Sherlock Holmes

Greetings again from the darkness. Great literature seldom makes for great cinema. The mediums are vastly different. However great literature, in the right hands, can make for very entertaining cinema. Such is the case with Guy Ritchie's interpretation of Sir Arthur Conan Doyle's greatest character.

Mr. Ritchie provides us with quite a departure from the Basil Rathbone and Nigel Bruce "Holmes and Watson". Here we get dazzling special effects and near super-human feats and stunts. Another twist is that this Holmes here is no meticulous, fastidious bore in real life. In fact, he lives more like a frat boy or rock star - replete with trashed room and bouts of isolation.

What is not missing is Holmes' world class attention to detail. The story here is multi-layered and actually very interesting, if not a bit high-minded and high-concept. The still-under-construction Tower Bridge plays a role in the film and the bleakness and gray of London is captured perfectly.

Of course, I won't reveal any details of the story other than to say the "good" guys are out to get a real bad guy here ... wonderfully played by the always solid Mark Strong, who may or may not be dead. That always makes for an interesting case! Support from Rachel McAdams and Eddie Marsan are fine, but Robert Downey Jr and Jude Law are the real stars as Holmes and Watson. As odd as it seems, they really do have a buddy factor that works well on screen. Downey's physicality has always set him apart from many contemporary actors ... he moves like a dancer and fights like a champion. Jude Law is often too pretty-boy for me, but he really does a nice job of capturing the reluctant sidekick with complimentary skills.

This is a BIG movie! It is made to be a rollicking good time with tons of popcorn munched. Smaller kids will not be able to follow the story, but anyone who has read a Holmes story (and isn't against a little artistic license) should see the film. It is extremely entertaining and fun to watch.

Somehow, i've always avoided the cinematic (or TV) presentations of Sherlock Holmes. I find the character fascinating, but i always felt it was more invested in literature, not cinema. His deductions, the way he surrounds the worlds he investigates are a feast for thinking minds. Even when the deductions are over the top (which happens often!) one can't stop smiling at the cleverness. More than that, the character is a perfect piece invested in a clever, irresistible and fascinating world. London. That part is visual, and a good ground to invest a cinematic world. But, unlike for example anything by Agatha Christie, Doyle's cleverness is rooted in pure deductive logic, not on the mechanics of the world. Notice that Christie's crimes are many times a matter of understanding how things happened, spatially (murder on the orient express is the zenith of that). I suppose Doyle formed his mind before cinema had any significant impact on how our minds work.

So the challenge for any modern filmmaker, and actor, who wants to update Holmes, is to make the character more cinematic, more appealing. Several tricks are used here, most of them successful, even if straightforward. One is the most obvious, making Holmes an action character (which actually is in its original dna, even though TV productions usually ignore that). This might be a flop, and make the version laughable, but by now there is a sense of irony and self awareness in Ritchie's films (sincer Lock Stock) that allows him to support a xxi century action figure in Holmes clothing that actually is watchable. A minor trick here is the association of the deduction with the very process of physical fighting, which creates some Matrix moments. Well, their watchable, though not particularly interesting. In the greater arc, there are good action sequences, because, as any competent action these days, considers the elements of the surrounding space, and uses them.

But there are two big things in this film, which take it to new levels of interest.

One is the acting. Jude Law is a clever guy, an interesting actor whose greatest quality is how he merges anonymously with the context he is intended to integrate. He willingly becomes a piece of a larger tapestry, and that really is something to look upon. There are not many actors who can claim they can do this competently. But the king of the game is Downey Jr. He is the gold piece in the puzzle of updating Holmes. There certainly will be a before-after Holmes character, with this film. The man is capable to work his performances on several directions, and each of them is a perfect link to its surroundings. So he gives in to Ritchie's demands, and introduces humour, irony, and self-awareness in the character, to make it usable for the director's winks at ironic action. He invests totally on the creation of a character who merges with the textures of the context, while being distinct from it. And while doing it, he folds us into his game, so we do everything with him, side by side. We deduce, we smile, we run, all with him. So, if the film hadn't other qualities, Downey Jr would still make it worthy, because he, alone, solves one the most basic problems with any film: to find a channel audiences can safely cross into the game someone (director) proposes. He is one of the best ever.

But there is another great thing here, which i suspect has a lot to do with several guys involved in the process of making the film. The result is an incredible sense of placement. London, XIXth century. All those dirty muddy streets, all the dirt. The fascination of the inner locations, namely the midget's laboratory. How those sets are usable, in the action scenes. That's all competent, more than competent. It's perfectly rendered, carefully photographed, it sounds overly artificial, but it's a matter of taste, i suppose. But what was really striking was the use of the London bridge. Notice how it is announced, early in the film, with a similar perspective to the one we'll get in the end. Than, the great sequence, when Irene Adler goes through the sewage, goes up, and we end up with a close up of her, in an unidentified location. The angle opens, we move away, and we are set up in the location for the final fight scene, which in its own merits is interesting enough. So, this was a unique way to actually use an establishing location, instead of merely showing it. I mean, how many films have shown the Eiffel towers? countless. How many actually use it? not so many. This is one of the best London cities we've seen lately.

My opinion: 4/5

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Do Guy Ritchie and Sherlock Holmes fit? Why, it's elementary my dear movie fan. This is one of the most entertaining thrillers of the year and the fantastic Downey Jr. and Law are a big part of the reason why. They take top honors as the years best bro-mance, arguing like an old married couple while deep down knowing that they'd be lost without each other. Downey is Holmes and Law is sidekick Dr. Watson, embroiled in a plot where the black-magic-practicing Lord Blackwood (a perfectly grave and menacing Mark Strong) has risen from the dead after being sentenced to hang. Rachel McAdams also shows up as Irene Adler, the only criminal who has ever gotten the best of Holmes.

Downey Jr. brings quick-wit, cunning, and a scruffy toughness to a role long seen as stuffy and dry, while Law a distinguished charm that, at times, spills over into testy aggressiveness (which is funniest at Holmes most annoying). Both toss off the one-liners with ease. Ritchie's directorial style also comes through, from the dark, grimy Victorian- London production values to the violent boxing and martial arts matches. Holmes' mindset (such as the steps he takes to neutralize a suspect, interpret clues, follow the deceptive) also brings out Ritchie's ability to create an ultra-stylized flashback. There are also a few really thrilling action set-pieces involving a boat and an unfinished bridge. The plot, by three screenwriters, is a little on the convoluted side but it gets the job done with plot-twist on-top of plot twist. With all the brutal violence and style, you can be sure this isn't your Grandpa's Sherlock Holmes, but it will have you drooling for a sequel nonetheless.

This movie is an action movie with the name "Sherlock Holmes" slapped onto it. Imagine if you walked into a movie called "James Bond" and you ended watching a movie like "Sex and the City". This is exactly what this felt like watching this movie.

Nonetheless, this movie was entertaining. Just disassociate the name Sherlock Holmes with the character in the novels by Doyle.

If the movie was called something else, I would have given it 7/10. However, I feel that this movie misled a lot of people into thinking they were watching a movie about Sherlock Holmes the detective, not Sherlock Holmes the action hero.

Opening on Christmas Day, Sherlock Holmes showed itself to be worthy as a blockbuster hit. To be frank, I came with an expectation that the movie would be terrible. But I was proved wrong.

Sherlock Holmes seems to be like the new James Bond: gritty, hardcore, and always ready for a good fight. He is not only intellectually sophisticated but also quite a brawler. Watson his side kick who is his loyal friend is always there to save his dear partner from harm's way. Irene plays the notorious thief and lover of Mr. Holmes. She is a wily character who keeps the reader guessing her motives.

The cinematography of the movie was special because it showed parts of the film as Holmes' future logical deductions. The movie also used the tradition method of explaining the Sherlock Holmes deductions after given the facts and clues.

Sherlock Holmes' evil nemesis play his part well. There were many humorous antics and displays of ingenious traps. The other minor characters also added to the crude humor and laughter.

Overall, this movie deserves to be watched. It comes with sparkles of spontaneity and fun. And it may even leave you wanting a sequel! Give it a try!