Sherlock Holmes and the Leading Lady

SHERLOCK HOLMES AND THE LEADING LADY looks great on paper. It's an epic 3-hour TV miniseries featuring Holmes and Watson as old men, still trotting the globe and sorting out criminals wherever they meet them. The narrative features the return of two fan favourites (Mycroft and Irene Adler) in a brand new adventure. The film was made by veteran producers Harry Alan Towers and Egypt's Frank Agrama (DAWN OF THE MUMMY), among others, and shot in Luxembourg - no doubt due to the tax breaks available there. The director was Peter Sasdy, a seasoned Hammer veteran who certainly knows his stuff. Finally, and best of all, it features Christopher Lee and Patrick Macnee as the intrepid twosome.

Unfortunately, such a production could never meet the standards expected from the sheer quantity of talent involved, and this turns out to be an entirely middling affair. It's watchable, certainly, but also long-winded, and the insistence on throwing real-life characters in the mix, like Sigmund Freud and, most bizarrely, Elliott Ness, is an odd one. There were two scriptwriters, one British and one American, and I blame the latter for the annoying US-centric elements, not least Morgan Fairchild's presence as Irene Adler. Talk about out of place...

Still, it's not all bad. Lee is, as you'd expect, excellent as the famous detective, bringing him ably to life in his twilight years. Macnee is the closest we've got to the lovable Nigel Bruce yet, and the supporting cast features some experienced British character actors like John Bennett and Ronald Hines; the presence of Engelbert Humperdinck is more of a mystery. Speaking of mystery, the plotting is perfectly adequate, but there's little true deductive reasoning for Holmes to carry out; the whole thing seems beneath him, and occasionally he seems a bit stupid and a far cry from the original Conan Doyle creation.

The British government is about to buy the plans to a revolutionary bomb detonator when its plans are stolen and its Austrian inventor murdered. Sherlock Holmes and Dr. Watson go to Vienna to track down the plans. They walk into a tangled web of international intrigue with the agents of several governments trying to get hold of the plans.

Not based on a Sir Arthur Conan Doyle work and it shows. Lacks the tension and tightness of an original Holmes story. Plus the writers feel the need to throw in some historical figures - Sigmund Freud, Eliot Ness - as characters just to engage modern audiences. Even then they botch it as the real Eliot Ness was seven years old at the time this film was set, not the 20-something portrayed here.

At three hours long it's also a bit of a grind to get through. Quite a lot of padding, sub-plots and needless detours.

This said, the main plot is reasonably interesting. The Irene Adler sub-plot does add a different dimension to Sherlock Holmes. Moreover, Christopher Lee is great as Holmes, giving him the required level of gravitas and intelligence.

Not really good, but not really terrible either. Starring Christopher Lee as aged Holmes, Patrick MacNee as Watson and Morgan Fairchild as theatre diva Irene Adler, this TV production has respectable but anodyne BBC costume drama look and so-so mystery. Script by Bob Shayne and British crime fiction writer H R F Keating is a bit dull, direction by Peter Sasdy lacks lushness of Twins of Evil (1971). Polluted by some atrocious dialogue, like "witty" (read: juvenile) mockery of gluttons - in Freudian terms, I am not in anal state to enjoy such antics - and enlivened by cameos from famous historical persons, this is a mediocre pastiche.

In their very late 60s, Christopher Lee and Patrick McNee made a couple made for TV Sherlock Holmes stories. Each was about 3 hours and both were stories not written by Arthur Conan Doyle. Instead, they are supposed to be stories of cases which occurred later in life...presumably after Watson stopped chronicling his adventures.

Of the two, "Sherlock Holmes and the Leading Lady" is actually based in part on one of the Conan Doyle stories. It brings back Irene Adler from "A Scandal in Bohemia" and she is the only woman that ever impressed Holmes...and he referred to her as THE woman in later tales...and with great admiration.

When the story begins, an Austrian inventor is going to sell his remote control detonating device to the British government. But some enemy agents steal the blueprints and soon the creator himself is found dead. Holmes and Watson are called in to try to locate the blueprints and capture the murderers.

Despite Irene Adler leaving Holmes a letter saying she was leaving Europe never to return in the original story, it seems her husband has died and she has returned to the stage to sing opera. She is happy to see Holmes and seems to see the possibility of romance. The asexual Holmes, while happy to see her, has no such notions and sees her as a way to get one step closer to the killer. What's next? See the film.

I think some Conan Doyle purists might enjoy seeing Ms. Adler again, as "The Scandal in Bohemia" is one of his best and most memorable stories....and a great character. Unfortunately, Morgan Fairchild is not a great choice, as it's VERY obvious she is not actually singing but very poorly lip synching. I don't know how much is her blame or the directors...but the first number she sings is pretty bad...with her mouth not exactly following the lyrics and her body not moving as if she is singing. She also is way too young for the part considering it is supposed to occur many years after the first story.

So is the film any good apart from this? It's decent...but like the next Holmes made for TV movie, "Incident at Victoria Falls", it's way overlong and the pacing is at times glacial. Shaving an hour or so off the film might have helped. Still, it think for many it's still well worth seeing...even if no one will apparently ever equal the quality and accuracy of the Jeremy Brett Sherlock Holmes stories made for Grenada TV.

In 1991 and 1992, 2 long Sherlock Holmes pastiches appeared as TV miniseries. With Christopher Lee as Holmes and Patrick Macnee as Watson, we should have very high expectations of these presentations. For the most part, these were fulfilled to a large extent. Both men were associated with other Sherlockian endeavors. Lee had earlier (1970) played Sherlock's brother Mycroft ("The Private Life of Sherlock Holmes") and (1962) Sherlock ("Sherlock Holmes and the Deadly Necklace") ... and played Henry Baskerville opposite the late Peter Cushing as Holmes in Hammer Studio's fine "Hound of the Baskervilles" in 1959..

(Cushing in turn played Holmes also in 1984's Masks of Death and in a UK TV series in 1965-68.) Macnee had previously played Watson in 1976 ("Sherlock Holmes in New York") and went on to play Holmes himself in a 1993 TV movie ("The Hound of London").

What is amazing here is how few times these men have played Sherlockian rôles. Lee gave some of the best portrayals of the Great Detective committed to film – on a par with Rathbone although not so fine as Brett. Macnee was a fine, assertive Watson – much less wimpy than the rôle handed to Nigel Bruce and very much the equal of Edward Hardwicke. We may be grateful that Lee didn't affect the unSherlockian deerstalker. (And Cushing, again, is really incisive as Holmes.) The "Leading Lady" of the title is none other than The Woman, Irene Adler. Here the film stumbles. First of all, the rôle is given to Morgan Fairchild – not exactly a bad choice, but not entirely a felicitous one, either. Although Fairchild pretty much walks the walk and talks the talk, in the end it's simply not possible to believe that Sherlock would ever have called her "The Woman". More than this, the film's producers obviously have no idea that in the early 1890s (the film takes place in 1910), Sherlock spent some months in Montenegro, during which time he lived with Adler and fathered on her a son – the later great reclusive detective Nero Wolfe (please note the "er-o" of Sherlock and the "ol-e" of Holmes). We see no sign of this aspect of their relationship.

The film takes place in and around Wien (Vienna) – after an introduction in London. The plot involves a device developed by an Austrian scientist – one that will explode bombs remotely. He has both a prototype and the plans. Of course, everybody is after this new toy: the Austro-Hungarian government, the Russians, the Germans, and some Serbian terrorists who want to blow up Emperor Franz-Josef. Obviously the latter bunch don't succeed (old FJ died in his bed in 1916), but in retrospect it's too bad they didn't.

The inventor rather stupidly imagines that the British can be trusted not to make improper use of his creation and offers it to them. Holmes and Watson travel to Wien to collect the detonator. The remainder of the film (almost 3 hours total) involves disguises, double dealing, racing and chasing, and a good deal of confusion. In the process the prototype and the plans become separated. The film's director keeps things moving and keeps Holmes guessing. The various characters are colorful and, for the most part, effectively portrayed. The Emperor, alas, is portrayed as far too affable, whereas the man was stiff, formal, and distant.

The only member of the cast who is well known, aside from those already mentioned, is Engelbert Humperdinck – not the excellent 19th-Century composer, but the rather less excellent stage performer (the connection being that the latter took the former's name as a stage name). Humperdinck invests his character (Eberhard Böhm) with a fine Old World feeling and fits in well with the general high tenor of the cast.

Probably the best joke in the film is the appearance of Elliot Ness, on his first post-training assignment for what would later become the FBI. The best part of the joke is that Ness was born in 1903 and would then have been 7 years old. Somebody (a) didn't do his/her homework or (b) is pulling our legs rather vigorously.

On the whole, while this film can't be regarded as an absolutely top-notch Holmes pastiche – certainly not the quality of "Private Life" or "Seven Per-Cent Solution" – it's entertaining and worth watching. Don't be put off by the occasional banality of the script. On more than one occasion I found myself saying the utterly predictable next line before the character who was supposed to say it. To the film's credit, not once to I recall Holmes saying that "the game is afoot". Lee was, however, saddled with the occasional "elementary".