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It is common knowledge that Professor Moriarty is Sherlock Holmes’ most infamous adversary. In the most recent adaptation of Arthur Conan Doyle’s literary character for the big screen, titled “Mr. Holmes,” the world’s most famous private investigator faces off against an adversary who is even more tenacious. Mortality was his given name. It was inevitable that he would win. At this late stage in his life, the elderly super sleuth is still troubled by a number of mysteries that he has never been able to solve. In 1947, the investigation has officially begun in an effort to solve some of these mysteries.
There are more than a few hints as to why the director Bill Condon would like to erase the bad taste left by 2013’s “The Fifth Estate.” That film was Condon’s botched attempt to capture the enigma that is WikiLeaks creator Julian Assange (as played by another Mr. Holmes, Benedict Cumberbatch). This intriguing but only semi-satisfying Sherlockian enterprise is an attempt to erase that bad taste.
For one thing, “Mr. Holmes” offers the perfect opportunity for a reunion with Ian McKellen, who was nominated for an Academy Award for his wily and witty work as the original “Frankenstein” director James Whale in 1998’s “Gods and Monsters,” which won the director an Academy Award for his adapted screenplay. “Mr. Holmes” also offers the perfect opportunity for a reunion with Christopher Lee, who was nominated for an Academy Award for his wily and
Mr. Holmes’ also stars Laura Linney, who was nominated for an Academy Award for her role as the renowned sex researcher’s wife in “Kinsey,” which Mr. Holmes directed in 2004. She does a good job of bringing herself down to Holmes’ level by portraying the housekeeper who is frequently critical of him.
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Although the film is at its best as a showcase for the splendid and spell-binding Sir Ian, who has taken on two other pop-cultural icons, Gandalf the wizard and X-Men foe Magneto, since they last collaborated, Condon does right by both actors once again. The 76-year-old actor, donning rivulets of extra wrinkles and a padded aquiline nose, overcomes a script with an excess of flashbacks to convince us that we are truly witnessing the one and only Sherlock in his dotage. This is similar to “Woman in Gold,” where the glowing presence of Helen Mirren was compensation enough to sit through a rather spotty enterprise. In “Woman in Gold,” the glowing presence of Helen Mirren was compensation enough to
Not to say that Holmes, who is first seen as a 93-year-old retiree spending his waning twilight years at a picturesque cottage by the sea in the southern part of England in the years following World War II, is not attempting to fight back against the infirmities of old age. As a hobby, he keeps bees, in part so he can harvest royal jelly, which is said to prevent forgetfulness and is one of the benefits of beekeeping.
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When we first meet him, the former private investigator has just returned from Japan, which is still reeling from the effects of the atomic bomb. While there, he secured a batch of a mysterious restorative herb known as prickly ash. When we first see him, he has just arrived back in the United States. Or, as his unconvinced doctor refers to it, a “ashly prick,” which is the nastiest thing “Mr. Holmes” has ever gotten close to saying.
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The young son of the widowed housekeeper provides an abundance of welcome youth that can be found on the premises to fill in for Sherlock’s faithful sidekick, Dr. Watson, who passed away. This youth can be found in the form of the young son of the housekeeper. The heart and most compelling aspect of “Mr. Holmes” is the relationship that develops between a crusty yet still-ticking Sherlock and Roger (a tiptop Milo Parker, whose boyish resiliency and innate curiosity is reminiscent of onetime Disney child star Bobby Driscoll), as Sherlock instructs Roger on both bee farming and the art of detecting.
Observing this genius’s gradual decline is saddening and unsettling in equal measure. His once bright blue eyes are now cloudy, an indication of his advanced age, and his voice is weakening as it conveys profound regret for his actions in the past, in particular his preference for logic over emotion. In order to compensate Roger for his assistance and to stimulate his own memory, he decides to recount the events of his most recent and unsuccessful case in the form of a story. The young boy listens intently to every word as the man finishes a new page of the book. In 1917, the husband of a woman named Ann Kelmot (Hattie Morahan) hired Sherlock Holmes to investigate his wife’s strange behavior following two miscarriages. As Holmes scribbles what happened on parchment, we are transported back to 1917. At that time, Ann Kelmot’s husband had hired Holmes.
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The case itself ultimately proves to be less of an engaging puzzle for the audience than a lesson for Holmes in humility. This is a state that he has rarely, if ever, exhibited in any of his many incarnations, whether in the original stories, Basil Rathbone’s cinematic version from the 1930s and 1940s, or Jeremy Brett’s TV portrayal of the character in the 1980s and 1990s.
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In point of fact, Condon has some fun with the idea of having the senior Holmes go to the theater in order to watch one of the overwrought B movies that are based on Dr. Watson’s much-embellished written renderings of his friend’s exploits. The fact that Nicholas Rowe, who portrayed the title character in the film “Young Sherlock Holmes” (1985), can be seen in the black-and-white picture is, without a doubt, a very clever trick.
But then we also have to deal with flashbacks to Holmes’ recent trip to Japan, where a local guide (played by Hiroyuki Sanada) assists him in finding the supposedly rejuvenating plant. These flashbacks are not nearly as interesting. This thread of the story eventually leads to the redemptive conclusion of the movie, but it doesn’t really amount to much.
In point of fact, a certain placidity seeps into too much of the film, even if McKellen is consistently enjoyable and gets the chance to share a nice moment of interplay with Kelmot when a still-dapper Holmes and Kelmot eventually meet on a park bench. This is despite the fact that too much of the film is plagued by the aforementioned placidity. However, the majority of the tension that can be seen on screen is coming from Sherlock’s mind. At least in the context of this film, it feels like you’re watching a door being closed ever-so-slowly.
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