Sherlock Holmes

As a classic tale of mystery, the new film adaptation of Sherlock Holmes might disappoint some lovers of the traditional tale. However, the new imagination of Baker Street and Holmes himself certainly brought new things to the table. It was a film with only a few images that truly have staying power in one’s memory—a writhing woman in a white dress, a dark figure hanging by the neck over the Thames from a shipyard chain, a man that ignites into a flaming inferno upon firing a gun...these areas of the movie, while the most shocking and perhaps visually memorable, are actually not where it is most successful. Lord Blackwood, Holmes’ chief antagonist is introduced dramatically in one of these sinister scenes. Indeed, as Watson states decisively, “And that is the end of Lord Blackwood,” the audience is assured that this is certainly not the end of Lord Blackwood, and the movie’s main tension is born. Lord Blackwood is a formidable foe for Holmes, the convincing nature of his “powers” keeping the audience interested throughout.
However, the highlight of the film is in the relationship between Robert Downey Jr.’s Sherlock Holmes and the reluctant Doctor Watson, played by Jude Law. The classical nudes in the window of Watson’s office gracefully illustrate his value of order and perfect physical harmony, while the mise-en-scène of Holmes’ office with its resident chaos immediately clues the viewer in to their respective personalities and the seemingly differences between the two friends. The fact that Holmes’ room utilizes the same set as Sirius Black’s house in Harry Potter and the Order of the Phoenix comes as no surprise—dark films are the order of the day, as is clear with the macabre trend in film and television nowadays. The snippy banter between Holmes and Watson stands out, as well as Downey Jr.’s Jack Sparrow-esque portrayal of Holmes: a land pirate now and moved from the Carribbean to the dirty streets of London in the late 1800s, Sherlock wields significantly superior weapons of ingenuity but the same vague and zany characteristics as Depp’s beloved pirate. An early scene in which Holmes boxes is particularly strong; the power of his mental talents is effectively and physically impressed upon the viewer in a striking manner. Rachel McAdams’ Irene Adler plays a somewhat superfluous role in the film. As Holmes’ kryptonite, the character of Miss Adler fails to pack a real punch, though not for lack of talent on McAdams’ part. Her character, though charmingly roguish as most less-than-savory seductive female characters in mysteries tend to be, fails to fulfill any real purpose in the film.
The movie reads as a blow-by-blow, just like the audience is treated to a preview of Holmes’ attack tactics before they happen on-screen. Events are paced with the deliberation of a good book, while keeping in mind modern audiences’ need for incessant action. Considering the recent vogue for all things gloomy, Sherlock Holmes takes a dark situation and keeps it comfortably paced and never dull. All in all, if one is not a die-hard aficionado of the classic tales, Sherlock Holmes can provide an entertaining movie-going experience. And of the ending? Well, some movie-goers might walk away with a bit of frustration at not hearing the man with the magnifying glass’s classic line; however, I’ll say it: this movie is elementary.