Sherlock Holmes

Some films are discussed in the public forum simply as a result of their lead actors; Sherlock Holmes is a pretty good example.  This is the film that shocked fans of the eternal Sherlock Holmes when they learned that their beloved detective was going to be played by playboy Robert Downey, Jr.  Everyone who was not a Sherlock Holmes fan was thrilled to find their favorite Iron Man star back in another mega-role that would take advantage of his snappy one-lining talent.  We at MovieHuman would like to suggest that both parties were probably moderately satisfied with the result, but it is unlikely that either experienced the extreme response that they expected.

Downey, Jr. does a respectable job of recreating the aloof detective, but while the script attempts to give him a more human edge, his performance keeps him at a distance from the audience still.  He’s a wisecracking genius, no doubt, but still difficult to empathize with.  There are facets of his character, however, that do elicit some compassion, such as his deep, pseudo-romantic relationship with Watson.  Jude Law plays the sidekick, whose character seems to be woefully underdeveloped, his only flaws being utter devotion (which is torn between his partner and his love) and a slight gambling problem.  The relationship between them is developed though, to the point that their back-and-forth becomes the most natural and enjoyable part of the film.  Downey, Jr. and Law have a surprising chemistry, without which neither character would work quite as well.  Whenever the plausibility of the film or its plot comes into question, the viewer is still able to enjoy Watson and Holmes as two complementary puzzle pieces.  McAdams also fits fairly well, if not quite utilized to her acting strengths.

Guy Ritchie, of course, directed the film, attempting to raise his status after earning only limited credibility in his most recent films.  RocknRolla and Revolver were considered only half-hearted attempts to mine his initial success with Lock, Stock, and Two Smoking Barrels (a film that we’re quite fond of).  He certainly makes headway with this film, geared toward a mainstream audience.  His stamp is all over the first half of the film, with the signature slow-motion boxing scene (heavily reminiscent of Snatch) and the ever-popular grimy city streets throughout.  That first half is the most entertaining, in a clever, if self-aware, manner.  It is the second half that really starts to falter a bit.  Where the film began in an engaging and most spirited manner, the enthusiasm of the characters and the plot begins to tire, and although the plot twists are thought out and tied together in a very cohesive manner, they belong more as distractions than as the main event.

We realize that by stating the opinion that the relationship between Downey, Jr. and Law is the most captivating and enjoyable part in a film mostly concerned with solving the ultimate mystery, we’re making ourselves somewhat controversial.  But the fact of the matter is, that Ritchie’s signature style and the script itself seem to give up to the expected conventions and logical conclusions instead of taking some chances.  The finale itself is somewhat ridiculous and not as satisfying as it might have been.  Even though Holmes is a superstar of solving mystical mysteries, Guy Ritchie’s approach leans toward understanding the man himself, and while he comes close, that mystery dances away tantalizingly, leaving us sorely wanting at the end of the film.  It’s a shame, but with the inevitable sequel on the horizon, maybe he’ll have better luck next time.  He’h