Sherlock Holmes Film Review

Attempting to transform the story of a legendary print media hero into a crowd pleasing box-office smash is no mean feat. Which is why, I reckon, Guy Ritchie of Revolver, Snatch and RocknRolla fame was probably the best man for the job. And what an excellent job he did. 2009’s Sherlock Holmes somehow manages to transcend its crowd-pleasing box-office ambition to deliver a film which is probably the best and most youthful Sherlock Holmes movie ever.
Robert Downey Jr’s Sherlock Holmes is assigned to track down Lord Henry Blackwood (Mark Strong), a visionary convicted and hanged for practicing the “dark arts” which has resulted in the ritualistic killings of five young women. Lord Blackwood has defied nature in order to mysteriously come back from the dead in order to sow panic in the city.
We first encounter Holmes as he intervenes in one of Blackwood’s ritualistic killings. His intuitiveness and perception is demonstrated as he saves Dr John Watson (Jude Law) from being pierced by a near invisible glass blade. In allusion to the more contemporary take on the character Downey wears a cape- less coat and instead of the iconic deerstalker cap; his preferred choice of headwear is a fedora. Watson’s wardrobe also abounds with bespoke Saville Row clothing.
The film focuses on the Holmes-Watson partnership. The pair share an East End apartment at 221B Baker Street, with Watson barely tolerating Holmes’ unhygienic ways, setting of furniture on fire and experiments on their flatulent pet bulldog, Gladstone. Watson’s cool attitude is the perfect foil to Holmes’ rough, erratic edges, the well groomed gentleman is the perfect contrast to his friend’s usually befuddled and unkempt looks. In the scenes shared by the two, we gather Watson’s protectiveness toward his friend and Holmes’ barely concealed dismay over the doctor’s wish to settle down which leads to a remarkable early scene where Holmes, picking up clues from her appearance, exposes the less admirable side of Watson’s intended bride, Mary Morstan (Kelly Reilly), jeopardising the doctor’s plan to propose marriage.
Downey’s Holmes efficiently combines impulse, wit and intuition. One moment he is delivering fatal karate kicks in a Fight club-esque scene, the next he is formulating elegant conclusions or dabbling in chemical experiments. In between he is knowingly comic or cautiously romantic with the only woman who can outsmart him, professional thief, diabolical schemer and love interest Irene Adler (Rachel McAdams) who mysteriously reappears just when Holmes is about to fracture the ribs of an opponent.
Computer imaging brings to the screen the era of Industrial Revolution, its grime, smoke and soot and also its modern shipyards. The walkway on the half completed Tower Bridge is where the breath taking climax is played out. The wharf scene where Watson accidentally unleashes an unfinished ship to the River Thames is also a visual treat.
Meanwhile, Holmes and Downey will be back next year in a sequel, where his nemesis Moriarty will share top billing. In the prequel, we encounter only the mysterious villain’s voice and look forward to discovering how Ritchie will update the villain.