- REVIEW SHERLOCK THE FINAL PROBLEM NYTIMES CRACKED
- REVIEW SHERLOCK THE FINAL PROBLEM NYTIMES MOVIE
- REVIEW SHERLOCK THE FINAL PROBLEM NYTIMES SERIES
REVIEW SHERLOCK THE FINAL PROBLEM NYTIMES MOVIE
On the other hand, the oddest thing about the movie is that Holmes is here lovable and endearing in a way that he has seldom, if ever, been before. But his is also the best-looking London that any on-screen Holmes has ever inhabited, and a reminder that part of the appeal of the books and stories was their atmosphere. The real thing was never this rainy, murky or steampunky.
Ritchie’s London is a phony London, one where the wind on the Thames seems to blow in different directions at once. Downey, forgoing a deerstalker for a bowler or a slouch hat, inevitably evokes his earlier movie impersonation of Chaplin, who, as it happens, appeared in one of the early Holmes silents. The wisecracking relationship between Holmes and Watson (here played engagingly, and not as an old duffer, by Jude Law) may now remind viewers of Butch Cassidy and Sundance. The plot of the new movie echoes both “The Da Vinci Code” and the Nicolas Cage “National Treasure” movies. More likely he has evolved simply because movies have evolved, and our appreciation of him now entails a large chunk of film history. To say that our image of Holmes has evolved in ways that reflect changes in our understanding of the character is probably a stretch. That movie was produced by Steven Spielberg, whose “Indiana Jones”-like fingerprints are all over the Ritchie film. In 1985 we got “Young Sherlock Holmes,” directed by Barry Levinson, in which the teenage Holmes turned out, in retrospect, to have been a sort of proto-Harry Potter.
REVIEW SHERLOCK THE FINAL PROBLEM NYTIMES SERIES
ON TV Jeremy Brett as Holmes in a Granada Television series running from 1984 to 1994.
REVIEW SHERLOCK THE FINAL PROBLEM NYTIMES CRACKED
That’s the imperturbable image that remained more or less unshakable until Nicol Williamson cracked the mold with his hyper, drug-crazed Holmes in “The Seven-Per-Cent Solution,” Herbert Ross’s 1976 adaptation of the Nicholas Meyer novel. Downey’s, is Basil Rathbone, who was a movie Holmes from 1939 to 1946, and who imprinted on us such seemingly essential Holmesian traits as the high, brainy forehead the slick, swept-back hair the languid, aristocratic bearing the supercilious putdowns. The most influential, the one whose Holmes lingers in the mind as an anti-version of Mr. Scott, Stewart Granger, Charlton Heston, Roger Moore and, improbably, Larry Hagman and Leonard Nimoy. By now there have been more than 200 film or TV versions of Holmes, and the actors who have played him on screen or stage include John Barrymore, Raymond Massey, Ian Richardson, Jeremy Brett, George C. A lot of what we know, or think we know, about him the deerstalker hat, the cloaks, the catchphrase “Elementary, my dear Watson” comes not from the texts at all but from subsequent imaginings of him, the movies especially. Yet Holmes’s vagueness and incompleteness on the page are what make him so irresistible as a pop figure, on whom we can project our own interpretation.
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