson again he would be better off not interfering with Moriarty’s plans.
This is huge. It is a clear indication that even Moriarty knows that Watson is the most important thing in Holmes’ life. Moriarty doesn’t threaten Holmes’ life, or his livelihood, but rather his friend and companion, and that just… yeah.
And then, there’s Holmes’ reaction.
Holmes: If any harm should come to Watson, I shall seek you out, and when I do…”
His anger here is quite evident. As is his fear and worry.
In fact, he lets Moriarty go, and the second Moriarty’s gone, he grabs his coat and dashes out the door in search of Watson. He doesn’t make it far, literally running into Watson in the doorway and the relief on his face; I honestly thought he was going to cry.
After some mumbling on Watson’s behalf (and I’m still not sure what he said), Holmes admits that he didn’t even consider putting Watson at risk.
“I’m not about to lose you, old fellow.”
In essence, Holmes gives up capturing Moriarty, his nemesis, for Watson.
It’s not one sided, either. There are two scenes where Holmes is in peril, and at risk of losing his life, and Watson freaks out. Again, I couldn’t really understand what he was saying, but it is obvious that he was quite worried, not to mention horrified, by the prospect of losing Holmes.
I wouldn’t say this film was worth seeing just for the slash, but it’s interesting to note that it’s there.
I’ve only given this film 2 pipes, and both of those are for the slash. If I’d been reviewing this for other purposes, I doubt it would have earned even one (except maybe for Rathbone’s portrayal of Holmes). I wish I could have enjoyed it, but this version of Watson… he broke my heart.