Il ritorno di Sherlock Holmes

In this Granada TV Series, Jeremy Brett presented us with, in my view, the definitive portrayal of Sherlock Holmes. The attention to detail was superb with an interpretation far closer to Sir Arthur Conan Doyle's creation than previously shown on film by the deerstalkered Basil Rathbone et al. Jeremy Brett's wild, haunted and melancholy performance of the second series in 1985 was, by his own admission, heavily influenced through the personal tragedy of the loss of his wife to cancer. He adapted the role somewhat for the return series and managed to introduce some levity, even though he found it difficult to play a character who was all mind and no heart.

David Burke and his successor Edward Hardwicke (who took on the role in the third series: `The Return of Sherlock Holmes') both gave intelligent performances as Dr John Watson. Jeremy Brett and Edward Hardwicke made an exceptionally good team and brought the relationship alive with a believable friendship more than any previous characterisations had done.

The series combined fine period detail and atmosphere to create a very credible late 19th century London, and the dialogue replicated the novels fairly closely although production necessities altered some aspects of the stories.

However, the Granada TV series' storyline adaptations and format may have removed some of the exploration into the incisive detective skills of Conan Doyle's Sherlock Holmes, and the series became sanitised with the playing down of both of Holmes' addictions to cocaine and atrocious violin scratching.

The problem may lie in actually dramatising the novels, as Jeremy Brett observed, they are better read, and he described performing the action of crawling through the bracken like a golden retriever as `hysterically funny'. The concept of the images being better seen in the mind's eye would explain why the excellent BBC radio productions of the 1990's with Clive Merrison and Michael Williams worked so well.

The choice of guest actors was consistently of a high standard and I remember ‘The Abbey Grange' in particular as it provided a personal treat to see Anne Louise Lambert (Picnic at Hanging Rock) display her unique talents in a sadly all too rare role for her. Congratulations are due to the director (Peter Hammond) on an inspired piece of casting.

The exclusive video rights in the UK for the Granada TV series have passed from VCI to Britannia Music so that membership is necessary to obtain copies of the videos in PAL format.

Holmes, having been missing for a year (falling off a 300 foot water fall while tackling your arch nemesis does tend to inconvenience you a bit) returns nuttier than ever. Hardwick is the new Watson after Burke left to join the RSC and is more fatherly; Jeremy Brett is of course the only Sherlock Holmes, the love-child of Peter Cushing and Kenneth Williams (those that have not seen the show cannot even imagine how camp he gets at times) and the show is more dark than before thanks mainly to the mental and physical problems Brett was going through at the time of his wife's death. This actually works, as Holmes goes "cold turkey" in THE DEVIL'S FOOT so your really start to believe he's burnt out and there are hints of a self-destructive personality coming out. Best of all, Watson's detective skills are approaching Holmes', a far cry from that ridiculous portrayal by Nigel Bruce. As if a man of Holmes' intellect could put up with such idiocy. Or my spelling for that matter.

The Return of Sherlock Holmes is an absolutely superb series; I would say flawless. Everything is so good, I really can't bring myself to criticise it in any way. As for the episodes, they are all superbly adapted, and all of them are of exceptional quality. Can't really decide on a firm favourite, but a definitive standout is The Devil's Foot.

The production values in this series are wonderful. The remarkably fine camera work, perfectly captures the always splendid scenery and lovingly designed(if not too fancy) costumes. The music is brilliant, the theme tune is both beautiful and haunting, and the accompanying incidental music never fails to be richly scored. The scripts never fail to bring sophistication and class to the series.

What is really worth of note is the quality of the acting. Jeremy Brett, no matter how good Basil Rathbone, Peter Cushing and Ian Richardson were, is by far the definitive interpretation of Sherlock Holmes, whom along with Morse and Poirot is one of the greatest fictional detectives ever, and it is all to Arthur Conan Doyle's credit. Brett had a gritty baritone to his voice, towering presence in front of the camera work and a certain generosity about him, that made him unsurpassed as the best Holmes. Edward Hardwicke gives an intelligent performance as Dr Watson, and there are memorable supporting turns by other great actors.

The Return of Sherlock Holmes does benefit in general by the faithfulness to the source materials. Yes, I know they toned down Holmes's cocaine addiction, but with everything else as good as they are, I am always obliged to overlook. A truly superb series, with one of the easiest 10/10s I have made recently. Bethany Cox

Jeremy Brett was my generation's Sherlock Holmes, the way Michael Praed is my generation's Robin Hood.

Both series have been done before (and since), but never better. The only series that comes close is the pre-Holmes/true life version of Arthur Conan Doyle's apprenticeship at the feet of the brilliant dr. Bell, called "Murder Rooms".

Jeremy Brett is excellent as the cultured, sensitive (gay?) king of detectives. Australian actors David Burke, and later on Edward Hardwicke (in the follow-up to this series "The Return Of Sherlock Holmes", also with Jeremy Brett) hold their own as the experienced everyman versions that are really Arthur Conan Doyle himself.

Highly recommended.

In this Granada television series, Jeremy Brett presented us with a definitive portrayal of Sherlock Holmes. The attention to detail was superb with an interpretation far closer to Sir Arthur Conan Doyle's creation than previously shown on film by the deerstalkered Basil Rathbone et al. Jeremy Brett's wild, haunted and melancholy performance of the second series in 1985 was, by his own admission, heavily influenced through the personal tragedy of the loss of his wife to cancer. He adapted the role somewhat for the return series and managed to introduce some levity, even though he found it difficult to play a character who was all mind and no heart. David Burke and his successor Edward Hardwicke (who took on the role in the third series: `The Return of Sherlock Holmes') both gave intelligent performances as Holmes' crony, Dr John Watson. Brett and Hardwicke made an exceptionally good team and brought the relationship alive with a believable friendship more than any previous characterisations had done.

The series combined fine period detail and atmosphere to create a very credible late 19th century London, and the dialogue replicated the novels fairly closely. The main drawback of the storyline adaptations and format is that they may have removed some of the exploration into the incisive detective skills of Conan Doyle's Sherlock Holmes, and the series became sanitised with the playing down of both of Holmes' predilections for drugs and the violin. Unless I am suffering from false memory syndrome I seem to recall someone's dramatisation where Watson recoils from Holmes' ear-splitting scratching, which I now find is contrary to Conan Doyle's assertion that Holmes was "not only a very capable performer but a composer of no ordinary merit". The problem may lie in actually dramatising the novels, as Jeremy Brett himself observed, they are better read, and he described performing the action of crawling through the bracken like a golden retriever as "hysterically funny". The concept of the images being better seen in the mind's eye would also explain why the excellent BBC radio productions of the 1990's, with Clive Merrison and Michael Williams as the sleuth and good doctor, worked so well.

The choice of guest actors was consistently of a high standard and is one of the reasons why I remember `The Abbey Grange' so fondly, with a note of thanks to the director Peter Hammond. The episode notably deals with Conan Doyle's expose on the cruelty of marriage in locking women into an abusive relationship without any means of escape. Holmes is called to investigate the savage murder of an Earl in his Kent mansion and finds that the Australian wife and her maid apparently survived the attack. The two women obligingly give compelling evidence to incriminate a notorious local gang. As usual Holmes' mind is still trying to fit contradictory pieces of the puzzle together after leaving the house when he has a lucid flash of insight and promptly returns to the scene of the crime. More evidence is unearthed to refute the honourable ladies' story though they will not budge and Holmes sets off on a trail as any diligent detective might follow. However, he of course tracks the real culprit down and brings him to justice but there is a novel twist and a very romantic solution. A very rewarding episode demonstrating Holmes' brilliance and compassion to divert man's base cruelty and the rigid laws of the land which surely would have seen a gallant hero hung.

Charles Dickens was also moved to write on the similar theme of a beautiful and intelligent woman imprisoned in abusive matrimony in one of his most enduring novels, `Great Expectations', originally serialised some 37 years previously in 1860-1861, and his earlier `Hard Times' also touches on the prohibitively expensive, complex and discriminatory proceedings for divorce prior to the 1857 Divorce Act. In Victorian England the only married woman with any rights and an independent identity was Queen Victoria herself. Men could beat their wives under law as long as the rod was no greater than a thumb's thickness and a woman was deemed to have no just cause to refuse conjugal rights. Sadly such attitudes are only too prevalent today in this technologically advanced but in many ways still primeval world. Evidence shows that matrimony benefits men at the expense of women and it is hardly surprising that in the UK a third of marriages fail. Indeed, Schopenhauer speaks of a "life force" that brings people together to reproduce, but warns that the chosen partner is not necessarily right for you. The concern for society as a whole should be on minimising the negative effect on the unfortunate offspring who may of course have unwittingly contributed to the marriage breakdown. A factor that is so often blatantly ignored by sensational newspaper stories when intruding on public figures' private lives.

Oliver Tobias (`Luke's Kingdom', also directed by Peter Hammond with Peter Weir) finds that his gruff rigid manner works very well here as the merchant captain and friend driven to the fatal act of defending his beloved from her brutal husband. The disturbingly beautiful Anne Louise Lambert, who fits the narrative's description to the letter, plays the free spirited Miss Mary Fraser from Adelaide. After a dazzling beginning in 1975 in Peter Weir's hauntingly enchanting `Picnic at Hanging Rock', which led to a prominent role in Peter Greenaway's artful `The Draughtsman's Contract' (1982) as well as this episode in 1986, it is both perplexing and disappointing that Lambert's international film career has faltered. Despite appearances in several Australian features and a handful of overseas projects, since starring in Susan Dermody's 1993 largely unknown but extremely pertinent `Breathing Under Water' Lambert has only been seen in a few cameos including an ailing mother in ABC's 2001's controversial prisoners-of-war series, `Changi'.

The exclusive video rights in the UK for the Granada TV series have passed from VCI to Britannia Music so that membership is necessary to obtain copies of the videos in PAL format.