SHERLOCK HOLMES
UK, 2009, 129 minutes, Colour.
Robert Downey Jr, Jude Law, Rachel Mc Adams, Mark Strong, Eddie Marsan, James Fox, Geraldine James.
Directed by Guy Ritchie.
“Sherlock Holmes, the Graphic Novel” on screen.
This is a 21st century interpretation of Sherlock Holmes, not the almost aristocratic manner and diction of previous Holmes like Basil Rathbone, Peter Cushing or Ian Richardson, rather, it presents Robert Downey Jr as a scruffy, knockabout Holmes (who still has his good diction which he uses to sound purpose in explaining his logic and thought processes). It is also a rip-roaring (lots of rips and plenty of roaring) action adventure in the manner of the recent screen superheroes, like Iron Man (who, of course, was Robert Downey Jr). It is interesting how commentators say that purist Conan Doyle fans may not like Holmes as a bareknuckle fighter and dressed in a fashion (rather, no fashion) that makes the rather dapper Dr Watson (Jude Law) embarrassed. Yet, Doyle has described Holmes as using jujitsu and a master of disguise, both refined and down-and-out.
The plot indulges Doyle's interest in the supernatural, the afterlife and seances (borrowing something key from Rosemary's Baby). It is a story of empire, ambition, vanity and political power. Holmes' nemesis is the sinister Lord Blackwood (the ever-versatile Mark Strong) who is hanged early in the film but rises from the dead to lead a masonic-like group of political leaders to Blofeld-like world domination. (And, in the background, is Professor Moriarty, working with Irene Adler (Rachel Mc Adams) just in case there is to be a sequel which, if immediate box-office is any indication, should be appearing sooner rather than later.)
The re-creation of a dark Victorian London (Dickensian is the cliché description that easily comes to mind, or the London of Jack the Ripper) is vivid and detailed with Londoners and visitors pleased to see glimpses of life on the Thames, Piccadilly Circus, Westminster Bridge and the Houses of Parliament. Hans Zimmer's score is pounding and melodramatic. But, this provides a background for Holmes and his cases, his upset that Dr Watson (with his limp from his military service that does not impede his fighting and brawling skills) is engaged to Mary Morsten (without any memories of The Sign of Four), some entanglements with Irene Adler, his visits to the masonic leaders, imprisonment, several beatings and a race against the clock (just as James Bond usually had to do) to disarm a destructive weapon.
Robert Downey Jr is usually very good in any film. He did the English accent for his fine portrayal of Chaplin. He is currently Tony Stark in the Iron Man films. While he looks dishevilled, his brain is always at work (and there is a device used several times to instruct us how he would do something, shown with explanation in slow motion, and then it happens in real time) and he follows the example of his screen predecessors in giving a logical account of how he arrives at his conclusions (showing, for instance, that taking him blindfold to a rendezvous is completely ineffectual as he listens, and smells, the clues for his journey). Jude Law's Watson is much less eccentric, a straight man to Holmes' comedy, with much more sense and nous.
Guy Ritchie is to be congratulated on having moved away from his gangster films (though incorporating much of the action, style and editing of those films) and successfully engaging with the world's most famous detective.
Sherlock Homes shows that one didn't have to be 'Victorian' to live in Victorian England.
1.The popularity of Conan Doyle’s novels? His establishing Sherlock Holmes as the archetype of detectives? Audience familiarity with Holmes and his stories?
2.The film tradition, over the various decades, some stories set in the period, some updated and modern? Audience tastes determining the portrait of Holmes? This Holmes as a 21st century Holmes?
3.The image of Sherlock Holmes, dapper, aloof, intelligent, superior (except for the spoofs of unintelligent Holmes with intelligent Watson)? The shadow side, his drug-taking? The contrast with Doctor Watson, bumbling, missing clues, learning? Holmes’s biographer?
4.This film as a version of the 21st century graphic novel, the emphasis on action, stunts, effects? The characters and the broad storytelling? The re-creation of the period, Victorian England? The mythic touch?
5.The detail of London, Baker Street, the Thames, bridges, Piccadilly Circus, Parliament? The pounding score? The audience immersed in this London?
6.The plot deriving from Conan Doyle’s stories, the Masonic background, memories of Jack the Ripper? The parallels with Ian Fleming and Blofeld’s dreams of world domination?
7.Robert Downey Jr as Sherlock Holmes? His appearance, scruffy? Absorbed in his cases? The surprise of the bare-knuckle fight? The bets? His relationship with Irene Adler, impetuous? His use of logic, clues? The detailed explanations? Overbearing on Watson, opposing his marriage and his move? Yet the strength of the dialogue, Downey’s British delivery, typical Sherlock Holmes?
8.The contrast with Jude Law as a dapper Watson, his experience in war, his limp? The friendship, writing the stories? Patient, put-upon? His engagement to Mary, love for her, yet Holmes overbearingly persuading him to help him out? Difficulties, fights? Yet the devotion to Mary?
9.Mary in herself, strong woman, the engagement, loving Watson, knowing Holmes, the dinner, the discussions? The edge in her conversations with Holmes?
10.The scenes of Baker Street, the household, the housekeeper? Holmes at home?
11.Lord Blackwood and his story, sinister, wanting power, his crimes, the association with magic? His arrest? Confronting Holmes? In prison, defying everyone, his execution, burial? The staging of his rising to life again? The world domination plans? The connection with the lodge? With his father, with the Foreign Secretary, the secretary as his ally in the plan? Killing his father and other members of the lodge? The set-up in Parliament, the meetings, the parliamentarians loyal, their being locked in, the plan about the explosives?
12.Holmes, his reaction to Blackwood, meeting Irene, the investigations around London, the dwarf, the experiment with the chemicals, the dwarf’s death? His discovering the truth?
13.Irene, meeting her, the past, seductive, tying Holmes up – and the maid’s surprise? The reconciliation? Her helping, the plan to defuse the explosives? Her stealing the chemicals, the pursuit through the sewers, the confrontation on the bridge – her working for the professor – and the introduction of Moriarty?
14.Holmes, going around London, the disguises, as a vagrant, his getting information from various people, the poor, the captain on the boat, on the river? His interactions with Lestrade?
15.The visit to Lord Blackwood’s father, the discussions, the political background, empire, power? The Foreign Secretary and his proposals?
16.Blackwood, the meetings and the plans, in Parliament, his speech, the delay in the time, Holmes exposing him, the explanations? The confrontation, the fight and his death?
17.Holmes and Lestrade, the clashes, one-upmanship? Holmes arrested, the plan with Le Strade?, the trick, his release? The fights, Watson involved?
18.The last-minute defusing of the explosives? The pursuit of Irene and the confrontation?
19.A Conan Doyle kind of story, the 19th century setting and London, yet a 21st century Sherlock Holmes?
