Sherlock Holmes (2009)

Despite Guy Ritchie’s stamp of grit and rapid-fire, often blurry action sequences found in this adaptation of Sir Arthur Conan Doyle’s literary genius, Sherlock Holmes is spectacular. Well worth the price of admission, my good man.

Trading lively banter is Jude Law and Robert Downey Jr. as Dr. Watson and Holmes, respectively. Both are well suited in this new interpretation. Holmes is an insufferable man, that much holds true.  He’s a bit boorish too. Watson, a young, but well-rounded gentleman is looking to marry, settle down, and put their pairing behind them. But Holmes won’t hear of it.

Their last case centers on occultist Lord Blackwood (Mark Strong). Blackwood is convicted of murdering five women and on the eve of his hanging calls Holmes to his cell. ‘This is just the start…’ Holmes leaves all of Scotland Yard and Inspector Lestrade behind as he unravels a murderous conspiracy.

Ritchie has reignited my hero wonderfully. Building in just enough characters—including Holmes’ nemesis Professor Moriarty and Irene Adler (Rachel McAdams) who is annoying foil throughout the film—to spawn sequels.  Sherlock Holmes is a magnificent production. Old world London is gray, aptly violent, gritty, and beautiful. We see more of its dirty underbelly that anything else, but even that is delightful.

Holmes’ mindset is smartly rendered in a few key scenes that also foretell the impending blur. The screenplay underscores the impetus for Holmes’ odd manner and discomfort. Downey Jr. plays Holmes as slightly cocky, unyielding to society’s rules, and seemingly scattershot, full of undisclosed eccentricities. With his riding crop ever at the ready, Holmes dispatches his foes with a blend of critical thinking and martial arts.

In contrast is Watson. Law is gentlemanly and loyal. Ever apologetic for Holmes despite his frustration with him, Watson is a stalwartly friend. Don’t let the limp fool you. He is quick in the fight with his sword cane. Watson’s penchant for gambling was downplayed with only a few lines of dialogue, but here we see (FINALLY) Watson as Holmes equal.

Under Ritchie’s direction, Sherlock Holmes is alive and bare-knuckled, no less. I think Doyle would have been proud. The story is multi-layered; though it has its weaker points (see Rachel McAdams, the Dark Arts), the film remains a solid vehicle. A befitting, if odd score from Hans Zimmer brings another level of charm. Combined with otherworldly settings and detailed costumes, the production is a full-on assault of the senses.

As I see it, the screenplay of Sherlock Holmes is convoluted; the plot uninspired. It is the film’s weakest link. Redeeming the film are the performances by Law and Downey Jr. For that, my dear readers, you must go.