Reinventing Sherlock

When I find myself in need of a break from watching Asian dramas or simply in search of respite from reading subtitles, I usually look on to the BBC to provide me with alternative entertainment. Most shows take anywhere from 3 to 13 episodes, so like your standard jdorama, it only takes a relatively short time to go through a season. Since I've had a good run with Merlin for three years now, I figured it wouldn't hurt to check out what they can do with another reboot of  a classic character, this time in the form of Sherlock Holmes. I wasn't expecting much from it really, but after watching the first episode, I found myself hooked and loving it. So if you haven't seen it yet, I suggest you go watch it immediately. A definite must-see this year.

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When BBC/PBS announced their intention to create a Sherlock Holmes series set in modern-day London earlier this year, a lot of people couldn't help but question the propriety of updating such a well-loved and iconic character for television. Coming on the heels of the Guy Ritchie adaptation, the public wasn't so sure whether they were ready to see the great detective once again, and in such a short period of time, without his signature fore-and-aft deerstalker cap, inverness cape and curved calabash pipe, solving cases outside of the Victorian period. It didn't seem like such a good idea to rework such a classic figure, especially when actors such as Basil Rathbone and Jeremy Brett have already left an indelible mark in playing the said character. To do so, was to court disaster; but to do so and get away with it, would simply have to be a work of genius. And that's basically what creators Steven Moffat and Mark Gatiss's Sherlock is---inspired work.

Away from the fog and the gas lit streets of the Victorian era, the Beeb's latest incarnation of Sherlock Holmes is young, dapper and tech-savvy; possessing all the eccentricities and resourcefulness of the Arthur Conan Doyle original, albeit now more pronounced, having been adapted to a contemporary setting.  Meanwhile, Dr. John Watson, who's previously been relegated as the bumbling sidekick in a great many screen adaptations, now gets the respect he deserves, being portrayed as a solid and capable fellow.

The pilot episode, A Study in Pink, recounts how the two first meet and end up solving crimes together, all in the course of taking up residence at 221-B Baker Street. It's an absolutely brilliant episode, penned by series creator Steven Moffat, that's set up to provide sufficient character exposition. It alone gives tremendous insight as to what qualities and attributes that make up for Sherlock and John's odd yet interesting partnership, all the while engaging audiences with this mystery that involves a slew of suicides, the cause of which, the police have trouble figuring out on their own. What makes this episode particularly memorable is that not only does it sparkle with wit and humor, it's also smartly written and paced in a manner that pays homage to Arthur Conan Doyle's works without necessarily censuring itself from introducing enough changes to keep the material fresh and original. With excellent cinematography and wonderful camera work that can rival that of a full-length movie feature, the first episode of this series directed by Paul McGuigan is a certified winner, not to mention a rare piece of television. 

I'm a high-functioning sociopath, do your research.

Benedict Cumberbatch is excellent as the 21st century Holmes; he is a delight to watch, as is Martin Freeman, who winsomely plays the great detective's esteemed colleague. They play off each other so well  that it's not hard to imagine why this legendary pairing between an invalided army doctor and a consulting detective in literature is so well-loved.

Cumberbatch's version of Sherlock is by the book, highly intelligent and scientifically inquisitive, peerless and impressive, appallingly obnoxious and more so, painfully exacting in his social ineptitude. In order to demonstrate the character's superior mental acuity for observation and deduction, Cumberbatch delivers some of his lines in a flurry, at times they're even spit out in an exasperated tone---clearly to lay emphasis on the fact that words often fail to coincide with  the speed in which Holmes has assembled  the facts and therefore, everyone else has to pick up their pace to keep score. It's a spot on performance, one that calls attention to both the character's brilliance and underlying compulsion to prove himself  superior. He also does quite well in showing Holmes's occasional fits of lethargy, particularly when the detective finds himself without a case to solve in order to make life a little less boring.

Equally noteworthy in the role of Dr. John Watson is Martin Freeman, whose earnest demeanor and appeal provide a wonderful yet endearing contrast to Cumberbatch's domineering presence as the great Sherlock Holmes. Playing the loyal friend and chronicler, he's the guy who best represents the viewer;  one who's synchronously impressed and baffled by Sherlock's intellect and its "limitations". Proving himself indispensable as the everyman in the course of each adventure, Freeman's Watson is perhaps the one closest to the original---he's strong, reliable and practical, he's the heart and conscience to Sherlock's detached objectivity, the sole anchor that gives the genius a semblance of humanity. 

 

Of course, the two are drawn together out of a need for action and adventure, and The Blind Banker, finds the two of them officially turning into a crime-fighting duo and settling down into their respective roles. The second installment to the said series comes off more as a routine episode, as Sherlock and John find themselves at odds with a Chinese smuggling syndicate, after being asked to investigate a mysterious break-in at an investment firm. Writer Stephen Thompson works with a locked-room mystery and delineates the case with a certain level of detail and difficulty, making it an episode worthy of the attention of Sherlock Holmes.

The third episode, The Great Game, packs a mean wallop as writer-creator Mark Gatiss fills up the show's 90-minutes with bite-size mysteries to set up the first appearance of Sherlock's archnemesis, Moriarty. It's an ambitious episode that plays on a heightened sense of danger; it's fast-paced and dense with information, leaving audiences hanging on to every word and breathless with the onset of action. It  also beautifully tracks the development of the relationship between its two main characters, with particular emphasis on Sherlock's tendency to obsess over certain matters. The whole endeavor ends on a nail-biting cliffhanger that's certain to keep audiences eager and hungry for its next season. In sum, the BBC series, Sherlock, is a remarkable piece of television programming. It's probably one of the best, if not the best to come out from across the pond this year. Those looking for quality entertainment should definitely consider putting this on their watchlist---not only is it worth every minute of your time, but you'd be hard pressed to find another pairing with such charm and chemistry.    

Categories: BBC Series