Unfortunately, there’s been a lot of grumbling over both an American series (it is set in NY), another modern series (on the heels of the BBC’s Sherlock) and now a female Watson. I am interested to see an American take on a modern Holmes and will reserve all judgement on the series until it airs. I do, however, feel compelled to point out that BBC’s Sherlock was not the first adaptation to modernize Sherlock Holmes.

In fact, prior to the Sherlock Holmes revolution (what I’m calling this sudden resurgence in SH interest) the most popular Sherlock Holmes was Basil Rathbone. All of his films were made during the late 30s/early 40s and featured Sherlock Holmes fighting the Nazis.

I want to also point out that Elementary (as I understand the CBS series will be called) will not be the first Sherlock Holmes adaptation to cast Watson as a woman.

Speculation that Watson was a woman began as early as 1941. Rex Stout’s famous essay, Watson was a woman, rather shook up the Holmesian/Sherlockian community of the day.

Then of course there was They Might Be Giants, which featured a female Dr. Watson as a psychiatrist whose patient believed he was Sherlock Holmes (and I’m interested to see if they do something similar in Elementary or if it will be a strict genderswap).

I’ll also point out that I’ve been a fan of genderswaps in the past. Battlestar Galatica’s recasting of beloved male characters as women was quite refreshing and I think part of what made the series so enjoyable.

So what is the problem?

On the one hand, yes, genderswapping Watson in order to allow for the Holmes/Watson ship (in order to heternormalize the H/W ship) is problematic, but considering ten years ago even suggesting the possibility of Holmes/Watson would have gotten you blacklisted. That people are even considering the possibility of the pairing marks a drastic leap forward.

I was blacklisted from several mainstream Sherlockian/Holmesian communities because I dared to write Decoding the Subtext, in which I suggested Holmes and Watson were involved in a romantic and sexual relationship. I wrote DTS in 2006/2007. To have gotten to the point where the pairing is now actively recognized and catered to in media is astounding.

To have an American series genderswap Watson in order to make the pairing acceptable to an American audience is not good, but it is perhaps a step in the right direction. I’m sure there are plenty who would disagree (and by all means, please share–I am very open to discussing this) but to even make the leap in suggesting these two names (which carry such significant weight, particularly with an older, largely male US demographic) might have a romantic connection, regardless of their genders, is breaking apart some very old and once impenetrable paradigms. While I agree, it would be nice to see the world change in leaps and bounds that is not how progress is made. It’s made in baby steps. Today we have a male Sherlock and female Watson as a romantic pairing. Tomorrow we have a male Sherlock and male Watson, or a female Sherlock and female Watson as a romantic pairing.

If you had asked me five years ago if I thought an actor portraying Holmes, or a director directing Holmes, or a writer writing Holmes would ever toy with the idea of him and Watson being anything more than friends, I would have laughed at you. We’ve come a long way, and while there is still so much room for improvement, I’m choosing to see this development as the industry’s acceptance of the romance that lies at the heart of the source material. You can make your Watson female, but it still means you have to acknowledge the homoerotic subtext of the original.

Sherlock Holmes: Benedict Cumberbatch
John Watson: Martin Freeman
Year: 2012
Note: a modern re-imagining of Canon

Rating:

Second Season

After the phenomenal showing of the first season, Sherlock is back with a second season, in which Cumberbatch and Freeman once again team up as Sherlock Holmes and Doctor Watson. They remain a strong duo, their roles nicely fleshed out and their chemistry still off the charts. While perhaps not as exciting as the first season (although I suspect this has more to do with the excitement of having first received a new, modern adaptation) the second season offers a very strong showing. It is still a delight to watch Sherlock Holmes as a present day sleuth, complete with numerous nods to Canon. The series has become a smash success since it first aired, and will no doubt continue on for as long as the producers/writers continue to make episodes. Bravo on a thrilling second season.

Benedict Cumberbatch as Sherlock Holmes

It has been somewhat amazing watching Cumberbatch come so fully into the role of Sherlock Holmes. He has captured it and made it his own in a way few actors have (I daresay no one since Brett). Holmes of Canon was always aloof, always straining to be the machine he aspired to be, but beneath it all was a strange, subtle vulnerability; and here laid his heart. Cumberbatch depicts this perfectly, his “sociopathy” a perfect mask for the conflicted man beneath, longing for friendship and companionship, but unwilling to yield to the desires of his heart lest they compromise his science. This has always been what makes Holmes a compelling character. It is lovely to see this transpire onscreen from week to week, with an actor worthy of wearing Holmes’ cloak (or deerstalker, as the case may be).

I have gone on at length regarding Cumberbatch’s performance, and what makes him such a perfect Holmes, in my review of the first season, so I will not do so here, but rest assured he gives as transcendent a performance this time around as he did the first.

Martin Freeman as John Watson

Ever have I been, first and foremost, a Watson girl. He is the heart of the Sherlock Holmes stories; because for however much Holmes has a heart (and he certainly does) it is John’s warmth, John’s empathy, and John’s stalwart bravery that allows his readers to care for Sherlock at all. This is true in this series as well, for the people who interact with Sherlock must think him devoid of emotion. It is only through John–through Sherlock’s dealings with John–that he becomes human.

Freeman’s Watson, like the Watson of Canon, is a compelling character. He has found his calling (found his Sherlock and his purpose) and attends to it with everything he has, even at the expense of his personal life. This was a lovely nod to Canon, Watson and his women, none of whom ever measured to Holmes. I confess I was surprised to see Sarah written from the series (as I had expected her to take the part of Mary Morstan) but was quite pleased by their decision to have John remain a “confirmed” bachelor.

There is so much more that could be said about Freeman’s Watson, but it is nothing I haven’t said before. Truly, his is a gripping take on a beloved character.

Mark Gatiss as Mycroft Holmes

I fully intend to skip over several characters, because I have touched on them in my first review, but I wanted to take a moment to discuss Gatiss as Mycroft. I do this because in the first series I was a little on the fence with his take on Mycroft, and while I am still intrigued by the direction they have taken the character, I have managed to fall in love with his Mycroft, if for no other reason than because they have given me Mycroft at the Diogenes Club. I suspect, in what I hope is a long line of adaptations, that Mark Gatiss will forever stand out as the most delightful Mycroft Holmes I have ever had the pleasure of meeting.

Andrew Scott as James “Jim” Moriarty

Of course, the real star of this season has been Andrew Scott as Moriarty. I wasn’t expecting to fall so thoroughly in love with this Moriarty. I said, in my last review:

…this Moriarty is not a criminal mastermind bent on his own selfish interests. This Moriarty is an escaped mental patient who is obsessed with Sherlock Holmes.

And I had, at the time, hoped we would see more of Moriarty as a master criminal, and certainly these episodes have given us that, but by the time I had finished watching them, I no longer cared that he was a master criminal. I only cared that he was bat-shit insane because it was such an utterly delightful thing to watch.

There is, I suppose, a fine line between insanity and genius, and Scott’s portrayal of a man walking this line was utterly brilliant. I could watch entire series devoted to this character. Well played.

Delightful Elements

There were so many delightful things about this series (and this season) and while most of them I have touched on in my last review, and I will touch on delightful elements and quibbles in each episode, but here I will focus on two overall themes.

First, I shall start by commending the writers on their ability to name episodes. The twists on Canon tales, which also reflect the plot of the episodes, are exceedingly clever. I don’t remember being as impressed the first time around, but this time I laughed delightedly once I pieced together exactly how they had twisted the names. Nicely played.

Second, and probably why most people are here, is the subtext. Or should I say text? It’s certainly a fine line. After having seen Sherlock Holmes 2, I wasn’t entirely certain it was possible for anything to top that film in terms of subtext. I was, apparently, wrong.

There is this underlying theme throughout the three episodes that suggests that John has fallen completely in love with Sherlock. It couldn’t have clearer if they’d stuck a neon sign over his head. Hell, in Belgravia, they go so far as to have Adler suggest as much, never mind the references to John’s bachelor status, and his inability to maintain a relationship (because of his devotion to Holmes). There is the slow, steady process of acceptance he goes through, at first violently objecting to the idea of him and Sherlock as a couple, becoming less and less bothered by it as time progresses until he finally accepts it outright. In fact, had Sherlock not faked his own death (and I expect–read hope–John will be a little miffed about that) I suspect John’s feelings would have come to such a head that he was forced into a confession. I am not entirely certain of Sherlock’s reaction, but it is quite obvious that he loves John. His conversation with Molly in Reichenbach Falls was proof of that. It’ll be interesting to see where they plan on taking this relationship. Certainly if the numerous nods and in jokes are taken into consideration then the writers are at least aware of the potential.

Quibbles

I am half tempted to leave quibbles for each episode, because most of the problems I had with this series were episode specific. There was however one thing that struck me across all three episodes and that was the rapid-fire time shifts. I don’t mind an episode that spans a few weeks, but most of these episodes spanned months, almost an entire year at one point. I think, unfortunately, it rather short-changed us on both character and relationship development.

Episodes

A Scandal in Belgravia

A modern take on a Scandal in Bohemia, in which Sherlock meets and is bested by The Woman. This was not one of my favourite episodes (although, to be fair, SCAN is hardly my favourite story). In fact, I would say it almost ranks on the same level as The Blind Banker. Certainly it is not an episode I intend to watch a second time.

I’ll get into my quibbles in a minute, but let’s talk about what I did like.

I suppose after all the hype and speculation surrounding the pool scene, the only possibly way it could have ended was with an anticlimactically, and, I confess, I laughed. This was an exceedingly clever way of getting out of a very large hole. Also, Moriarty’s ring tone will forever amuse me.

There were numerous other elements about this episode which delighted. The numerous Canon references come to mind (I do so love fan service) as well as the myriad of implications that Sherlock and John are somewhat more than friends. Then, of course, there was Sherlock being stalked by paparazzi (that will never not be brilliant) and Sherlock being Internet famous.

Perhaps we could also touch on Sherlock in a sheet, or even better, Sherlock in a deerstalker (my God, how fantastic!), or perhaps Sherlock’s sock index. Or maybe Mycroft sending a helicopter to retrieve Watson from the scene of a crime. That was nice. And their camaraderie, light and giggling and showing so delightfully how utterly close they have become; what true friends they are.

There was an underlying humour to the episode that I quite enjoyed, and I often found myself smiling, or outright laughing. The not-so-staged fight between Sherlock and John was delightful. I was also quite thrilled by how often Sherlock was shown as an idiot in this episode. He does occasionally need something to keep his massive ego in check.

All in all, there were quite a few brilliant aspects to this episode. And were it not for the treatment of Irene Adler, I suspect I would have loved it.

Unfortunately Moffat has never been terribly good at writing women, and this episode is one of his more spectacular fails on the subject.

Dear, God, did he really equate independent, intelligent adventuress with dominatrix? How is that even possible? And did he really have her fall in love with Holmes? I do not have words for this.

I am to understand the media had been quite abuzz with Adler’s role in the episode, words like misogyny floating around, and we won’t wade into that, but I will say I am tremendously disappointed in this portrayal of Adler. I don’t think I have ever seen a worse one. This episode might have been saved, had Adler simply disappeared (having bested Holmes) but instead Moffat had Holmes save her, taking our independent adventuress turned sex-trade worker (because it was very much implied she slept with her clients) and turning her into a damsel in distress. This, in fact, is exactly why this series lost one of its pipes.

Unfortunately (I say this again) that is not where it ends, because in his infinite wisdom, Moffat decided he ought to have Sherlock at least entertain the notion of being attracted to/interested in Adler.

This after having spent the entire first season carefully crafting Sherlock’s asexuality.

I cannot imagine how insulting this must be to asexuals everywhere.

The queer/asexual/virgin jokes were also in very, very poor taste.

This episode was filled with Holmes/Adler subtext, and it made for an awkward, uncomfortable watching. Were it not for the strength of the episodes which followed, this episode alone would have earned the second season a mere 3 pipes.

I expected better, Mr. Moffat.

The Hounds of Baskerville

Fortunately, where Moffat fails, Gatiss succeeds. This modern take on The Hound of the Baskervilles is as refreshing as it is delightful. The fact that this episode starts with a Black Peter reference pretty much elevates it to instant favourite in my books.

But the thing that makes Gatiss’ episode(s) is his ability to mimic ACD’s leaps of logic, which, when put into Holmes’ mouth, always left the audience astounded and delighted. Holmes’ deduction sequences in this episode were brilliant, and very in keeping with Canon, even when not lifted directly from Canon. That is impressive.

It is hard to pinpoint everything I enjoyed about this episode, but that doesn’t mean I won’t try. The genderswaps for Mortimer and Stapleton were a pleasant surprise, and I think helped to very much modernize/revitalize the story. The numerous Canon references thrilled: The bet from the Blue Carbuncle, Holmes standing on the moor, framed by moonlight (although in this case it was sun), the Diogenes Club (oh, the Diogenes Club!), the however improbable speech, and the conductor of light speech! Fantastic.

I feel like I’ve only scratched the surface. BAMF!John pulling rank, and everyone and their brother thinking they were together (John’s resignation followed by his reluctant acceptance), the double room, Sherlock meeting a fanboy! This entire episode was fan service at its finest, and for that we thank you Gatiss.

That is not to say the episode was without its foibles, but they were few and far between. I liked the overall premise of the plot, but at times found it a bit unbelievable (glow in the dark rabbits indeed–although certainly this ties in with Canon). Holmes’ breakdown, however much he might have been drugged, was still quite over the top and more than a little embarrassing to watch.

I’m also a little iffy on Sherlock drugging John in order to run a controlled experiment. I confess; it fits with this take on Holmes (Holmes in Canon was not a sociopath, however self-confessed), but it is hard for me to see Holmes running an experiment on John without John’s knowledge. This was not something that would have happened in Canon. Even in Devil’s Foot, when Holmes did have Watson in the room for his experiment, it was with Watson’s full knowledge and permission (and then he apologized profusely afterwards). I’m also not sure I believe that Watson would ever forgive something like that.

There is also the entire “mind palace” scene, which was, frankly, embarrassing. In fact, let us never speak of it again.

Overall, however, this was a well thought out, well put together, at times terrifying episode with more fan service than I knew what to do with. It was delightful, and the final reveal was exceedingly clever; very much in keeping with a Sherlock Holmes story.

The Reichenbach Fall

I officially take back everything I said about Stephen Thompson in my review of The Blind Banker. His modern re-telling of The Final Problem was utterly delightful. It kept me on the edge of my seat, knowing what was coming but utterly curious to see how we would get there. I was not disappointed.

Moriarty is fleshed out as a fascinating character, part evil genius, part madman, obsessed with Sherlock Holmes. He has spun an incredibly clever web in which to ensnare our Sherlock, and while it may appear he has succeeded, I expect we will see that it is Sherlock who, as always, gets the upper hand. Truly, this was a lovely take on what has always been Canon’s weaker, though most important, tale.

What I think I loved most about this episode was the modern translation of Holmes’ fame. Holmes was quite well known in his day, making all the papers, with a loyal base who read Watson’s stories, but nothing compares to the modern media frenzy of today. The paparazzi, the fans, the groupies, the press; it is exactly what would happen were a man like Sherlock Holmes to exist in today’s society. I found this aspect of all the episodes, but this one in particular, compelling.

Beyond that, however, there is a lovely plot running throughout, one that’s so clever, so well put together that, like Holmes, we spend a good portion of the episode trying to figure it out. And when the pieces do come together, it feels quite obvious, like we should have seen it right from the beginning. How else could Moriarty burn Sherlock’s heart out, save to take away everything that he is–not just his fame and fortune and reputation, but his capacity for further cases. If he is discredited, he can no longer work, and Holmes has always lived for his cases. To add the potential of losing John to that mix; well, Holmes is indeed left with little choice.

Of course, there were dozens of little points that added to the delight of the episode. The Diogenes Club made a reappearance (oh, John, don’t you know the rules?) and of course the numerous references to their relationship status. The homeless network always delights, as does John punching someone in the face for calling Holmes weird. That is not to mention the whole “take my hand” nod to Canon (not to mention the delightful subtext it adds to the series).

Of course, no episode is ever perfect, and this is hardly without its quibbles. I will never, for example, believe that Mycroft sold his own brother out for information. Not because Mycroft isn’t capable of throwing anyone who suits his fancy under a bus (he is) but because he’s not that stupid. There was also a question of how fast everyone (everyone) was to turn on Sherlock. I understand it was necessary for the plot, but it was unbelievable. I also do not understand why John would rush off to Mrs. Hudson when he knows the police are looking for him (also, why would he go to Baker Street and not the hospital?–where he was, incidentally. For that matter, why were there no police there waiting to arrest him?)

I also thought the show-down with Moriarty dragged on for a bit too long. I got twitchy watching it, and one should never get twitchy watching a scene. Granted, I was so stunned by Moriarty’s suicide that I instantly forgot the long wait in favour of flailing over the denouement.

It is, of course, obvious what has happened (how they intend to resurrect Holmes) though I will refrain from open speculation here for those who haven’t pieced it together. Instead, I will simply say that having Holmes watch Watson standing over his grave, saying the things he has never found the courage to say, was quite possibly one of the most touching things I have ever seen. Bravo.

Conclusion

So, while perhaps not as thrilling as the first season (again, largely because by this point it had lost the excitement of a new adaptation) Sherlock’s second season is still well worth seeing. It is a fitting tribute to its source material. It may no longer warrant its six pipes, but it still manages a very firm five, the first episode notwithstanding.

Sherlock Holmes: Robert Downey Jr.
Doctor Watson: Jude Law
Year: 2011
Case: The Final Problem

Rating:

Reviewer’s Note:

Yes, I have ranked this above Sherlock Holmes 1, though not because of any improvements made on Holmes’ characterization.  No, that additional pipe is because this adaptation is the first to depict Holmes/Watson as canon.  It is a glorious extra pipe and this is a glorious adaptation.

Robert Downey Jr. as Sherlock Holmes:

I am still not sold on Robert Downey Jr. as the Holmes of my generation, though it is still through no fault of Mr. Downey Jr.  He is a fantastic actor, more than capable of owning the role, that is, should he be given a script that does Holmes’ character justice.  That being said this script did a fair bit better than the first film.  I found him far more recognizable here than I did the first time around.  Perhaps this is entirely due to my familiarity with this take on Holmes, and so my expectations were already set.  I suspect, however, this is entirely due to Downey, who somehow managed to take an at times ill-written Holmes and convey such tangible vulnerability in the character that I soon forgot the many (and often blinding) character quibbles.

Was I impressed that Holmes seemed incapable of riding a horse, when he is an excellent equestrian?  Of course not, but by the same token, Downey’s comedic timing made the scene as humorous as it was intended.  Was I impressed that Holmes spent the entirety of the film looking rumpled and unkempt?  Of course not, but Holmes’ absence of hygiene was overlooked in favour of his quick wit and deductive skills.  Was I mildly embarrassed to watch Holmes drinking himself into a stupor and then dance gaily with a band of Gypsies?  Naturally, but it was worth the agony to see Holmes take Watson’s hand the next morning and lead him to his wedding ceremony.

The thing which elevates this performance, and this characterization, is that Downey utterly convinced me that he was a man in love with, and pining over, his best male friend, at a time when such a thing could not only cause scandal and ruin, but gaol time as well.  This is the Holmes of Canon.  The Holmes who utterly adored Watson, who did everything in his power to keep Watson at his side, and yet, who remained stoically silent on what his heart desired, not because he cared for his ruin, but because he cared for Watson’s.

Jude Law as Doctor Watson:

I am as enamoured now as I was the first time around with Jude Law’s performance as Doctor Watson.  Perhaps I still live in fear of a bumbling, comedic-relief Watson, and so am easily impressed, but to see a Watson capable of matching wits with Holmes, of handling himself in a fight, of following his own intuitive leaps in logic; it is a thing of beauty.

The conflict, too, which is so utterly apparent in this Watson, torn between marrying the woman he purports to love and remaining with the man he so clearly loves, is stunning.  There was such incredibly tension between Holmes and Watson in this film and it is exactly because of this nuance in Watson’s characterization.  Law plays a fantastically stoic and yet utterly adventurous Watson, as drawn to Holmes as a moth to a flame.

Stephen Fry as Mycroft Holmes:

Dear, God.  Has anyone ever conceived of a better Mycroft Holmes? (And after the nude scene I have, childishly I confess, taken to calling him Mycock).  I have adored many a Mycroft, but none as much as Mr. Fry.  He is so ideally suited to the role–brought such intensity to the role–that he will forever be Mycroft Holmes in my mind.  His performance made me wish this was a television series, rather than a film series, so that I could watch them tackle case after case with Sherlock’s brother.  One can easily imagine Fry assuming an even greater role as they depict in The Greek Interpreter, or the Bruce Partington Plans.

Jarred Harris as Professor Moriarty:

It was almost marginally disappointing, after so strong a showing from Fry, to have a Moriarty who was, although not terrible, fairly marginal as Moriarty’s go.  There was nothing wrong with Harris’ Moriarty, per se–he was perfectly serviceable–but he was not entirely memorable.  In fact, Moran seemed a far more dynamic character in this, and I suspect this is more a failing of the script than Harris’ performance.  Moriarty is meant to be a menacing, shadowy figure.  There seemed to be an attempt at expanding Moriarty’s character here (the opera, the pigeons–which were almost as ludicrous as the orchids Rathbone’s Moriarty grew).  Moriarty is better served as a villain, in my humble opinion, when he remains a complete mystery to the audience.  In an attempt to give his character depth, everything that made him such a sinister character seemed stripped away.

Other Characters:

There weren’t many additions in this film, though there were a few delightful cameos (Lestrade, Alder–I’m still in shock they killed her off), and of course an expanded role for Mary Watson, nee Morstan.  Kelly Reilly was, as always, exceptional in the role, and I adore the steady strength and patient understanding of her Mary.  As mentioned above, Sebastian Moran was impressively depicted, though I still felt Mrs. Hudson’s role was rather erroneous (though I suspect I am still somewhat baffled by the animosity between her and Holmes).  Noomi Rapace played a convincing and interesting character, though such a throw-away one that I can’t even be bothered looking up the name of the woman she played.  Aside from that, the real star of this film is the relationship.  And by that I mean:

Holmes and Watson:

Well, they’ve officially done it.  Holmes and Watson now have an adaptation in which they are canon.  The Bert Coules radio dramatizations came close, but Guy Ritchie had done what no one else has ever managed.

He has made Holmes and Watson canonically gay.

I assure you, I am delighted.

Normally at this point I would expound on subtext and sub-plots, but the truth is, those aren’t present here.  The entire point of the movie was this:

Watson got married, broke Holmes’ heart, Holmes’ nemesis, recognizing Holmes’ feelings for Watson, threatened Watson’s life, Holmes sacrificed his life to save Watson.

It’s a modern Hollywood romance.  It really, really is.

This is also where I would normally examine several scenes, but here they are so blatantly obvious that I suspect even a drunk chimpanzee would leave the theatre “shipping”–they’ve taken it beyond slashing–Holmes and Watson.

I think Ritchie’s even out-gayed Canon.  I wasn’t sure that was possible.

Oh, they kept in several Canon based references.  There is Watson visiting Holmes, but certainly Watson never offered to “trim Holmes bushes”, nor did Holmes ever forcibly embrace Watson, nor did they ever stand so close even my subtextually blind husband expected them to kiss.

And certainly Holmes was always kidnapping Watson to take him on grand adventures, Watson willingly abandoning his wife to do so, but never did they plan on having a “romp” together before Watson’s marriage, nor did Holmes subtly suggest that Watson would prefer to marry than live in purgatory (sinning–for sodomy was seen as a sin in those days) with Holmes.

And yes, Holmes and Watson dined together, quite often, but never did Holmes plan a date with Watson in lieu of Watson’s stag party.

Now, Holmes’ pining and heartbreak at Watson’s nuptials was certainly Canon, and while I can see Holmes usurping Watson’s honeymoon, and even assuming a female costume (the Holmes of Canon did several times) I can’t say Holmes and Watson have ever wrestled, or that Watson has ever had his head between Holmes’ legs, or that Watson had ever torn Holmes’ clothes from his body, all of this after Holmes threw Watson’s wife from a moving train.

We’re not even half way through the film yet.

We haven’t even gotten to the phallic imagery of Holmes’ concealed weapons, or the cuddling on the floor of the train car, Holmes half naked.  In fact, I suspect, if they’d made this film a gay porno, in which Holmes and Watson spent two hours having copious amounts of sex, it would have been less gay.

Then there’s Holmes calling their partnership a relationship, which was immediately followed by Holmes taking Watson on a honeymoon.  Or perhaps we’ll touch on the repression scene.  Or the agony in Watson’s expression when he knew Holmes was being tortured.  Oh perhaps the extremeness of his reaction, never mind his choice of weaponry.  Entire novels could be written on that scene alone.

Granted, we were deprived of a mouth-to-mouth scene during Holmes’ temporary death, but that can be forgiven given that mouth-to-mouth resuscitation wasn’t invented until 1956.  This was more than made up for by having Holmes and Watson DANCE WITH EACH OTHER, ballroom style, with the subtle (as subtle as a bull in a china shop) suggestion that it was Holmes who taught Watson to dance (likely inside the privacy of their Baker Street rooms).

I believe I said there was no need to point out these scenes, and yet here I’ve done exactly that, though certainly not all of them.  I didn’t touch on Holmes’ decision to sacrifice himself for Watson, or Watson’s utter heartbreak.  Nor did I touch on Watson’s elation when he suspects Holmes is alive.  There are countless dozens of scenes, scattered throughout the film which lead the viewer to only one conclusion.

Sherlock Holmes and Doctor Watson are in love with each other.

This is why this adaptation has earned 5 out of 5 pipes.

Delightful Elements:

Obviously the above is the most delightful aspect of this film, but I will touch on some of the non-Holmes/Watson aspects of this film.

It goes without saying that this film is visually stunning.  The sets, the costumes, the cinematography, the gritty editing; it’s a very visually appealing movie.

The plot of this film is far, far better than the first.  It is actually somewhat clever and interesting, not to mention quite well paced.  What is particularly impressive is that it is an original story, and yet still recognizable as a Sherlock Holmes mystery.  There are not many who can duplicate Doyle’s flair.  The story’s structure may have been borrowed from FINA, but within that confine the writers did a fantastic job of fleshing out an actual storyline.  It was quite engaging.

There is also a lot of fan service in this film.  And not just for the student of subtext (though I suspect this entire film was made simply to pander to slash fandom, which is fairly remarkable considering such a thing would have been unheard of only a decade ago).  There are numerous references to Canon.  Holmes’ bust, and his cocoa leaves, the serum, complete with a monkey reference!  The Diogenes Club!  Handwriting analysis, not to mention several lines lifted directly from FINA.  Come at once if convenient; if inconvenient come all the same!  Holmes playing the game for the game’s sake.

Reichenbach.

This was one of the things I enjoyed in the first film, so I am doubly pleased to see them here (in what is, in my humble opinion, a far stronger adaptation).

Quibbles:

Sadly, no Sherlock Holmes adaptation would be complete without a few quibbles, and this film is no exception.

There were a good number of things I didn’t like about this film.  There were numerous times when Holmes appeared slow witted, being outsmarted by several foes.  The dialogue wasn’t as sharp in this film as its original counterpart.  In fact, at times it felt entirely too modern, entire lines lacking the Victorianism I was hoping for.

Holmes, too, was entirely too modern.  Watching Holmes drive a motor car (the same Holmes who put off getting a telephone in favour of sending telegrams because he didn’t want to move into the next century) was jarring to say the least.

The entire cooking an omelette metaphor Holmes leads us through during one of his ‘deduce a fight’ scenes.  Is there anyone on the planet who can picture Holmes cooking an omelette?  Given the stew he was eating on the Moors during HOUN, I don’t think the man would even know where to start.

The side plot with Rapace’s character could have been removed entirely, along with the “plastic surgery” storyline, which only muddled and made ridiculous an otherwise interesting and complicated plot.

We have already touched on the horseback riding scene.

I have no idea what to think of Holmes’ camouflage.  Certainly it provided for some comedy, but at the heart of it, it was plain ridiculous.

And, of course, this is a Guy Ritchie film, which means we had to endure numerous fumbling fight-scenes, stop motion filming, and explosions, lots of explosions–some of which served to keep the pace moving, I grant, but most were simply gratuitous.

Conclusion:

I went in, after having seen Sherlock Holmes 1, expecting a decent film, and came out having seen a far better film than I was expecting.  I somehow managed to fill an entire 5.5″ x 3.5″ Moleskine (every page) with rambling notes and many, many a doodled heart.  This still isn’t an accurate portrayal of the Sherlock Holmes of Canon, but I may have fallen a little bit in love with Downey’s Holmes.  It certainly helps that his is the first Holmes to canonically acknowledge both his attraction and his love for Doctor Watson.

Bravo, Mr. Ritchie, I salute you.

Sherlock Holmes: Benedict Cumberbatch
John Watson: Martin Freeman
Year: 2010
Note: a modern re-imagining of Canon
Rating:

A note on rating: No, that is not a typo. I have finally broken my rule and awarded a series six out of five pipes. To give this production a mere five points would have been an injustice. Sherlock is the freshest, wittiest, most engaging take on Sherlock Holmes I have ever seen. It delights.

Adaptation

BBC’s Sherlock (which at present consists of a three-episode mini-series) is quite possibly the best Sherlock Holmes adaptation I have had the pleasure of viewing. The re-imaging of Canon in a modern setting, with updated characters and a present-day slant to Holmes’ best cases, is utterly ingenious. There is nothing about this series that disappoints, and I am not merely saying that as a Steven Moffat fangirl (though I do wholly believe that everything that man touches is gold). I am utterly enthralled by this take on Holmes and Watson, and am eagerly awaiting the announcement of further production. Holmes and Watson could not have been given into better hands, and while I am sure the odd purist will bristle at the transporting of Holmes into modern times, I suspect those critics will be few and far between. Far too much care has been taken with the characters for this to be anything but a faithful, adoring adaptation. It is exceedingly clear that the series’ creators both know and love Sherlock Holmes.

Benedict Cumberbatch as Sherlock Holmes

I tremble with barely suppressed glee as I write this, but I suspect I have found the Holmes for my generation. I cannot claim Brett as my own, or Rathbone as my own, or even Livanov as my own, for as brilliant as they were, they existed before my time, and I came to them after-the-fact, viewing their genius in hindsight. But Cumberbatch (and what a fantastic name) is unknown to me, his take on the Great Detective fresh, and what an utterly brilliant take it is.

Where to begin?

Our introduction to Holmes (and I cannot bring myself to call him Sherlock, though I so badly want to) thrilled me in a way I have not been thrilled since my first reading of Canon. My introduction to Sherlock Holmes was in A Study in Scarlet, so it was delightful to witness first hand Holmes beating a corpse with a riding crop, and bent over a laboratory experiment. It was delightful to witness first hand Holmes deducing Watson’s stay in Afghanistan.

From the moment he opens his mouth, Cumberbatch personifies Holmes. His hyperactivity, his manic insanity, his sociopath-like disconnect from his fellow man, his genius, his charisma, his abruptness, his struggle against the ennui of every day living; so completely captures this early version of Holmes, before Watson came along to make him more human. I have no doubt this is the Holmes Watson first met, there in the laboratory at Barts. I have no doubt this is the Holmes Watson agreed to share lodgings with. And I have no doubt this is the Holmes who first peaked Watson’s curiosity. This is Holmes, not yet coloured or calmed by age, still revelling in his youth and energy. This is the Holmes no adaptation has dared to depict. This is Holmes untamed, and he is delightful.

He has, of course, been modernized, something which I wholly applaud. I suspect this Holmes may appeal to a much broader audience than his Victorian cousin, and while part of my love for Sherlock Holmes stems from the nostalgia of 1895, I freely confess I am thrilled to see Holmes interacting with the world in which I live. Of course he would prefer texting to speaking on the phone. Of course he would have a website. Of course he would use upwards of three nicotine patches in a sitting (quite the three patch problem indeed!). And of course he would plant listening devices inside Scotland Yard’s press room so that he might counter Lestrade’s comments to the press. Regardless of era, Holmes has ever been a cheeky bastard.

I love, too, that they did not neglect any of Holmes’ less savoury traits. Holmes as an immaculate yet untidy junkie is the Holmes of Canon, and yet, in true modernizing spirit, we see a man struggling against those demons, trying to remain clean, even as he searches for a way to alleviate his boredom. And again, like the Holmes of Canon, we meet a man whose social skills are seriously lacking, a man who is incapable of communicating with the people around him; a man who requires an intermediary (aka Watson) to act as a buffer between him and the outside world.

Cumberbatch takes all of these elements and plays them with such subtlety that what emerges is the character. For the first time in years I have watched a Sherlock Holmes adaptation and seen the man before the actor. My head is still spinning with delight. Bravo. Bravo, indeed. I truly believe this role was perfectly cast. Cumberbatch has risen to stand among the many greats who came before him. He is Sherlock Holmes, and I suspect he will supplant those who came before him to stand in years to come as the definitive Sherlock Holmes.

Martin Freeman as John Watson

Martin Freeman’s Watson is such a perfect counterpoint to Cumberbatch’s Holmes. Steady, brave, stalwart, and loyal, with the subtlest underpinnings of vulnerability, Freeman’s Watson is plucked straight from the pages of Canon.

It is so refreshing a trend in these later years to see Watson come alive as his own character, rather than merely serving as a foil for Sherlock Holmes. In years past, too few adaptations have given Watson the credit he deserves. It delightful to find that Freeman’s Watson more closely resembles the Watson of Canon than many of his contemporaries. Yes, he delights in Sherlock’s insight. Yes, he craves the excitement of adventure. Yes, he struggles to keep up with Holmes’ quick-fire wit. But he is so much more than that, and it is very easy to see this with Freeman’s Watson.

I suspect a lot of Watson’s depth can be attributed to the re-imagining of the character. Victorian military men were painted as stoic, brave and regimented, lacking in the vulnerability we now know all humans possess. Certainly Victorian military men did not suffer from PTSD (or if they did, they were called cowards), nor did they have trouble reintegrating into civilian life once their service had ended. This is, of course, far from the truth of reality, but the fiction of the time would have us believe this is so, and so Watson’s military service in Canon is a source of bravado, rather than trauma. It is delightful (and if I’ve used this word too often, it is only because it so perfectly encompasses the feeling engendered by this series) to see Watson struggling to adapt to civilian life. It is delightful to see a Watson who is not ideal; who has his own demons (because how could the only friend to Sherlock Holmes not have demons?). We’ve been given a very interesting look at the inner psyche of Watson, and I for one find it both believable and entrancing.

I do, however, miss the moustache. But, one cannot ask for everything.

Rupert Graves as Inspector Lestrade

I must first confess myself a Rupert Graves fan. He is a fantastic actor, who I have always found particularly entertaining. So, it is with this bias that I have fallen in love with his Inspector Lestrade. Graves’ Lestrade is a little out of his depth, completely dependent on Holmes, irritated by his need for Holmes, and yet as swept away by the sheer brilliance of Holmes as every other person caught in Holmes’ web. In short, he is the Lestrade of Canon, perhaps without the sallow, rat-faced bull-doggedness. Graves’ Lestrade is fantastic, and if I could purchase a miniature version of him, I would carry him around in my pocket and be gleeful. And that came out far more stalkerish than I intended, so I will cease discussing him now, save to mention that any episode which does not include Lestrade is a travesty, Canon be damned.

Una Stubbs as Mrs. Hudson

I always love an enjoyable Mrs. Hudson, and Stubbs is an enjoyable Mrs. Hudson. She is not my favourite Mrs. Hudson, but as an updated version of our favourite landlady, she comes close to perfection. It is nice, too, to see an amicable relationship between Holmes and Mrs. Hudson. Holmes of Canon had quite the soft-spot for his landlady, and she for him, something recent adaptations seem to have forgotten.

Mark Gatiss as Mycroft Holmes

I am not quite sure what I think of this casting. I suppose, in my mind, Mycroft is meant to be less polished and more austere. Gatiss’ Mycroft is quite the dandy, and I’m not sure that really fits the character. Still, I enjoyed the fresh take on the character (was amused beyond measure in fact) and in the role of this new Mycroft, I found Gatiss’ portrayal quite enjoyable. They have taken our quiet, unenergetic, and profoundly anti-social Mycroft, and turned him into a pretentious queen, and it is perfectly suited to this new, modern adaptation. My head is still reeling from our introduction to Mycroft. Well played, indeed.

Andrew Scott as James “Jim” Moriarty

I am still not entirely convinced “Jim” is not a blind. I half expect to discover that he is yet another puppet of the great Moriarty, and that we will discover his appearance in The Great Game was meant only to throw Sherlock Holmes off the true Moriarty’s tracks. It is not that I disliked his performance (though it was at times over the top), but rather that his Moriarty is so far removed from the Moriarty of Canon that I am having a hard time reconciling the characters.

That is not to say that the potential for this Moriarty to be an equally great nemesis doesn’t exist: it does. Simply to say that this Moriarty is not a criminal mastermind bent on his own selfish interests. This Moriarty is an escaped mental patient who is obsessed with Sherlock Holmes. Certainly he is clever, but he is nothing like the man Sherlockians know and love/hate. I’m going to reserve judgement until the BBC decides to write, film, produce and air further episodes, but I will say that as a newly invented character, Scott does a fantastic job of convincing me he is utterly nutters.

Delightful Elements

Where does one begin? I suspect I could write an entire novel on the delightfulness of this series, and even then I would be incapable of expressing half of what makes this series so wonderful.

The faithfulness to Canon is perhaps the most noteworthy aspect of this series. It is exceedingly clear that the series’ creators both know and love Sherlock Holmes. The twisting of Canon into a modern setting is so seamless, so utterly flawless, that if I didn’t know any better, I’d swear Sherlock Holmes had always existed inside of the twenty-first century. And yet –yet– I recognize these characters for who they are and where they came from. The blend between eras is so exact it escapes notice. This is genius writing, it really is. The love and passion the writers/creators have for Holmes and Watson is abundantly clear in every scene, every piece of dialogue, and every wayward glance. So much attention to detail has gone into bringing these characters to life. Even transported into the modern world, they retain everything which first made them great. It is an absolute pleasure to sit through this series.

This is particularly noticeable when it comes to technology. Naturally, Holmes would be a computer expert. Naturally, he would choose to text whenever possible (think of all the telegrams he sent, even after the advent of the telephone). Naturally, Watson, to appease his curiosity, would google Holmes. Naturally, in lieu of sending his stories to the Strand, he would keep a blog. It’s so perfectly in character it astounds me that someone didn’t consider the concept earlier.

The series is also quite stunning from a visual standpoint. I adore the sets (dark and gritty with the sporadic flare of colour) and the cinematography, with wide-angled camera shots. I adore the rendering of clues into text in order to give the audience insight into the working of Holmes’ mind. Visually, this series swept me off my feet. At the risk of sounding puerile: it’s just so pretty.

And Baker Street! How utterly fabulous is Baker Street? I don’t think I have ever seen a better set. I could blink and be transported back to 1888, and then blink again and find myself in 2010. The blending of Victorian decor with the implements of modern life came across perfectly. I love that Holmes’ chemistry bench was the kitchen table. I love that he kept human eyes in the microwave. I love that Watson retained his room upstairs (even though I doubt they will need the second bedroom for long). I love that Holmes keeps his correspondence affixed to the mantel with a jackknife. And I love the two armchairs gathered around the working fireplace. It’s perfect. Utterly perfect.

So, too, is the inclusion of Canon references. I adore fan service, I really do, and even more so when it is so appropriately placed that those unfamiliar with Canon do not notice its existence. Much to my husband’s annoyance, I spent our second viewing of each episode pointing out the direct Canon references (I had wanted to on our first viewing, but was told in no uncertain terms to keep quiet). It amazed him to discover how relevant and well-suited the source material is to today’s world.

I suppose that now brings us to the Hoyay. I hate to use that word, but for a show like this it really is appropriate. From the very first episode it was blindingly apparent that this series intended to be a gay-friendly series. British television is so far ahead of North American television in that respect, and we really must applaud them for it. Kudos to understanding that love is love, regardless of the genders involved. Kudos to normalizing gay and lesbian relationships so that they are a part of the background, and do not serve as ridiculous plot devices.

Not that there is much hope for seeing Holmes and Watson involved with one another, but it is delightful (there’s that word again) to note that they did acknowledge the potential for slash (though I am quite thrilled to have a series depicting Holmes as the asexual he appeared in Canon, for however much he may come to love and adore Watson, it is clear that prior to their meeting Holmes’ interests in such things were practically non existent). And there are a thousand and one scenes which will undoubtedly delight my fellow students of subtext. In fact, those scenes are far too numerous to list here, though I will undoubtedly touch on some below, as I examine each of the episodes in turn.

Quibbles

I suppose no review would be complete without the occasional quibble. My biggest complaint –and it is slight– is that, in borrowing heavily from Canon, the mystery, for those of us familiar with the stories, has been removed. An excellent example is in A Study in Pink. Having read STUD, I knew well ahead of time that the cabby was responsible for the murders, and so it seemed to take Holmes a particularly long time to come to that deduction. I am fairly certain at no point in a Sherlock Holmes adaptation should the audience feel smarter than Sherlock Holmes, even if I was technically cheating. To be fair, my husband, who has not read STUD, only connected the cab driver to the murders when Holmes did, so it is possible my intimate knowledge of Canon is to blame for this minor distraction from my enjoyment.

I suspect there will also be those (and this may become more of a problem as time goes on –we shall see what happens if this does become a regular series) who will quickly become irritated by the ineptitude of Scotland Yard. The Scotland Yard of the Victorian world requiring the aid of Sherlock Holmes is believable, but I very much doubt the Scotland Yard of our time would ever condescend to seeking the aid of an amateur, however brilliant he may be. Again, I suppose only time will tell.

Finally, and as with any multi-episode series, episode quality varies considerably with the episode’s scriptwriter. Here we have been given three episodes, with three separate writers, and in addition to lacking complete continuity between the episodes, it is quite obvious that not all the writers are on par with one another. I speak of course of The Blind Baker, which, while not a terrible episode (it was interesting in its own right, and I will dissect it further below) it was certainly not up to the standards set by A Study in Pink, and later The Great Game. If this does go on to become a regular series, I suspect fans will have to contend with the occasional weak episode, depending on whose name is attached to the writing credits.

Episodes

A Study in Pink

A refreshing, and dare I say it, improvement on the original case in A Study in Scarlet, A Study in Pink pits Holmes against a serial killer whose victims take their own lives. With Moffat at the writing helm on this one, I’m not even sure I need to elaborate on its fantastic-ness.

Not that something like that has ever stopped me, however.

It is amazing how much of STUD they managed to convert into a modern setting. From Watson’s return from Afghanistan to his meeting with Stamford to his introduction to Holmes: I have longed to see a fresh adaptation of their first meeting, and it did not disappoint. This episode borrows so heavily from even the dialogue of Canon that anyone familiar with the Sacred Writings will find themselves swooning with delight. I could spend an eternity pointing out lifted Canon material. From Holmes’ “the game is (on)” to his texting Watson with “come at once if convenient”, to Holmes dragging Watson out on their first case, to the empty house in Brixton Road, to the drunk man’s watch deduction (upgraded to a cell phone), to Watson flattering Holmes with praise, to the wedding ring, to the cabby, to the two pill choice murders, to the Rachel vs Rache, to Holmes knowing London intimately, to Watson’s wandering wound….

See, I told you I could go on and on. In fact, for those who are interested, it might make for a fantastic drinking game.

I mentioned above that A Study in Pink improves upon STUD, and I think making the cab driver a run of the mill serial killer rather than a wronged man bent on revenge makes for better television. The problem with STUD (and the reason it is not often adapted) is that the telling of it requires the back story included in The Country of the Saints, and for most Holmes fans, the story is too dull to sit through. That they have managed to tie this into Moriarty (although it does require some suspension of disbelief) is genius. I love that Moriarty is portrayed as a crazy nut job fan who is obsessed with Sherlock Holmes, rather than the evil genius criminal mastermind of Canon. It adds a distinct element of realism.

This episode is also quite delightful in that, rather than being exceedingly plot-heavy (something one doesn’t need when borrowing from Canon) it expands a lot of energy introducing our characters. We learn a lot about Holmes and Watson, and while they are quite familiar to the Holmes and Watson of Canon, it is clear that they are influenced by their modern day existence. Naturally, those traits attributed to Holmes and Watson which stem from the Victorian era have been omitted, to be replaced traits fitted to the modern world. I’ve mentioned this above, but will say it again, the re-imagining of these characters is brilliant.

As is the acknowledgement of Canon’s subtext. I adore that everyone they meet automatically assumes they are gay. I adore that we are left wondering at Holmes’ sexuality (because it is ambivalent in the original source material, and can be interpreted in a number of ways). Mostly, I adore that this series recognizes the distinct (and rapidly growing) subset of Sherlock Holmes fandom in which Holmes and Watson are seen as gay. It may not appeal to mainstream Sherlockians (or even the vast majority of this series’ new fans) but slash is no longer the obscured, underground fetish it once was, and it’s nice to get some recognition, even if we can never expect actualization.

The Blind Baker

The most startlingly problem with this episode is that its writer is obviously unfamiliar with Canon. I make that deduction, of course, based on his interpretation of Holmes and Watson, as well as the (extremely loose) Canon references, but if I’m wrong, then he ought simply to be fired).

This is an original case, with some aspects borrowed from Canon. The problem, of course, is that the elements borrowed from Canon are plot devices, which, when meshed together result in garbaly-goop. What should be taken from Canon in these types of episodes are character traits. This, sadly, was not done.

Sure, we learned that Holmes went to Uni (though not that he left after 2 years), that he had few friends (but what about Trevor?) and that he doesn’t eat when working. We were also introduced to Sebastian, who I believe was meant to represent Reginald (but why introduce Reginald without the wonderfulness of The Musgrave Ritual?). We learned that Watson is broke (though not that the reason for his being broke is his tendency to spend his war-wound pension at the track –which would have made for some interesting character insight). We learn nothing else useful about the boys, instead sitting 90 minutes through a convoluted plot that didn’t flow any better the second time I watched the episode (and this is the only episode I will leave at two viewings).

There were problems with characterization, and continuity of characterization. I realize we were meant to see Holmes and Watson struggling to find their footing in a new relationship (both in terms of being friends, flatmates and colleagues) but considering how the last episode ended, I had a very hard time understanding where a lot of the hostility was coming from. It didn’t make any sense. Also, you cannot have Holmes being clueless about a girl’s crush, and then have him use the girl’s crush in order to manipulate her over the span of 2 back to back episodes. It just doesn’t work. Either he knows she likes him or he doesn’t. It cannot be both.

While on the subject of quibbles, I’m still not entirely certain how Watson got a date instead of having his ass handed to him after falling asleep on the job, on his first day of the job. Not that the date wasn’t cute (especially Holmes honing in, acting territorial and jealous, and in general getting into a snit because Watson is his, damn it). I’m also not certain when Watson traded his stoic bravery for quivering, ineffective cowardice. The characterization in this episode was completely off (from both Canon and the standard set in the previous episode). Again, I reiterate: the episode’s writer is obviously unfamiliar with Canon. I am deeply offended that he thinks Moriarty would use capslocks. I suspect Moriarty is equally appalled by the notion.

Reading the above, you might assume this episode is terrible. It’s not. It’s mediocre considering its companion episodes, but still better than most things you’ll find airing on your television set. It simply neglects to treat the characters (who are the point of this series) with the respect they deserve. When making a Holmes and Watson adaptation (even when it has been re-imagined), it is important to remember that Holmes and Watson are more important than plot, and that any plot you conceive as particularly clever will be made better by staying true to the original source material.

Also, I feel it essential to point out that the book/symbols cipher is not taken, as so many seem to think, from The Dancing Men, but rather, from The Valley of Fear. Does no one recall Porlock? Re-read the story, please.

The Great Game

In contrast to The Blind Baker, The Great Game is a fantastic episode, which flows seamlessly from A Study in Pink. It makes one wonder why the middle episode was needed, as the short series would have been made infinitely better by its exclusion. Gatiss, like Moffat, is an exceptionally talented writer, capable of weaving together a flawless story. Nowhere is that better highlighted than in this episode.

Part of what makes Gatiss’ episode so enjoyable is his obvious love for Canon. Clearly a fan, Gatiss does both Holmes and Watson an incredible amount of justice. Part of my dislike of The Blind Baker stemmed from the treatment of the characters (specifically, the unexplained hostility between Holmes and Watson). The Great Game succeeds where The Blind Baker failed. It shows the trials and tribulations of Holmes and Watson’s relationship, allowing the characters to express irritation and annoyance, while still maintaining the affection and love that was the cornerstone of their relationship.

Their relationship was beautifully portrayed in this episode. It is still early days, and they are still getting to know one another, and finding flaw and annoyance in one another’s action. But already it is clear how much they care. That is obvious right from the start, with Watson storming out while Holmes watches forlornly from the window, Mrs. Hudson commenting on their “domestic”. Even angry, Watson, having spent the night on Sarah’s couch (and they are clearly not sleeping together), he rushes back to Baker Street the second he thinks Holmes might be in danger.

I love that everyone still thinks they’re gay, and that Watson tries so hard to protest the fact, but that he acknowledges understanding why people might think that. I love that Holmes lets Watson solve the West case. It is so clear that Holmes adores having Watson as a part of his life, and so he goes out of his way to include Watson in everything, something he wouldn’t do for anyone else. It is clear that Holmes cares (considerably) for Watson’s opinion. His hurt expression when Watson admits to being disappointed is as touching as it is distressing. Later, he deliberately waits for Watson to leave before contacting Moriarty regarding the Bruce Partington Plans, and we sense that he is afraid of disappointing Watson a second time. He is enjoying this game with Moriarty, but he knows Watson will think less of him if he confesses it.

All of this cumulates into one of the most touching finales I have ever seen. The way that Holmes’ face falls when he thinks that Watson might be Moriarty is heart wrenching. The shift to horror when he realizes that Watson has been chosen as Moriarty’s next voice, that he is wearing a bomb, took my breath away. In that instant, it is abundantly clear how much Watson has come to mean to Holmes. Throughout their confrontation with Moriarty Holmes darts Watson continual glances, clearly terrified for the well-being of his friend. Even Moriarty knows that Watson has become Holmes’ weakness –that however heartless he might have been, John Watson has ignited a spark. Just as Moriarty knows how attached Watson has become, Watson’s ploy to allow Holmes to escape ending with a single threat to Holmes’ life.

All of this cumulates as Moriarty leaves, Holmes instantly rushing to Watson’s side, stripping him of the bomb. He shouts, “are you alright”, twice over, clearly terrified and on the verge of breaking down. Watson staggers, but is clearly touched by Holmes’ concern. As Holmes thanks Watson for risking his life, Watson can only smile and point out that Holmes has just stripped him of his clothing in a darkened swimming pool. The homoeroticism knows no bounds.

Because of Gatiss’ advanced knowledge of Canon, he was also able to use Canon references effectively (another problem I had with The Blind Baker). There are dozens of Canon references in this story, and although they are taken from dozens of stories, they are perfectly interwoven and modernized, making for a compelling and fascinating episode which is both borrowed and original. The trick (and Gatiss clearly gets it) is that the elements taken from Canon were either character traits or direct elements from cases, which, when littered throughout the script, do little to distract from the overall plot. I was particularly delighted by:

Holmes shooting holes in the wall, Holmes not knowing the earth travelled around the sun, and then referring to his brain as a hard drive, his playing the violin, his telling Watson that he is ‘lost without my blogger’, his indignation over Watson’s writing, his chemistry background, his need for data, data, his ability to rock a disguise, his acknowledgement that he is lacking a heart, his actions then disproving his words when it comes to Watson, Watson’s loyalty, his frustration, his desire to flatter Holmes, his amazement and hero-worship of Holmes, Mycroft out-deducing Holmes, the Bohemian stationary, the appearance of the Baker Street Irregulars, the “already crossed your mind” exchange between Holmes and Moriarty, and, of course, the tie in with The Bruce Partington Plans. In fact, the only element which I thought was perhaps too forced was the Orange Pips reference. I can’t say hearing 5 pips would have naturally led to such a deduction. Even for Holmes. It was a stretch.

The original elements of the script are fantastic, too. I adore the idea of Moriarty as a not quite stable consulting criminal, who reveals part of his hand to Holmes because he wants someone to play with. He is very unbalanced (and very different from the Moriarty of Canon), and it works exceptionally well in this modern-day retelling.

The cliff-hanger ending was perfect, too, leaving it open for expansion should they decide to make further episodes. Fingers and toes crossed that they do.

And as an aside: Holmes yelling at the television set was priceless.

No episode is without its quibbles, and while they are few and far between, they do deserve mentioning. I am still not quite sure what to make of the fight scene between Holmes/Watson and the Golem. It was quite ill placed, and very distracting from the story. It was also left unresolved, so it seemed to me as though it was more than a little gratuitous. I’m also not quite sure what to think of Holmes, the grammar Nazi. Oh, sure, it was amusing, because I have a tendency to be a little strict myself, but I do not recall him ever correcting someone’s grammar in Canon. Possibly my memory has failed me, but it seemed an unnecessary add-in.

But overall this episode is fantastic. It is worth watching again and again and again and again. It is a delight to have this series end as strongly as it began; setting the stage for what I hope is to become a very, very long-running series.

Conclusion

From concept to creation, this series is nothing short of brilliant. I highly, highly recommend watching it, and hope (most feverishly) that we will see this turn into a regular series. Already, with only three episodes to its credit, it has risen to take its place as a classic. I am utterly certain Sherlock Holmes fans will treasure Sherlock for years to come.

In the past week, this site has seen a dramatic surge in visitors (and for this I thank you, Guy Ritchie). Many of them are emailing, wanting more information on Holmes and Watson, and their relationship. While I still recommend reading Canon and then my series, Decoding the Subtext, I thought providing a summary of Holmes and Watson’s relationship, as found in Canon, would prove useful.

So here is a more or less chronological (hard to do as not all the stories are dated, or dated correctly) summary of their relationship, along with the key Holmes/Watson stories all newcomers to the pairing should read. If I’ve missed anything, please feel free to let me know, and I’ll add it to the table.  As I attempt my annual winter re-reading of Canon, I may add to the table myself.

A Canon-based H/W Timline

Year	Event	Story
1881	Holmes and Watson meet. They are, at this point, in their mid-to-late twenties, Watson some years older than Holmes.Watson, having returned to London from campaigning in Afghanistan (during the second Afghan War), and sporting an injured shoulder and/or leg (Doyle varies on the location of Watson’s wound) runs into an old acquaintance, Stamford. Watson tells Stamford he is looking for cheap accommodations, so Stamford offers to introduce Watson to Holmes, who is looking for someone to go halves with on a set of rooms (Baker Street).They agree to take the rooms and move in together. Within the span of a few weeks, Watson has become obsessed with his new roommate and begins keeping lists of Holmes’ limits. Holmes preens under the attention. Shortly after Watson’s list-taking begins, Holmes chooses to reveal his profession (consulting detective) and begins dragging Watson out on cases. Holmes, ever the showman, is delighted to have found an audience. By the end of the story, Watson has announced his intention of writing and publishing Holmes’ cases. A great friendship/love affair is born.	A Study in Scarlet (STUD)
1881-1888	Holmes and Watson live in domestic bliss, continuing to work together on numerous cases. While there is some evidence for a physical relationship, most agree their relationship up until this point was platonic. This, however, is open for interpretation.
1888	Holmes’s cocaine use places a strain on Holmes and Watson’s friendship/relationship and they argue/break up. Mary Morstan appears in Baker Street, requesting Holmes’ aid in helping to solve a case. Watson, over the course of 2 days, falls deeply in love with Mary and proposes to her. Or so he would have us/Holmes/himself believe. Holmes, horrified by losing Watson, spends the entire case attempting to woo Watson back. He even serenades him on the violin. Sadly, Holmes fails, and turns to cocaine once again to ease the upset of Watson’s leaving.	The Sign of the Four (SIGN)
1888-1889	Watson, still living in Baker Street, but engaged to Mary Morstan, continues to help Holmes with his cases, most notably, The Hound of the Baskervilles (HOUN).
1889	Watson marries Miss Morstan	implied behind the scenes
1889	Holmes is hired by the King of Bohemia to retrieve a photograph and some letters from the woman who is blackmailing him: Irene Adler. Holmes meets Adler twice, both times in disguise. She never sees him as his true self. Adler alludes Holmes, taking the King’s photograph with her, but she leaves a letter stating that she has found the love of a better man (her now husband, Godfrey Norton), and hence won’t bother the king anymore.	A Scandal in Bohemia (SCAN)
1889-1891	Watson continuously abandons Mary Watson (nee Morstan) in favour of sleeping at Baker Street and accompanying Holmes on his cases.
1891	Holmes and Watson’s relationship is now slightly strained, likely due to Mary’s influence. Holmes has come up against his greatest adversary, Professor James Moriarty. Holmes, after months of investigation, has finally found a way to capture Moriarty. The plan requires him to leave London (for his own safety) so he shows up at Watson’s home, requesting his company on a trip to the continent. Watson agrees, ditches Mary, and the pair spend several weeks traipsing about Europe. Moriarty eventually slips through Holmes’s net and Holmes learns he is now bent on revenge. Holmes has become a dangerous companion and attempts to send Watson away. Watson refuses. It is important to note that neither Watson nor the reader meet Moriarty - we must take Holmes’s word that he exists. In a dramatic conclusion, Holmes, having been separated from Watson in the Swiss Alps, finds himself confronting Moriarty at Reichenbach Falls. Locked in mortal combat, the pair plummet to their deaths. A short time later, Watson, finding only Holmes’ stick, cigarette case and a short note, deduces that Holmes has died and is devastated.	Final Problem (FINA)
1891-1893	Period known as The Hiatus.Watson, over the course of two years, records and publishes twenty-three of Holmes’ cases. He still believes Holmes to be dead. Mary either dies or leaves Watson.
1894	Holmes returns to London and Watson. Watson faints. Then forgives Holmes for faking his death. Holmes offers his condolences on Watson’s loss (of Mary). They immediately fall back into their old life, with Watson selling his practice and moving back into Baker Street. It should be noted that it was in fact Holmes, though a cousin, who purchased Watson’s practice, so eager was he to have Watson back.	The Empty House/Norwood Builder
1894-1902	Holmes and Watson continue taking cases, working and living together.
1902	I felt a sudden hot sear as if a red-hot iron had been pressed to my thigh. There was a crash as Holmes’s pistol came down on the man’s head. I had a vision of him sprawling upon the floor with blood running down his face while Holmes rummaged him for weapons. Then my friend’s wiry arms were round me, and he was leading me to a chair. “You’re not hurt, Watson? For God’s sake, say that you are not hurt!” It was worth a wound — it was worth many wounds — to know the depth of loyalty and love which lay behind that cold mask. The clear, hard eyes were dimmed for a moment, and the firm lips were shaking. For the one and only time I caught a glimpse of a great heart as well as of a great brain. All my years of humble but single-minded service culminated in that moment of revelation.	The Three Garridebs
1903	Holmes retires and moves to Sussex to keep Bees.While it is suggested that Watson remained behind in London, it is entirely probable that this is a blind, meant to distract the reader from the true nature of their relationship.	The Creeping Man/The Lion’s Mane
1903-1927	Watson writes the remainder of the stories.
1914	Holmes and Watson’s last known case together, on the eve of WWI.	His Last Bow

]]> http://www.nekosmuse.com/withlovesh/?feed=rss2&p=328 http://www.nekosmuse.com/withlovesh/?p=325 http://www.nekosmuse.com/withlovesh/?p=325#comments Fri, 01 Jan 2010 03:54:50 +0000 admin http://www.nekosmuse.com/withlovesh/?p=325 Sherlock Holmes (2009)

Sherlock Holmes: Robert Downey Jr.
Dr. Watson: Jude Law
Year: 2009
Case: Original

Rating:

Reviewer’s Note

I want to first confess that I was quite torn on the release of this film. Part of me was thrilled to finally get a chance to see Sherlock Holmes on the big screen, while a larger part of me was terrified of what this film would bring. I am speaking, of course, of the Sherlockian community and fandom. I worry movie goers will herald this adaptation as the dawn of Sherlock Holmes fandom, and while I do expect a surge in fans and followers (a good thing, I assure you), I want to take a moment to remind all the new fans who might be reading this that the Sherlock Holmes fandom is older than your grandparents. In fact, the first known pastiche (what would today be called fanfiction) was written in 1893 (written by J.M. Barrie). To put that in perspective, at that point in history there were no: radios, televisions, computers, vacuum cleaners, airplanes, teabags, Einstein, cornflakes, plastic, split atoms, cell phones, motion pictures, zippers, stainless steel, self-winding watches, penicillin, ball point pens, etc, etc, ad nauseum.

So if you are new to Sherlock Holmes, and this film was your introduction, please, please remember that Sherlockians are a fickle bunch, and we will make you sit at the kids table until you have at least read Canon and seen two other adaptations. For those completely new to Holmes, I’d recommend starting with the Granada Series. Jeremy Brett is, to many, the quintessential Sherlock Holmes. My apologies to Mr. Robert Downey Jr.. Next you may want to get your hands on Burt Coules’ radio adaptations. Clive Merrison is quite possibly the best Sherlock Holmes in the history of all Sherlock Holmeses. My apologies to Basil Rathbone.

But most importantly: READ THE STORIES. They’re free. They’re online: http://sherlock-holmes.classic-literature.co.uk

And they’re even slashier than Guy Ritchie would have you believe.

So now that that’s out of the way; onto the review.

Robert Downey Jr. as Sherlock Holmes

I am so completely torn on what to think of Downey’s Holmes. On the one hand, I was thoroughly entertained by Downey. On the other; this is not Sherlock Holmes. At least, this is not my Sherlock Holmes (and I suspect a good number of Sherlockians would agree with me). A dishevelled, at times drunken, combative, and petulant Sherlock Holmes is so far removed from the Sherlock Holmes of Canon that I had a hard time reconciling the character. The problem, of course, is in the writing (and perhaps directing), not in Downey’s acting. In fact, given a good script, I think Downey could own the role. And I’m saying this as a Downey novice (i.e. I was quite ambivalent regarding him as an actor prior to seeing this film). He impressed me, and made me like the character, even though I couldn’t recognize him as “the” Sherlock Holmes.

Oh, he has many of Sherlock’s qualities. He is clever (though not as brilliant as the Holmes of Canon), he is charming, he is manic, at times quite mad, and he can certainly kick criminal ass, but he lacks the polish I think most Sherlockians were hoping for. Where is the subtlety of Canon’s Holmes? Where is the catlike, well-groomed gentleman of Canon, who silently raged at the injustices of the world, all while systematically rooting them out and sending their perpetrators to gaol?

That is not to say that I disliked this interpretation of Holmes. He did not ring true –was not entirely credible as Sherlock Holmes– but he was interesting. I liked Holmes’ vulnerability in this adaptation, something I think the Holmes of Canon worked very hard to suppress. I liked, too, his complete inability to take care of himself (i.e. leaving the stove on, having Watson force him out of the house), something I think Watson glossed over in Canon, but was none-the-less a true aspect of Holmes’ character.

I really would like to see Downey tackle the role with a better script, because I suspect he is entirely capable of setting himself up as the pivotal Sherlock Holmes. It was almost a shame his talents were so obviously wasted (though what good was inherent in the role, I suspect was entirely his doing). Perhaps the impending sequel will attempt to improve upon Holmes’ characterization.

Jude Law as Doctor Watson

It is both the characterization of Doctor Watson, and Jude Law’s portrayal of Holmes’ most intimate friend and companion, which elevates this film from a three pipe rating to a four. Those who have been reading my reviews will likely know that I am, above and beyond all things, a Watson fangirl. As such, any adaptation which presents a strong, capable, intelligent, and useful Watson will earn my admiration. Law’s Watson is all of these things.

This is the Watson of Canon. This is the Watson who keeps Holmes in check, puts Holmes in his place, and yet, still marvels and excites over every little thing that Holmes does. This is the Watson who tends the dying and sick on Tuesdays, then turns around and kicks ass on Wednesdays. This is the Watson who jumps at the chance to solve a mystery, and solves it, even if he needs a little help getting from his observations to his conclusion. This Watson is the Watson I fell in love with, and for that I will always be grateful to this adaptation.

Rachel McAdams as Irene Adler

I know a lot of people were not impressed by the Canon changes for Adler’s character, but I have to say, turning her into a criminal dramatically improved my interest in the character. I have never been an Adler fan, and do not share the majority Sherlockian view that Adler was somehow the heroine of the Sherlock Holmes stories. To being with, she is a deplorable character. She blackmails a king, because he will not marry her, and then changes her mind, because she finds the love of a better man. It boggles my mind that there are any female Sherlockians anywhere who are not offended by this character. She is a testament to Doyle’s occasional bouts of misogyny. Oh why, oh why, Watson, could you not have written Violet Smith as The Woman? If any woman deserves Sherlock’s admiration and respect, it is Miss Smith.

But I digress.

Turning Adler into a criminal, whose motives are driven, not by petty spite and jealousy, but rather boredom and the desire for adventure, elevates Adler to Holmes’ level. Here she is a true match for the Great Detective, and this is something I don’t think a single adaptation has managed to do (ironically enough, by remaining too true to Canon). While I still do not subscribe to the notion that Holmes’ interest in Adler was sexual (if anything, this adaptation emphasizes this point, as Holmes’ discomfort with Adler’s advances is blindingly obvious), it was refreshing to see him match wits with someone who is truly his intellectual equal.

Mark Strong as Lord Blackwood

As Sherlock Holmes villains go, Lord Blackwood is an interesting one. He is certainly not the Holmes-equal that Moriarty was, but he is on par with the likes of Stapleton (HOUN fame). Strong’s performance is top-notch, and while I do wish they had pitted Holmes against a more worthy nemesis, it is obvious this is intended for the film’s sequel(s) (i.e. with the introduction of Moriarty). Still, one cannot complain about Strong’s presence in the film, for he certain adds an air of suspense and danger to the atmosphere. He is quite diabolical.

Other Characters

Several other characters, recognizable from Canon, make an appearance in this film, though their roles are not profound. Geraldine James plays a disappointing Mrs. Hudson, who is not at all the strong, matronly landlady of Canon. Eddie Marsan plays Inspector Lestrade, who is, sadly, quite maltreated throughout the bulk of the film (note to writers: Holmes and Lestrade may have butted heads, and Holmes was never one to shy from insulting Lestrade, but beneath it all he did like and respect the man). Kelly Reilly plays Mary Morstan, and while the character is quite unrecognizable, Reilly portrayal is quite charming. I like the Mary of Canon, and I liked this Mary, too, which is impressive given that she is the largest stumbling block in Holmes and Watson’s relationship. Aside from that there are a number of supporting players, none of whom stand out in any fashion, save perhaps the anonymous, shadowed man meant to be Moriarty, but I anticipate we will not have long to wait before making his introduction.

The Relationships

Holmes and Adler

I confess; I always worry when a Holmes film includes Irene Adler. Above, I’ve discussed my dislike for the character in Canon, but there is nothing worse than the assumption that she is somehow Holmes’ only love interest. I was pleasantly surprised, then, by her role in this film. Oh, don’t get me wrong; there are times when watching her interaction with Holmes was quite awkward, but overall she came across a strong, well rounded character. Their relationship seemed far more platonic, based on mutual admiration and respect than any physical desire. There is a suggestion that their relationship prior to this film might have held some intimacy, but it is clear that they do not trust one another, and that Holmes finds the concept of physical intimacy with her quite uncomfortable. I wasn’t particularly fond of the suggestion that she was in love with Sherlock, and disappointed by his rejection, but at the same time, he did in the end reject her, so I suppose I cannot complain too loudly.

At one point, Watson refers to her as Holmes’ muse, and I think this description works quite well within the confines of this film. Holmes clearly likes and respects Adler. He is clearly curious about her. But his interest in her rests on an intellectual level, not a physical (or even spiritual) one. She is an interesting character, whom he cannot figure out, and this vexes him, because he is used to knowing people more intimately than they know themselves — and this with only a single glance. Adler is a challenge. Sherlock Holmes does not love The Woman, but he does love the challenge she presents.

Holmes and Watson

There is a very interesting subplot running throughout the film, which, incidentally, is far more compelling than the actual plot of the film. Watson has become frustrated by life with Holmes and has decided to take a wife (i.e. Mary Morstan). Save for Mary’s back story, and that she wasn’t Holmes’ client, this plot is lifted directly from Canon. Readers will remember that Watson was quite put out with Holmes in SIGN: sick of his cocaine use and frequent black moods. Holmes, naturally, is quite upset by this, not wanting to lose his Watson to a woman (again directly lifted from Canon, as the reader will recall Holmes’ campaign to woo Watson back in SIGN — that is, once he’s realized Watson is falling for Miss Morstan).

There is a lot of tension between Holmes and Watson in this film, and it stems directly from Watson’s impending engagement. One gets the impression that Holmes is quite distraught over the prospect of losing Watson. And one gets the impression that Watson is waiting for Holmes to admit this; something, sadly, Holmes will never do. This is the grand love story of Canon (with Holmes eventually faking his death and disappearing from Watson’s life, not to return until after Mary’s death). It is quite delightful to see this play out on the big screen, even if we know Holmes’ attempts to sabotage Watson and Mary’s marriage is doomed to failure. Hopefully the sequels (and the film does set up for at least one) will remain true to Canon: kill off Mary and reunite Holmes and Watson.

Despite the tension between them, they spend the bulk of the film flirting with one another. At one point they refer to one another as a cock and hen. At another, Holmes fondles Watson through his trouser pocket, and then tells him “not to get excited”. They are exceptionally domestic, with Holmes specifically and intentionally referring to Baker Street as “our rooms” and to Gladstone as “our dog”. Then, towards the end of the film, Watson tells Holmes that he is gorgeous — this is followed by an awkward but lovely scene where Holmes and Watson sit side by side on a bed and Holmes tells Watson that he’s glad he has lived. There are numerous small scenes throughout the film which will easily lead the viewer to conclude that Holmes and Watson are desperately in love with one another, and that Holmes, at least, has come to realize the depths of his feelings for Watson.

One might be disappointed when Watson ends up proposing to Mary, but those familiar to Canon will know that Mary’s existence, however brief, does not hamper Holmes and Watson’s relationship.

Delightful Elements

There are a number of delightful things contained within this film. Even as a staunch Sherlockian, expecting the worst, I grinned throughout the film. The references to Canon alone should be enough to keep any Sherlockian happy.

There are numerous lines lifted directly from the stories: “It is a capital offence to theorize before one has data,” and “it was worth a wound…” and “my mind rebels at stagnation…” and “your chequebook is locked in my drawer…” and “you have the grand gift of silence, Watson…” and “Data, data, data! I can’t make bricks without clay,” are only a handful. Then there are the numerous nods to Canon and its adaptations: Watson’s bull pug, Watson’s limp, Watson’s wandering wound, Watson’s gambling problem, the bullet-hole V.R., Holmes in disguise, the pocket-watch deduction, Mycroft, Moriarty, Adler’s photograph, Holmes’ violin and the flies (a nod to the Rathbone era films), Holmes’ ability to speak French; the seventeen steps! The list goes on. I think I clapped with glee with each reference.

Then there are the sets and costumes, which, while at times were a little too gritty, were absolutely delightful, and really added to the atmosphere of the film. It was nice, too, to see a Holmes’ film with twenty-first century CGI and a larger-scale budget. Nothing was sparred in making this film look very, very pretty.

Quibbles

No film review would be complete without its quibbles, and this film has dozens. The most obvious, perhaps, is the plot, which was overly simple, not truly a mystery (at least, not worthy of a Sherlock Holmes mystery) and so overshadowed by fight scenes, explosions, and heavy-handed attempts at symbolism (the crow comes to mind), that by the time the film ends, one doesn’t particularly care about the resolution. I was ready to leave long before Holmes’ infamous “let me explain my reasoning to you, Watson,” scene.

I am not a Guy Ritchie fan. I have never liked his films. I think he is far too concerned with flashy effects and slow-motion fighting, and not at all concerned enough with story and character development to merit being called a competent director. I feel bad saying that, I do, but this film did nothing to redeem my opinion of him. It reeks of Guy Ritchie directing, and let me assure you that is a hindrance. The strength of the acting alone in this film could have overcome a shaky script. It cannot, however, overcome a shaky script and director.

Why then, do you ask, does this film warrant four out of five pipes? As I mentioned above: Watson. He really is that fantastic. And, of course, the Sherlockian fan service helped considerably.

So despite the film’s flaws, it is still a good film. It’s not a great Sherlock Holmes’ film, but it is good; enjoyable and entertaining. It is certainly one of the prettiest Holmes’ films I have seen to date. I leave, however, disappointed, because I suspect, with a better script and a different director, this could have been a great film. Certainly Downey and Law, like Rathbone and Bruce, or Brett and Burke/Hardwicke before them, are both more than capable of claiming the privilege of being recognized as this generation’s Holmes and Watson. I only wish I could have crowned them as such.

Sherlock Holmes: Vasily Livanov
Dr. Watson: Vitaly Solomin
Years: 1979 - 1986
Rating:

Summary:

Filmed in Russia during the Soviet era, Sherlock Holmes and Doctor Watson became one of the most successful Russian television series of all times. It also earned acclaim throughout the world as one of the best Sherlock Holmes adaptations ever to grace the screen. With eleven episodes in total, the series can now be purchased on dvd (complete with English subtitles) or viewed at various locations online.

Overall:

Overall the Russian Sherlock Holmes series is, without a doubt, one of the best adaptations I have seen to date. It is stunning in its authenticity (even the deviations from Canon only serve to enhance the stories), visually breathtaking, and features an utterly fantastic Holmes, along with perhaps the best Watson in the history of Watsons.

The series is remarkable for its attention to detail, particularly where authenticity is concerned. At times, the series uses dialogue from Canon verbatim, creating a feel that is quite in keeping with Victorian London.

It cannot have been easy to replicate Victorian London in Soviet Russia, and yet the producers have managed to do an excellent job in this regard, both the sets and the costumes reflecting perfectly the period, and while occasionally the buildings and interior sets are perhaps a little too ornate for London, it does not distract (too much) from the overall feel of the series. It is obvious that a lot of money went into making this series. The production quality is outstanding, complete with well directed cinematography and an elaborate score. In short, there is nothing this series is lacking. Truly, it represents the pinnacle of Sherlock Holmes television.

Characters:

Perhaps the best thing about this series is the casting. Although the language barrier and need to read subtitles did, occasionally, distract from my enjoyment of the actors (this was more frustration at my own lack of understanding than anything else), it is obvious that a lot of care went into casting, the actors perfectly suited to their roles.

Vasily Livanov as Sherlock Holmes:

Livanov is a fantastic Holmes. He is not perhaps the Holmes of Canon (and certainly he doesn’t quite fit the image of Holmes in my mind; Livanov too short, and often saddled with tinted glasses) but he still looks like a Holmes. It is, however, his demeanor which sets him apart from so many of his contemporaries. His Holmes is a dignified Holmes, a logical Holmes, a studious Holmes, and yet still as passionate, mischievous and playful as the Holmes of Canon. Livanov not only portrays Holmes with stylistic grace, he also manages to assume the complete identity of all of Holmes’ many alter egos, from priest to sailor to toff, so that not once was I not utterly convinced of his characters’ authenticity. Truly, Livanov is one of the greats, and it was an absolute pleasure watching him bring Sherlock Holmes to life.

Vitaly Solomin as Dr. Watson:

For as much as Livanov makes for a delightful Holmes, the true gem of this series is Solomin. He is, without a doubt, the best Watson to ever grace the screen (big or small). Solomin’s Watson is a younger Watson, as dapper, solid, dependable, rational, and stoic a military man as the Watson of Canon, with the caring compassion of a doctor and wide-eyed excitement of a school boy eager for a mystery. He dotes on Holmes. He stands up to Holmes. He is utterly fearless and quite self assured; in short, he is the Watson of Canon. Solomin will now forever in my mind be Doctor John Watson, late of the Army Medical Department. It should also be noted that Solomin is hot. Ridiculously hot. Walking wet dream hot. Especially in uniform. This certainly did not hurt in making his Watson the best Watson in the history of all Watsons.

Borislav Brondukov as Inspector Lestrade:

I have to confess; Brondukov’s Lestrade took some winning over. My first impression was that Brondukov’s portrayal of the Scotland Yard inspector was, to be polite, a little over the top. Okay, let’s be frank; he was obnoxious. But he grows on you. You become sort of enamored of him, which is maybe the point, because Lestrade is hardly a lovable character when we first meet him in STUD, but he grows on you, becomes more likable as the Canon progresses, and so too does Brondukov’s Lestrade. By the time I finished The Treasure of Agra (aka SIGN) I found the rat-faced, terrier-like little ferret of a man quite charming.

Rina Zelenaya as Mrs. Hudson:

Rina Zelenaya is a delightful Mrs. Hudson. Her role is not quite as large as some of the other adaptations I have seen (though it is keeping with Canon), but one truly gets the impression that she is the most long suffering of women. She is motherly, caring, and quite convincing as the land lady of 221B Baker Street. I adore the way she dotes on her boys, treating them more often like wayward school children than her lodgers. Of all the women in Canon who deserve our love and respect, Mrs. Hudson stands at the forefront, and Zelenaya’s Mrs. Hudson captures that essence perfectly.

Boris Kluyev as Mycroft Holmes:

While Boris Kluyev does not look like the Mycroft of my imaginings, he quickly convinced me that he was, in fact, Sherlock’s older brother. The role of Mycroft is changed slightly in this adaptation, the series giving him both a wife and child, but aside from that he is quite recognizable. The interplay, too, between Kluyev and Livanov is quite brotherly, lending authenticity to the story. In short, he is quite convincing as Mycroft, managing to convert me relatively early on in the series. In fact, as I was jotting down notes while watching this series, I wrote, absently and in the margin: Mycroft = made of win, so you can see how much I adored Kluyev’s performance.

Yekaterina Zinchenko as Mary Morstan:

My first impression of Zinchenko was that she was entirely too young to play Miss Morstan (the reader will recall that Morstan is in her late twenties at the time of SIGN), looking no more than sixteen when we are first introduced to her. It quickly becomes apparent, however, that she is, in fact, older than first appearances, though her slight stature and extremely delicate features had me doubting this fact on several occasions. As such, I often wondered if Watson was a complete pervert for chasing such a young thing. Appearances aside, Zinchenko plays a sweet, adoring Mary, who obviously likes, if not loves, John. Her role is not as central as I expected, but she still manages to come across as a strong, important character, and while there were times when she did appear quite woolen, by the end of the series, I didn’t actually mind her (in fact, as I mention below, by the end of the series my heart quite went out to her).

Viktor Yevgrafov as Professor Moriarty:

Viktor Yevgrafov is hands down one of the creepiest, if not best, Moriarties I have ever seen. I suspect Yevgrafov will be featuring in my nightmares for a long time to come, with his hunched shoulders, spider-long arms and legs, and advanced super-orbital development. Seriously, words cannot describe how perfectly suited Yevgrafov was for this role. I have never in all my life seen evil so perfectly personified.

Deviations:

While overall the series remains quite true to Canon, it does deviate in several areas, though, oddly enough, most of these deviations do not distract from the stories. I have touched on episodic deviations below, but I will comment briefly on some of the larger deviations here:

Perhaps the biggest deviation is Holmes’ cocaine use. In short: Holmes does not use cocaine during this series. It is notably absent. Whether this was intentional due to cultural issues (or government regulation at the time) or simply decided against, I do not know, but it is quite interesting to see a Holmes without this vice. Despite what would have been my assumption (that Holmes would appear less as a character without this trait) the result is, in fact, the opposite. To watch Holmes battle his own mind, which still rebels against stagnation, and find other outlets, was quite delightful. Perhaps I simply live in an era which is over-saturated with on screen drug use, but I rather enjoyed seeing a clean, sober Holmes.

Watson’s marriage to Miss Morstan is yet another dramatic deviation in this series. Not only does he meet and marry Mary after Holmes’ return from Reichenbach, but he also remains married to her throughout the end of the series, Mary present long after Holmes retires and moves to Sussex to keep bees (and fight German spies). This tends to make the series less slashy as it progresses, though the viewer will soon agree that Holmes and Watson remain very much in love, Mary’s presence doing little to lessen the bond between them.

Episodes:

Acquaintance

Acquaintance combines the Holmes/Watson introduction found in A Study in Scarlet with a shortened version of A Speckled Band. Oddly enough, the two stories work quite well together and make for a very engaging hour of television. It is a wonderful treat to see an on screen interpretation of Holmes and Watson’s first meeting, and this series doesn’t disappoint. While it does not follow Canon exactly, all of the essential elements have been included. This episode also provides us our first look at Baker Street. While, indeed, it is quite impressive how able the series is to transform Soviet Russia into Victorian England, there is still a decidedly Russian flair to all of the sets, and this includes Baker Street. Baker Street comes across as quite gloomy: dark wood, dark fabric, dark walls, dark lighting. All in all Baker Street is quite sombre and very ornately Eastern. The set is also laid out differently, with the sitting room down a level from a landing where the bedrooms are, only a few stairs up from street level. It is not quite the Baker Street of Canon, but it is certainly an interesting interpretation.

Of course, perhaps the most striking element of all in this, our introduction to the series, is the slash. Livanov and Solomin have tremendous chemistry right from the start. In fact, upon meeting Watson for the first time, Holmes’ first act is to ogle him several times over (to Holmes’ credit, Watson was wearing a snug, very flattering pair of trousers). Watson, who is at first amused by Holmes, is quite smug regarding Holmes’ open appraisal. Their agreement to take rooms together, along with the interaction between Holmes/Watson and Stamford (and I’m fairly certain Stamford and Watson were more than mere friends, especially if the latter bicycle scene is any indication) is simply delightful from a slash perspective.

This vein continues throughout the episode. Shortly after Watson moves in, we are treated to the sight of Holmes snooping through Watson’s belongings in Watson’s bedroom, a theme which continues throughout this episode, Holmes’ curiosity where Watson is concerned becoming quite apparent. This curiosity later shifts to something more, and throughout the first half of the episode we see Holmes actively wooing a slightly baffled Watson, as though Holmes has satisfied himself as to Watson’s character and is now quite intent on keeping Watson around. It takes Watson a little longer to warm up to Holmes; indeed, at first he is quite suspicious of Holmes, going so far as keep a loaded weapon on his person, protection against the man he is now certain is a criminal mastermind.

It is in fact this last assumption of Watson’s which leads to perhaps the slashiest scene of all. Watson, bent on confronting Holmes, proposes a boxing match, to which Holmes readily agrees. The pair strip down into their underwear, head into Watson’s bedroom, and begin boxing, the scene ending with Holmes knocking Watson down onto his bed. Words cannot describe the suggestiveness of this scene. It is, of course, here that Watson discovers that Holmes is not a criminal, but, rather, a private detective. After this, the two become quite close, Watson warming up to Holmes considerably, offering him smiles, blushes, compliments and even assistance with his cases. This transformation is quite endearing, not to mention adorable.

Slash aside, the episode itself is quite good. The story of the Speckled Band is authentically told, with a wonderful cast, well suited to their roles. The story even one-ups Canon, solving the “snakes are deaf” problem quite delightfully. That being said, there are other authentic adaptations, and what truly sets this one apart is the slash.

Bloody Inscription

While I am not sure why the name was changed, Bloody Inscription is, in fact, A Study in Scarlet, without the Holmes/Watson introduction (which was transferred to Acquaintance). Remaining fairly true to Canon, the episode is quite charming, Holmes and Watson clearly growing closer, in this, the series’ second episode.

Bloody Inscriptions opens with a dramatization of the VR wall inscription scene found in The Musgrave Ritual. This is quite a lovely scene, for it takes place in Holmes’ bedroom, forcing Watson to enter Holmes’ bedroom in order to rescue Holmes from what he suspects is an attempted murder. When he witnesses Holmes’ indoor revolver practice, rather than leaving, he decides to stick around, chat with Holmes, not five feet from Holmes’ bed. Truly, it’s a lovely scene.

Made even more so by the touching. There is a lot of touching in this episodes: little shoulder squeezes, hands brushing, and, later, a hansom cab cuddle. Yes, you read that correctly. In a deviation from Canon, Watson decides to rush off and play detective on his own, only to find himself knocked unconscious by their suspect. It is Holmes who comes to Watson’s rescue, and then leads Watson back to Baker Street. Suffering a slight concussion, however, Watson is forced to curl into Holmes’ waiting arms throughout the cab ride home, Holmes offering his comfort and sympathy by petting Watson’s hair. Yes. Petting. Watson does not complain.

This really is a great episode for Holmes and Watson. Watson is so utterly excited by his role in assisting Holmes with the case that he literally vibrates. And Holmes is so pleased to have finally met someone who is so interested in his work that he positively beams. He then goes out of his way to woo Watson (by wearing striking red suits which, while normally I would think out of character for Holmes, is so utterly hot that I found my protests vanishing alongside my assumption that Holmes was not meant to be attractive).

The interplay between the two continues, with Watson taking an active role in the investigation. He sustains his second injury towards the end of the episode, their suspect once again getting in a hit (although this time it’s a kick, in a location few men desire). It is telling that Watson, upon clutching his crotch, cries out: “Sherlock!”

This episode also deviates in that it introduces (without a formal introduction), Holmes’ brother, Mycroft. Granted, the introduction is made in passing, Holmes spotting his brother outside the window. Liberties have been taken with Mycroft, too, who is married and the father of a son. We also get to meet Gregson, who appears in the guise of an Italian Don. Actually, I believe this is simply character interpretation, but either way, I can’t say it really worked all that well for me. Fortunately, I am starting to rather warm-up to Lestrade so between him and Mrs. Hudson’s Lestrade fangirling it is easy enough to ignore the odd portrayal of Gregson.

The episode ends with a very condensed version of The Country of Saints, the anti-Mormon message of Doyle’s original novel still coming across quite strongly. As Jefferson Hope is led away to prison, Holmes and Watson curl up next to the fire, Watson, much to Holmes’ delight, announcing his intention to write up Holmes’ cases. The tenderness and love in this scene is worth the five pipe rating alone.

Master Blackmailer

As the title suggests, this is a dramatization of Charles Augustus Milverton, and follows, more or less, the original Canon. The story opens, not in Baker Street, but on a train, Holmes and Watson being domestic (perhaps post train porn?) during their return trip from a successfully solved case. Watson is delightful in the opening of this episode, for it is quite clear he has become quite the love struck puppy where Holmes is concerned. The gazing alone was enough to render me insensible with squee.

Finally, we get a proper introduction to Mycroft, who quickly convinced me that he was well cast for the role. He is far more polished than the Mycroft of Canon, but one can have little doubt that this is indeed Holmes’ older brother. The brothers proceed to engage in deductive banter, much to Watson’s amazement and delight. It is clear they are trying to impress Watson (and, indeed, Holmes, upon a later solo visit to Mycroft, suggests exactly this). The Diogenese club is striking, exactly as I pictured it (with perhaps a little too much eastern decor, but that can be said for everything in this series). It is Mycroft, in the end, who brings Holmes Lady Eva’s blackmail case.

Our introduction to Milverton is interesting, too. Milverton is a very polished character, quite professional and business-like. I got the impression that he was more concerned with money than anything else, which is exactly as he should have been. Despite this, the character did seem kind of off for me, though I still can’t put my finger on why. Still, Holmes and Watson’s meeting with Milverton necessitated some Holmes/Watson hand touching, so I’m not willing to complain.

Holmes as Escott and Watson as a detective are too charming for words. I giggled with glee watching Watson attempts at subtlety, all while Holmes had already infiltrated the enemy house. Watson gets quite caught up in his role, returning to Holmes to describe Milverton’s house in romantic detail. He is infuriated and quite hurt to learn that it was Holmes who passed him on the street, dressed as a working man. The tiff that results from Holmes’ announcement of his engagement to Miverton’s house maid is simply the gayest thing I have ever seen (complete with Watson storming off in a huff).

Their discussion turns to burglary, Holmes and Watson getting quite close as they discuss how best to get into Milverton’s house. At times, with Holmes’ arm around Watson’s shoulder, they are literally inches from kissing. This continues, with Watson blushing and giggling at Holmes’ compliments, then sneaking about at Holmes’ side, the pair touching and whispering and standing entirely too close for mere friends and partners. In fact, were it not for what followed, I think this alone would have made this one of my favourite episode.

Sadly, however, perhaps in ode to the Rathbone films of old, they had to turn Watson into a bungling burglar (not that Holmes was much better). It surprises me utterly that the police weren’t able to trace them, Watson leaving footprints, a handkerchief, and a shoe behind. This after breaking into the house and making about as much noise as a heard of elephants. The burglary sequence was, quite frankly, distressing. This is only marginally improved upon by the scene in which they cuddle behind Milverton’s curtain, though the episode is made twice as bad by the arrival of Milverton’s murderess, the actress chosen to play this role so woolen it was hard not to fall asleep during her little speech and emotionless shooting.

In the end, the episode ends well enough, with Holmes refusing the case, and Watson lamenting his idiocy. They manage to tie Moriarty into the affair, the episode ending in a cliffhanger. Overall, if one could remove the house breaking bungling, this would be quite the admirable episode. It is still worth watching for the slash alone.

Deadly Fight

No Sherlock Holmes series would be complete without the introduction of Professor James Moriarty. Deadly Fight is this series’ version of The Final Problem, the episode skillfully blending Canon with interpretation in order to create a stunning tribute to Holmes’s greatest battle.

There are a good number of deviations from Canon, and while most of these would likely be considered unnecessary, at the same time, they were done exceptionally well, creating a rather gripping telling of an old story. I spent a good portion of my time watching this in complete suspense: not an easy thing for someone who has read FINA countless times. They do a good job of tying Moriarty into past cases as well (something Canon failed to do), tying Moriarty to Milverton in an effort to show the extensiveness of Moriarty’s network. This does require the altering of some sets (i.e. Holmes meets Moriarty in Milverton’s old study), but doesn’t distract from the story. We are also given more background into the Moran/Adar hostilities, Watson becoming an involuntary witness to their feud.

Delightfully, we get to bear witness to the burning of Baker Street, although Watson, sans wife, is home at the time, and must contend with extinguishing the flames.

Some of the deviations are a little strange and serve neither to enhance, nor distract from the story, For example, rather than hiring a train, Moriarty appears in a steam powered car. Perhaps someone on the set possessed said vehicle and wished to show it off. Trivial things, however, and overall they are easy enough to ignore.

The episode is also quite noteworthy in that it is quite slashy. Holmes and Watson are adorable in this episode, especially near the beginning, with Holmes sharing some of his older cases, Watson listening intently, the pair falling into verbal games. Later, we are treated to Watson keeping notes for a case, except, when the audience is allowed a glimpse of these notes, it turns out that Watson has spent the better part of his time sketching Sherlock Holmes. One suspects he likely has a notebook stored under his bed, in which he has doodled his name and Holmes’s inside of great hearts over and over and over again. Yes, Doctor John Holmes has a lovely ring to it. Later, while investigating Moran at his club, Holmes and Watson have plenty of cause to lean in close to one another, at times so close they were, for all intents and purpose, on the verge of kissing. Also, we are treated to Holmes in drag. I don’t think that needs elaboration.

When they finally reach the continent, they have, what appears to be, a jolly jaunt through the whole of Switzerland. Nowhere can we find the air of two men fleeing for their lives. This is, instead, a vacation, and a romantic one at that.

Slash aside, the most delightful aspect of this episode is the appearance Professor Moriarty. He is simply fantastic. Viktor Yevgrafov is brilliantly cast in the role, his Moriarty quite possibly the most sinister and creepy villain in the history of television. His performance calls to mind a great spider, sitting so brilliantly at the centre of its web, sensing all that is criminal throughout the whole of London. There were many times when I felt a chill, simply watching the graceful elegance of his movements. I suspect, were I to meet his Moriarty in a dark alley, I would likely faint dead away before my flight or fight instinct kicked in.

It is perhaps Yevgrafov’s performance that makes the Holmes/Moriarty fight at the falls the highlight of this episode. His performance is spectacular. They really couldn’t have better cast this role. The sombre, seriousness of the fight, the eerie backdrop of music, the perfectly choreographed movements; the entire sequence became Canon in my mind. I wish there were words to describe its brilliance, but since I cannot call them to mind, I must only urge you, again, to beg, borrow, and steal to get your hands on a copy of this episode. The fight scene alone is worth every penny.

If the fight scene was spectacular, Watson’s reaction to Holmes’ demise is a masterpiece. Props to Solomin for portraying such utter dejection and despair so convincingly. There were times when I was certain Watson was seconds from throwing himself over the ledge, following the imagined journey of his friend and thus ending the partnership permanently. My only complaint with this scene was the presence of Holmes and Watson’s innkeeper, whose backstory was oddly misplaced, and whose presence (and lamenting) at the side of the falls was distracting. A shame, because otherwise the scene was the epitome of brilliance. As an aside, it is also interesting to note that Holmes’s letter views in English, something I found quite strange, unless the substitution was made and re-filmed for the subtitles (which I doubt, but otherwise Russian audiences would have seen an English note).

So ends this episode, but the thread is picked up in its companion:

Hunt for the Tiger

Hunt for the Tiger picks up where Mortal Fight ends, with the telling of The Empty House. The first half of the episode follows Watson through his period of mourning (though, and it is possibly a mistranslation on the subtitles, it appears as though Holmes is only gone a month, rather than three full years). In addition to wearing a black band of mourning, and walking around in a grey, sombre fog, Watson also spends some time nuzzling Holmes’ violin, more time crying, and even more time trying to follow Holmes’ last orders; an act which prompts Watson to wear Holmes’s clothes. One cannot watch Watson’s obsession here without becoming utterly convinced of his affection and love for Holmes.

Sadly, this is not the first episode to play the Watson’s a bumbling idiot card, and like Master Blackmailer, the antics fail miserably here as well. Watson, by this point, has spent years following Holmes, observing his methods, acting as his shadow, so it is inconceivable that he would so badly bungle an investigation as to end up Scotland Yard’s prime suspect! This is, unfortunately, not the only quibble in this episode. Sadly, we are again subject to one of Moriarty’s henchman, whom I have dubbed the Wolfman, for he appears as such, complete with fangs. His presence and appearance, though meant to be menacing, were quite distracting. Fortunately, neither of these two oddities last particularly long, and soon enough we are treated to the reunion.

Before I get to said momentous occasion, I must take one moment to applaud Vasily for his bookseller portrayal. Delightful, simply delightful.

I want to spend countless hours pointing out every nuance of the reunion scene. I have actually written, in my notes:

If that’s not love, I don’t know what is!!!!

Followed by six or seven poorly drawn hearts. Somewhere down the page, I doodle (much like Watson) HWs, this time surrounded by those same poorly drawn hearts. It really is that lovely a scene. Watson faints. Holmes lovingly revives him. Holmes cries. Watson cries. They touch each other. Watson hugs Holmes. Wait, let me repeat that. Watson HUGS Holmes. Full body, completely crushing hug. It is a thing of great beauty. Watson is giddy at Holmes’s return. Holmes is affectionate, adoring even. In short, they are both completely in love.

And it doesn’t end there, because, in addition to Holmes’s now continual staring at Watson (like he can’t take in enough detail), we also get Watson blushing and stammering, both equally adorable as he tries, and fails, to suppress his glee at having Holmes home. Then, just as we were beginning to recover from the above scenes, we are treated, without subtext, to the kiss scene.

Yes, the kiss scene.

While awaiting Moran in the empty house, Watson reaches out, takes off Holmes’ hat (after a moment’s hesitation and Holmes’s nod), Holmes grinning and removing his glasses, before Watson leans forward, intending to close the distance between them, Holmes’s mouth falling open as he leans forward, the space between them lessening until… they hear Moran’s footsteps on the stairs, Holmes having just enough time to jump clear of Watson’s arms before their would-be assassin enters the room (though not before Holmes covers Watson’s mouth with his hand and drags him into the back corner). The resulting fight with Moran, with Holmes losing, and Watson coming to his rescue, was inspired brilliance; enough to forgive Moran for the aborted kiss scene.

So ends the two episode telling of Holmes’s demise and resurrection, the two most momentous occasions of the whole of the Canon, coming together into two beautifully crafted episodes.

The Hound of the Baskervilles

I am quite torn in regards to this episode, and while I suspect this is simply because I have seen so many Hound adaptations, the bar, on occasion, set particularly high, I wonder if I am also biased by my most recent reading of Hound, which, being mere weeks ago, has not yet faded from memory.

There are many things about this version of Hound which are delightful. The opening scene, complete with the well polished coffee pot and Watson’s attempts to deduce via Dr. Mortimer’s stick, is brilliantly done. I am also delighted to note that the Persian slipper makes an appearance. In fact, in many ways this version of Hound is one of the more true to Canon adaptations I have seen, and for that it should be applauded.

The adaptation does, however, deviate in one area, and that is with the portrayal of Sir Henry. It is this portrayal which, unfortunately, takes what would otherwise be the best Hound adaptation to date, and lowers it to one of my least favourites. We will return to the problem of Sir Henry in moment. To start, I want to talk about the things I did enjoy:

Sir Henry aside, the remaining cast of characters (well, perhaps not Mrs Barrymore, who was more annoying than Sir Henry, if that can be believed) were brilliant. I adored Dr. Mortimer and his dog Snoopy. I enjoyed Mr. Barrymore’s aloof silence. I was even taken in by the Stapletons, Frankland, and Laura Lyons. All things considered, the vast majority of secondary characters were portrayed quite convincingly.

The story was also particularly chilling, which is hard to do with such a well known story. It begins immediately, the flashbacks to Sir Hugo’s death exceptionally well done, followed almost immediately by Dr. Mortimer’s chilling: They were the footprints of a gigantic hound! Really, the dark, late winter-early spring atmosphere, along with gloomy, damp, dark sets, made for the perfect backdrop to the story. The attention to detail in the sets and costumes, too, really transported the viewer onto the moor. They even went so far as to outfit the post office with a portrait of Queen Victoria. Visually, it is easily one of the most pleasing versions of Hound I have seen to date.

The story is also quite slashy, despite the fact that Holmes is absent for most of it. Right from the start Holmes and Watson are close, Livanov an extremely tactile Holmes, who quite enjoys touching Watson, leaning into Watson, and even, twice, hugging Watson. There is even a delightful scene where Holmes lights Dr. Mortimer’s cigar while Watson glares at them with blatant jealousy.  Holmes makes up for it later by wearing his burgundy coat. I’m sure Watson appreciated it as much as I did. As if Holmes in red wasn’t lovely enough, we are even treated to Watson blushing prettily over Holmes’s compliments.

I confess; Hound has never been my favourite story, Holmes’s absence keenly felt, but this is a well done version in terms of their relationship. I have no doubt, whatsoever, that these two were quite in love, even separated by countless miles of countryside (or so Watson assumed). The subtextual elements of the story manage to transcend to the film version, which almost makes up for the deplorability of Sir Henry.

As I mentioned above, my biggest problem with this adaptation was Sir Henry. The character is a gross exaggeration of what I imagine Russians imagine American cowboys to be. He appears, alongside some banjo music, wearing chaps, a fur coat, and carrying a saddle. He then proceeds to buzz around obnoxiously like some sort of Victorian used car salesman. He is clearly meant only for comedic relief, and it distracts from the film. This is made a thousand times worse by the fact that he is clearly an idiot, a coward, and apparently an alcoholic. I’m not sure I’ve ever seen such blatant character assassination. In fact, the only time Sir Henry proves even remotely entertaining is when he’s mooning over Miss Stapleton, but I suspect this was merely due to his complete ridiculousness (the man actually rides off on his horse while shooting randomly over the moor, all in his frustration over the Stapletons — truly the character of an American cowboy, straight out of the wild wild west). Fortunately, it is quite apparent that Watson dislikes Sir Henry almost as much as we do. I suspect he’s going to punish Holmes for forcing him to live with this man.

There is one other strange element in this episode. During the scenes filmed in outdoor “London” it was obvious that extras were not hired to fill the streets, therefore Baker Street comes across almost as a ghost town. It was quite odd, especially because this is not the case in other episodes. Fortunately, as I mentioned above, both the moor and Baskerville Hall were fantastically done.

As with any version of Hound, the moment of truth comes, not from Sir Henry, or Dr. Mortimer, or even Holmes and Watson, but rather, from the appearance of the hound. This wasn’t the worst hound I’ve ever seen, but it certainly isn’t the best. It amounts to a Great Dane wearing a halloween mask. I am, however, willing to forgive the low-budget dog, as this was filmed during the early 80s, and in Soviet Russia, no less.

The Treasures of Agra

Spanning two episodes, The Treasures of Agra intertwines the telling of an abbreviated version of A Scandal in Bohemia, with A Sign of the Four. I haven’t the faintest notion why it was decided to merge these two stories, and while I perhaps could have done without the retelling of SCAN, it seemed to work, paralleling Watson’s courtship with Mary with Holmes’s brief encounter with Irene Adler, the episodes coming across as quite romantic.

I should probably mention that this is by far my least favourite episode. I’m sure that comes as no surprise, given my dislike of Adler (though not for the reasons one might think - I actually object to the character’s motives in blackmailing the king, only to withdraw her threats upon finding the love of a “better” man, something which I feel makes Adler one of the weakest female characters in Canon, but that is a subject for another day, another essay).

It is not all bad, of course; in fact, overall, the story is delightful. Watson’s mooning over Mary is quite well done (hilarious, in fact), his awkwardness and uncertainty completely adorable. Mary is a little woolen in this episode, seeming often bored and uninterested (in not just Watson, but pretty much everything), which only makes Watson’s seeming obsession with her that much more comical. Were he not Watson, I perhaps would have found their interplay a little creepy, but knowing Watson as we do, one cannot help but find his dorky shyness endearing. It is pleasing, too, to note Holmes’s objection to the Watson/Mary romance, Holmes quite horrified by the prospect of Watson leaving him for a wife (indeed, in the final scene, when Watson announces their engagement, Holmes is devastated, chocking back tears — it’s a very touching scene.

The adaptation is startlingly true to Canon (save a few minor detail changes –such as replacing the local Inspector with Lestrade, eliminating Holmes’s cocaine use, and renaming the steam launch Diana), the episode at times lifting the dialogue directly from Canon. The attention to detail, too, is stunning. In fact, I even commented to my husband that Solomin’s Watson runs like an old British soldier (knees up!), which, in fact, is exactly how Watson would have run . It’s the little things (the trifles, as it were) that make this series so great. It is quite obvious that its creators/producers/actors/writers/etc. were immense fans of the original Canon, and so strove to do it justice. They succeed quite admirably. I was especially impressed by the interspersing of London sets with Russian sets (I believe St. Petersburg is where this episode was filmed) during the Thames steam boat chase scene. It was very exciting to recognize several landmarks.

Thaddeus Sholto takes a little getting used to, the character even more over the top than the Sholto of Canon. Still, the character comes across, adding an interesting dimension to the story. Jonathan Small, too, is interestingly cast, slightly more savage than one would expect, but still recognizable. In fact, the only real character complaint one can make is in the casting of Tonga (who is, quite literally, a middle-aged white man wearing a shaggy wig), but his appearance is so brief it can be forgiven. Perhaps, however, the best character casting of all is the casting of Toby, who in this adaptation is an English Bulldog (a breed not known for their scenting abilities, I know, but suspend your disbelief for a moment). I confess, as an avid “Bully” fan (I myself am owned by a Bully named Thaddeus) I was thrilled to see my favourite breed in the role.

In the SCAN adaptation, there are really only two characters of note, the King, who appears as an overwrought, almost hysterical wreck, and Irene Adler, who does little except float around while orchastratic music plays in the background. It is really hard to understand exactly why Holmes was portrayed as so utterly awestruck over the woman. Certainly she was attractive, though only in the same way a fine piece of art is attractive. Sadly, this is not the series to redeem Adler’s character.

While not perhaps the most slash-friendly episode of this series, the viewer is still treated to a number of slashy scenes, all of which lend weight to Holmes’s devastation at losing Watson. It is obvious, throughout the two-parter, that Holmes is quite keen on keeping Watson for himself. At one point, shortly before climbing out onto the Sholto’s roof, Holmes actually straddles Watson, so that Watson is, quite literally, pressed between Holmes’s legs. Later, we are treated to Holmes and Watson dozing side by side next to the fire in Baker Street, and when Watson begins lamenting over Mary, Holmes attempts to win him back with his infamous serenading scene. In the second episode, there is an entire scene in which Holmes and Watson stand nose-to-nose conversing, the camera panning in dramatically, which, along with the sudden swell of music, had me convinced they were about to kiss. I was actually surprised when they didn’t, until I remembered this was reality and not the lovely places my brain has a tendency to visit.

Overall, it’s a lovely adaptation of two of the more famous stories from Canon, and while neither story has ever been a personal favourite, their filming was admirably done.

The Twentieth Century Begins

Another two episode arch, and easily the best of the entire series, The Twentieth Century Begins skillfully melds together four stories: The Engineer’s Thumb, The Second Stain, The Bruce Partington Plans, and His Last Bow.

Set in the years leading up to the the first world war, we are first swept away by a retelling of ENGR, the series’ writers suggesting that the story’s plot of counterfeiting is in fact a German plot to disrupt the balance of economic power between England and Germany, part of Germany’s pre-WWI planning stage. This later bleeds into SECO, when we see that the counterfeiter in ENGR becomes Eduardo Lucas in SECO (readers will recall that it was Lucas whose bloodstain didn’t correspond to the stain under the carpet). Again, the stealing of a letter from Trelawney Hope’s dispatch box becomes part of German plot to set in motion the first world war.

German plots continue, this time with Oberstein attempting to purchase the plans of the Bruce-Partington submarine in a re-telling of BRUC. A small change is made here, Oberstein bringing the plans to Von Bork of LAST fame. It is simply amazing how seamlessly these four unrelated stories were woven together, creating what is quite possibly the most intriguing and ingenious Canon re-telling ever to grace the screen. Even if the reader decides against watching this series (which I do not recommend doing), they should at the very least watch Twentieth Century Begins, as it truly is not only the best of the entire series, but simply the best Sherlock Holmes television I have ever seen.

Although these episodes are worth seeing for their plot alone, they are also considerably well filmed, again with complete attention to detail, the sets, costumes, language, and props all very much in keeping with the early part of the twentieth century. The loyalty to Canon, too, can be seen throughout this episode, even though so much of it has been adapted. For example, although this takes place after Holmes’s “retirement” to Sussex, Watson is still quite married to Mary (although in the episodes, she appears more as a put-out housekeeper than a wife, and Watson treats her accordingly –I actually felt ridiculously bad for Mary, the poor, neglected thing). Despite this small change, Holmes and Watson are exactly as they appear in the later Canon (complete with Holmes raising his bees), though here it is suggested that they have kept in very close contact throughout Holmes’s retirement, Watson visiting often.

In another change, Mycroft’s role has been expanded, Mycroft the centre of pre-WWI British intelligence, urging his brother back into action while he skillfully and carefully runs the country from behind his desk (and occasionally gas mask). Watson, too, is expanded upon, this Watson Holmes’s equal partner. Part of what I adore about this entire series is the treatment of Watson (most of the time), Watson generally shown as intelligent, capable, loyal, brave; everything we as readers have ever known Watson to be. I adore that so many of Holmes’s Canon lines and deductions were given to Watson, making Watson every inch a detective in his own right, and while perhaps the ending might have been better written, I must still applaud the writers for recognizing Watson’s significance and importance.

If good storytelling and wonderful characterization isn’t enough, there is always the subtext. Like the rest of this series, Twentieth Century Begins is hardly light on the subtext. Holmes and Watson are very much together in these episodes, their relationship as strong as ever, the bond between them unquestionable. We see this in everything: from the way they sit together, knee to knee next to the fire, to the way Watson teases Holmes when Holmes can’t figure out how to work a telephone, Watson walking Holmes through the process while Holmes drapes his arm over Watson’s shoulder and leans into his friend. If this isn’t enough, we are also treated to Holmes and Watson on a date, watching the latest in motion picture technology. Regardless of the scene involved, whether they’re gazing at one another, leaning on one another, or simply standing at one another’s side, the love between them is painfully obvious.

This is not, of course, to suggest that the episodes are perfect; they are not. There are a number of scenes I could have done without, such as Lestrade’s crying during the confrontation scene in BRUC (and I still have no idea why Colonel Valentine Walter’s story of crushing debts brought Lestrade to tears), or Watson’s complete lack of faith in Holmes during the final scene of the LAST segment (were we honestly expected to believe that Watson thought Holmes was betraying his country?), but aside from these minor problems, the episodes really are outstanding. The same, in fact, can be said for the entire series.

Conclusion:

I’ve said it repeatedly now, but I will say it again: this is, quite possibly, the best Sherlock Holmes adaptation ever filmed. Livanov and Solomin have redefined Holmes and Watson for me, and considering how many actors have come before them, this is quite the accomplishment.

But it is not simply the casting of this series which makes it so outstanding. It is the dedication to Canon, the attention to detail, seen in every scene, every set, every costume, every line of dialogue; in short, the whole of the series is a testament to Doyle’s detective, and for that reason alone it is worth watching, repeatedly.

Even without the slash this series would be worth watching, the blatant subtext only adding to the delightfulness of an otherwise perfect series. For the student of subtext, we are doubly blessed, because this series is probably the slashiest series I have seen (either that or the subtitlest was a slasher), allowing the viewer a glimpse into the potential of Holmes/Watson, something very few adaptations have been willing to explore.

There really are not enough good things I can say about this series. I will simply conclude with this:

Watch it. Trust me.

Holmes: Richard Roxburgh
Watson: Ian Hart
Year: 2002
Case: HOUN

Rating:

Richard Roxburgh as Sherlock Holmes

At the risk of starting this review on a bad note, I must start by stating that Richard Roxburgh makes for a terrible Holmes.  It is not the blonde hair (Cushing won me over, after all), nor is it the misplaced accent (Roxburgh has a very difficult time hiding the fact that he is Australian): in fact, there is not a distinct characteristic which makes Roxburgh’s Holmes a bad Holmes.  He simply wasn’t meant to play the role.  Holmes, despite his aloofness, and despite his misanthropy, is still a likeable character.  Roxburgh’s Holmes is not.  He is dull and uninteresting, vain and condescending, boorish and crass — the list goes on.  There are a lot of problems with this adaptation, but Roxburgh’s Holmes is perhaps its largest stumbling block.

Ian Hart as Doctor Watson

Perhaps in commiseration with Roxburgh’s Holmes, Ian Hart’s Watson is also significantly lacking.  He is not a terrible Watson, but he is not a particularly good Watson either.  Part of this steams from his appearance (who ever heard of a scrawny Watson?), but there is also something decidedly off about Hart’s portrayal of Watson.  The character doesn’t ring true.  It is only rarely that Hart seems to nail the essence that is Watson; the rest of the time the character falling flat.  It is quite hard to tell if this was the fault of the actor, or the script, but having seen Hart in Silk Stockings, I’m going to go out on a limb and suggest it is the actor.  While Hart does manage to portray Watson’s strength and courage, he completely misses Watson’s compassion and warmth.  Without these last two traits, Watson is far from recognizable.

Quibbles

Usually, I begin a review on a positive note, before jumping into my quibbles, but with this particular film, the quibbles were so numerous they required immediate attention.  As these reviews are meant to give the perspective of a student of subtext, I want to first begin with the slash.

Or lack thereof.

Throughout this film, it is painfully apparent that Holmes and Watson do not like one another.  In fact, they rather seem to hate one another.  I’m not even sure they’re actually friends.  They come across more as colleagues, with Watson secretly plotting Holmes’ death, and Holmes plotting how he can best use Watson to his advantage without completely pissing Watson off.  In fact, there were times when I honestly expected Watson to pull out his service revolver and shoot Holmes dead.  “Should have done that years ago,” he’d say.

Not that I blame Watson.  As mentioned above, Roxburgh’s Holmes is not likeable.  I spent the better part of the film contemplating his death.

This is not, of course, to say that the film was lacking in slash.  It existed in abundance, just not between Holmes and Watson.  Watson and Sir Henry, on the other hand….

Still, slash aside, the core of these stories has always been Holmes and Watson’s unending friendship.  This film not only neglected to highlight this, it seems to have forgotten it existed altogether.  And to think the film opened on such a promising note (I speak, of course, of a the half naked H/W Turkish bath scene).  It really is a pity.

Under most circumstances, I can ignore the absence of subtext in favour of a film’s other qualities.  What I can’t ignore, however, is the brutalization of a character.  I have commented above on the deplorableness of Roxburgh’s Holmes, but here I want to touch on the writing of Holmes (in addition to a poorly cast Holmes, this film also gives us a poorly written Holmes).  Holmes is, in fact, so out of character at times that it is hard to reconcile the character onscreen with the Great Detective we know and love.  A few examples:

Apparently, Holmes has taken to injecting cocaine as a means of stimulating his deductive skills, thereby helping him to solve the case.  Holmes of Canon would have never used (or needed) cocaine during a case.  His 7% solution was reserved exclusively for alleviating boredom in between cases.

Then there is Holmes’ vulgarity.  Gone is the witticism and deductive genius that first made Sherlock Holmes a household name.  In its place we have Holmes insulting Watson (don’t be an idiot, Watson), slamming doors in Watson’s face, and in general behaving less like a gentleman and more like a common street brawler.

If Holmes’ character assassination isn’t bad enough, there are the numerous Canon deviations, which, while not all terrible (some were quite delightful), they did distract from an already bad retelling, making the story more long and drawn out than was otherwise necessary.  It was hard, too, to reconcile the need for a lot of these changes (the minute changes to the Hugo backstory, comes to mind, for it served absolutely no purpose).  I have no problem with Canon deviations, but they should always have some logical purpose behind them.  Taking away Dr. Mortimer’s dog and giving him a wife, for example, did nothing to further the story (save to create a medium character, so that the writers could add a completely unnecessary, and overly dramatic, seance scene — a testament, I know, to the Rathbone films, but I didn’t like it then, and I don’t like it now).

Finally, there is the Hound.  In the age of CGI, I cannot even begin to understand why someone, somewhere, couldn’t have created a better Hound.  I wanted to feel terror at spotting the Hound.  Instead I was too distracted by the obvious failings of the CGI department to feel anything but disappointment.

Delightful Elements

Stapleton.

Let me say that again.  Richard E. Grant’s Stapleton is the only reason this film earns a full two pipes.  Not only did Grant’s portrayal of the character elevate this film from ho-hum to worth renting, but he gives what I consider to be the best performance of Stapleton I have ever seen.  The canon deviations surrounding this character, too, were brilliant.  Making him the amateur archaeologist provided an interesting twist, while focusing on his abusive nature towards his wife (whom he kills in the end!) added an aura of darkness that was perfectly fitting for the story.  Truly, Grant’s portrayal of a psychotic and villainous Stapleton is award-worthy.  What I wouldn’t give to see him play Sherlock Holmes.

Aside from Stapleton, it should also be noted that this is a very well put together version of Hound.  It is obvious that the production did not suffer from any budget restrictions.  The costumes are stunning, the setting/sets are exceptionally well done, and the cinematography breathtaking.  All things considered, this is a very pretty version of Hound.  Sadly, it’s not enough to save the film from its other failings.

Overall

Overall, the film isn’t terrible (it does have some redeeming qualities), but it certainly isn’t good, either.  It’s mediocre.  It does manage to earn its two pipes (and were it not for Grant’s performance, I’d be hard pressed to give it one), but only just barely.  I’d recommend watching it if you haven’t anything better to do, but really, if you miss it, you’re not missing much.  If, however, you secretly believe that Holmes and Watson hate one another (with a vengeance) than this might just be the film for you.

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So far, nothing new has been added. As of today, I’ve merely transferred everything over from the old site. This is about to change, as I finally have the time and energy needed to get back to my reviewing. In the days to come, expect a couple of new film reviews, as well as the long awaited Russian Television Series review. I hope you enjoy the new site, and my sincere apologies for the hiatus.

Sherlock Holmes: Basil Rathbone
Dr. Watson: Nigel Bruce
Year: 1946
Case: none
Rating:

On board a train bound for Edinburgh, Sherlock Holmes is charged with preventing the theft of a rare and precious jewel known as the Star of Rhodesia, which belongs to the Lady Margaret Carstairs. Things take a turn for the worse, however, when Lady Carstairs’ son is discovered murdered; her jewel stolen. Aided by Inspector Lestrade, Holmes determines that of all the passengers with access to the Lady Carstairs’ compartment, one is, in fact, the arch-criminal, Colonel Sebastian Moran. Borrowing several elements from Canon without actually adapting an original story, Terror by Night is a fast paced, suspenseful who-done-it.

Basil Rathbone as Sherlock Holmes

Rathbone’s Holmes, as always, is an utter delight in this film. Wearing his trademarked pimp hat, Rathbone showcases his ability to shift effortlessly between dramatic dialogue and daring action.

Nigel Bruce as Dr. Watson

While still managing to portray Watson as the bumbling character we have come to recognize from these films, Bruce actually manages to steal a few scenes of his own. Although his tomfoolery is quite disappointing at times, his love and devotion for Holmes radiates across the screen; making us forget that only moments before he was bungling the entire investigation.

Delightful Elements

I must confess; I am rather torn on the Holmes/Watson interaction in this film, which is why you will see this listed in here, and in the quibbles section.

There is this underlying theme of jealousy and possessiveness that runs throughout this film. The story opens with Holmes waiting for a train, and then being forced to board the train without Watson. Holmes appears quite anxious, and spends several moments hanging off the now moving train in an effort to find his wayward partner. Watson does arrive, just in time, and Holmes’ cries of encouragement are quite amusing.

Watson does not, however, arrive alone. He has run into a friend, and the two of them board the train together. Holmes, it is interesting to note, is not at all pleased. In fact, Holmes seems entirely put out that Watson should even have another friend (let alone that he should bring this friend along for the trip). There is a quite a bit of jealousy in this scene, with Holmes actually scowling at Watson’s friend. Then, as Holmes is leading Watson to their shared compartment (and away from Watson’s friend) Holmes is very particular to touch Watson’s shoulder and guide him (least he turn around and invite his friend to join them).

This theme continues throughout the film. As we will see in the quibbles, Holmes, at one point, is quite patronizing to Watson. Watson, rather than taking this (like he usually does, and here we cannot help but cheer Watson on) ditches Holmes for his new friend. To say Holmes is unimpressed would be an understatement.

In fact, Holmes immediately goes looking for Watson, and when he finds him in the company a man Holmes clearly now perceives as a rival, he becomes exceedingly clingy. Then, in a move that demonstrates quite clearly his possessive nature, Holmes accuses Watson’s friend of having committed the murder and theft.

Technically, Holmes is right, and Watson’s friend does turn out to be Colonel Moran, but until Holmes catches Watson getting chummy with Moran, he does not even consider the man as a suspect. It’s all together too amusing.

Things shift after this, for now that Holmes has been proven right, Watson knows that he needs to get back into Holmes’ good graces. Therefore, when Moran threatens Holmes, Watson hauls off and elbows Moran in the crotch. The entire scene is utterly fantastic.

Holmes and Watson’s relationship aside, this film is also amusing in that it portrays an infatuated Inspector Lestrade who spends the entire journey lusting after Holmes.

The supporting characters in this film were also quite enjoyable, particularly the Scottish Inspector who boards the train to arrest Moran.

Finally, the plot itself, along with the interesting twist at the end, was quite refreshing. At no point did I find myself bored; indeed, I was quite surprised to see the final credits role. All around a very gripping case.

Quibbles

Sadly, no Rathbone film would be complete without a rant against the treatment of Watson. Indeed, in addition to the usual character assassination, we are also forced to endure Holmes’ mistreatment of his long-time friend and companion. In fact, at times, Holmes is downright cruel.

This is quite distressing, for we are forced to endure a dejected Watson, which, in addition to breaking my heart, also forced me to endure a mumbling Watson (for a Watson choked by emotion is not a Watson capable of enunciating his words). Despite all of this, Watson still defends Holmes, and saves his life (without so much as a ‘thank you’ from Holmes, I might add). For as much as I enjoy Rathbone’s portrayal of Holmes, his Holmes can, on occasion, come across as a complete asshole.

It does not help that Watson’s role is secondary to the roles of both Holmes and Lestrade, making Lestrade and Holmes the true partnership of this film.

Overall, though, Terror by Night is a decent enough film; good enough, at least, to earn three out of five pipes.