IN CINEMAS
In the last
decade, the character of Sherlock Holmes has been revived as an icon of popular
culture and attracted a new young audience.
The Downey-Jr. starring feature films made Holmes into a pugilistic action
hero and the TV series Sherlock and Elementary have reinvented him as a 21st century
detective. Mr Holmes, artfully directed by the versatile Bill Condon, is
neither action-packed nor modern but rewards the patient viewer with its unflashy
intelligence and emotional depth.
An
adaptation of Mitch Cullin's A Slight
Trick of the Mind, this film is more an exploration of character rather
than a thrill-ride of clever deductions and plot twists. The plots unfold gently through a non-linear
structure in which we follow Holmes through three linked strands. In the central strand, Holmes living out his
retirement in 1947 Sussex; in the second,
some months earlier, he is in Japan seeking out a medicinal root which may help
restore his memory; and in the third strand he is engaged in his final case thirty
years earlier.
Sir Ian McKellen skilfully plays Holmes at the ages of 63 and 93. Aged roughly halfway between these two ages, he convinces as the older Holmes through subtle vocal and body mannerisms. The make-up on the older Holmes is also excellent. This Holmes is less eccentric than some portrayals. He is a little grumpy but warm-hearted and develops a touching friendship with his housekeeper's young son, Roger (also acted very well by Milo Parker). Roger and his mother (Laura Linney) are fully rounded characters too, and there is an interestingly unconventional family dynamic between the three of them.
The story
fits nicely into the Conan Doyle's canon with Holmes engaged in beekeeping as
his retirement hobby. On the surface, it
appears an idyllic life. The countryside
is shot beautifully and near every scene appears to be a perfect summer's day. However, Holmes is troubled by his increasing
senility and memory problems; in particular he cannot remember what caused him
to give up his detective work thirty years earlier. As Holmes remembers the details of his last
case, they are shown to the audience.
In 1917
London, Holmes is hired by a man worried about the mental health of his wife
following two failed pregnancies. When
Holmes follows the blonde wife around London, it evokes James Stewart following
Kim Novak in Hitchcock's Vertigo but
with a tone of gentle melancholy rather than melodrama. Although this case
initially appears to be routine for Holmes, his older self is aware he got
something wrong but he cannot remember what.
Watson is no longer working with Holmes during the last case and without
him, we are able to fully empathise with Holmes rather than seeing him through
the eyes of his friend. However, though
we barely see him, Watson does have a presence in the film when Holmes refers
to the inaccurate myths his friend invented in his published journals. This
conflict between fact and fiction becomes another central theme to the movie.
The tone of
melancholy is also evident in the sequences set in Japan. In one moving and atmospheric scene, Holmes
visit Hiroshima where he is touched when seeing a woman mourn her lost
relatives. The theme of unhappy families is also explored when
we see Holmes with his Japanese hosts. In all of the three plot strands, the
lonely Holmes finds himself between mother-son or husband-wife relationships. The Japan scenes may seem inconsequential at
first but in the final twenty minutes of the film, the three strands come
together dramatically and emotionally resonate with each other.
Mr
Holmes is a very rich story which may have worked even if
it didn't involve Conan Doyle's character.
However, Sherlock's inclusion adds poignancy because we come to understand
that even his great mind is subject to human frailties. The subtleties of this film would have been
lost without a great central performance and McKellen delivers. The only slight regret after watching this moving
film is that it is Sir Ian's first and almost definitely last time playing the
part.
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