Sherlock - The Final Problem

Mary Entry, My Dear Watson

Sherlock 4.3 - The Final Problem
UK Airdate: 15th January 2017 BBC 1

Warning: Some slight spoilerage here.

Oh rats. This is absolutely not the review I wanted to be writing today, in the wake of last night’s season finale of Sherlock. The show has been a bit hit and miss since it first started and there’s usually one clunker per series but... yeah, The Final Problem isn’t good. In fact, I would go as far to say that it’s not only the worst episode of this series... it’s the worst of all four series. Not a good one at all and, ultimately for me, very disappointing.

Okay... so was fully expecting the re-entry of Mary Watson into the plot this week. Perhaps a continuation of her back story thread and how it was, maybe, intertwined with Moriarty and Euros Holmes but... nope. She has a brief cameo where she enters the show via another video clip at the end and I mention this here purely to justify the title of this blog post. I was going to be using this title whether she reappeared or not, you see... I didn’t want to waste it. Alas, my ideas at the continuation of her storyline seem almost blown out of the water... up to a point.

And that point is... I’m now forced to give up on the idea that Molly Hooper was behind everything. The Molly-arty figure, so to speak. Alas, she remains a footnote in the lives of Holmes and Watson and I think that’s a waste of a great character and, indeed, a great actress. In fact, the entire episode seemed a waste of great actors and actresses, to be honest, because if there’s one thing you couldn’t fault here... perhaps the only thing... it’s the quality of the acting from all the usual suspects in this. So Cumberbatch, Freeman, Gatiss etc were all exceptional in this one... they just didn’t do very well as characters, I would say. I know the plot was dealing with things from childhood but I don’t think they had to make all the dialogue that childish. Also... it all seemed a bit too theatrical and cypherish, to me. Which is a shame.

On that subject, though, the one member of the cast who really won out in all this stuff was, in fact, the wonderful Louise Brealey in her one scene here as Molly Hooper. She played it in such a way that you really wanted to know what kind of day she’d been having and why she was responding like she was. It was a brilliant scene and pretty moving and her performance made you wonder why the heck the rest of the characters hadn’t been written as well as that this time around. This scene between her and Sherlock, at least her side of it, seemed to be the only ‘real’ and moving thing happening in the entire show, to be honest.

On the subject of Mary Watson... well there’s room for another series in a few years if they decide to go down that route and it would be a fairly simple matter, I would have thought, to bring her back into the role. Of course, the split between Amanda Abbington and Martin Freeman probably makes that highly unlikely now but, I’m certainly not going to rule that one out yet. Especially since I want to know who mailed the P.S. DVD she’d recorded at the end of the episode.

Okay, so there was a lot not to like in this and I really don’t want this to turn into a laundry list of complaints. Especially since I’m still really keen on the series and most of the people I know have now given up entirely on it and haven’t even bothered with Series Four. I still think it’s a good show and, honestly, one really bad episode out of three is not too bad an average, is it?

Okay... so things like the absurd skill at reprogramming people that Sherlock’s sister has really does go into the realms of fantasy. Yeah, I know there are real life precedents for this kind of thing but they really whacked this up to the Nth degree here. On the other hand, Sherlock is pretty much an invincible breed of super science hero and, maybe it’s fitting that his latest nemesis also has super powers of her own, so to speak.

There’s also the question, by way of an example of shoddy ‘run through the wet paint before someone sees you’ writing issues inherent in this week’s installment, of why Sherlock, Mycroft and Watson would feel the need to break into the compound in which Sherlock’s sister, Euros Holmes, is supposedly imprisoned when Mycrioft pretty much outranks the top brass there anyway. If they suspected the lunatics were already running the asylum then they should surely be better prepared for what was waiting for them. If they weren’t then... why the heck would they break in there in the first place? They could just walk in with authority over everyone there. So, yeah, taking the time to prove that security is lax seems a bit of a stretch of an excuse to show those kinds of action scenes here, methinks.

But all this, however, is distracting me away from one of the main reasons why I had a hard time with the episode.

It was dull.

Simple as that. I kept checking my watch to see how long we had to go because it was dragging. There were no interesting plot twists or developments and even the media induced enhancements were few and far between and certainly didn’t add much when you noticed them. About the only little clever thing I did like was the shot of the ashes from Musgrove Hall continuing to rain down on Mycroft in Sherlock’s study at the aftermath of his story... quite liked that nice little touch but there just wasn’t enough of this kind of inventiveness, I felt, in this episode. I got quite bored by the end of this one.

So there you have it. The Final Problem was not much of a series finale and, from what I understand, I’m not alone in that conclusion. I was actually going to part with some cash in a week or two to buy the complete series blu ray coming out next week but, after seeing this clumsy nightmare of an episode, I’m not sure I’d want to after the disappointment of that climax. I’m still hoping that we’ll get another series in a few years’ time (preferably with lots of Mary and Molly in it) but for now... well... I’m kinda glad they’re all taking a break from it, to be honest.

Sherlock - The Lying Detective

Mary-tricious

Sherlock 4.2 - The Lying Detective
UK Airdate: 8th January 2017 BBC 1

Warning: Spoilers from the outset.

And here we go again. This is an almost text book episode of what Sherlock is all about and what it’s always been about since the very first episode aired... It’s all about being very clever in its use of the media to both play with the way the content and information is delivered to good dramatic and comic effect while still using the flexibility of this rug-pull of a malleable breaking of the fourth wall, on a purely narrative level, to be able to wriggle out of anything. For that reason, I really loved it. However, another thing that has remained consistent throughout the majority of the series is the fact that on the level of the actual content delivered... and I mean the writing and its inability to use those same techniques to sustain trust or be anything less than obvious, for the most part... it lives up to its normal standard and is also, unfortunately,  fully represented in the chemical make up of this weeks episode.

In other words, it was an entertaining romp but, unfortunately, not clever enough by half.

Now then... this didn’t stop me enjoying this one, I have to say, and I found it to be a much stronger episode than the previous one but... it felt like a stop gap so Holmes can get Watson on board again after the ‘possible’ death of his wife in the previous episode. And, yes, I’m still not buying into that whole ‘Mary is dead’ idea just yet... if I’m going to make myself look stupid on that front then I can at least drown properly without flapping my arms this way and that in terms of my suspicions of where the last episode might end up.

So, despite the excellent performances of all the usual suspects in this one... Benedict Cumberbatch, Martin Freeman, Una Stubbs, Rupert Graves and Mark Gatiss... not to mention the always brilliant Toby Jones playing a really unlikeable serial killer who, alas, because the writing telegraphed his character too much, wasn’t surprising anyone (but, as usual for Jones, he did it so well)... my attentions were fixated on just two things throughout this episode. One of them was the whole Mary Watson thing and I’ll get on with my one last chance at second guessing that in a minute. The other thing was... alas... thrown in my face, so to speak... and that also had its roots in the previous episode.

In last weeks episode, Dr. Watson had a dalliance, albeit in text form, with another woman. This week... after I was sure that Holmes wasn’t actually talking to a dead woman... another character in the story had some chips by the River Thames with Holmes and, at that point, my thoughts marinated  to... wasn’t that the lady on the bus from last week but with different coloured hair? And then I told myself I was probably wrong and moved on until another scene with Watson and his therapist and, looking at her I thought... no, wait! Isn’t that the woman from the bus from last week? And then I moved on again because... well I kinda stopped playing that game and I assumed my gut instinct was wrong. Well, it turns out I was completely right in that all three women were, in fact, the same person... the only thing I didn’t quite see coming was her relationship with one of the main characters but.... yeah... you know... my gut was right.

And so I’ll come to Mary. I’m still not convinced her death wasn’t staged... possibly by Mary (and Molly... and I’m still not giving up on my Molly-arty theory either, for now) and the reason I’m still clinging onto this sad conviction that she might still be alive (at least until the conclusion of next week’s episode, at any rate) is because Moffat seems keen to make it seem almost impossible to the viewers at home that she could be anything but dead. So we have the ghost of Mary Watson talking to John Watson and giving him advice... or do we? Well, it was stated and is quite obvious that the ghost of Mary Watson is just a projection created by John Watson to deal with her death and... well... that psychological manifestation doesn’t have to mean that she’s actually really dead, does it? As long as John believes that she’s dead then he can have whatever ghost he likes playing around inside his brain. And that’s where I am at the moment and part of me sincerely hopes I’m wrong in my suspicions because, frankly, it would be nice if Moffat and Gatiss were able to run my mind around in little circles because I hate being right about a lot of the stuff I see on TV and at the movies... kinda numbs the emotions, so to speak. Time will tell... seven more days of that man made temporal construction known as a week should reveal the end game on this one... we shall see.

Other than all that though... great little episode despite the obviousness but with the quality... and this is a gift that Moffat seems to have... to still inject great dollops of humour into the programme even when the two main protagonists of the series are in their darkest places. Some of the dialogue, as always, was pretty wonderful... it’s just the broader strokes on these things which sometimes screw these up a little, methinks. So... wonderful performances, cool and innovative use of the medium to show things in the usual, marvellous, Sherlock manner and, as always, a really nice score by David Arnold and Michael Price which comes out on CD on 27th January (if you were wondering... pre-order it specifically from Silva Screen before the release date here now and you should get the special limited bonus disc of the score to The Abominable Bride thrown in too, if you get your skates on).

Despite some obvious moments, not a bad bit of viewing for a Sunday evening. British television has still got it, I reckon, and Sherlock is very much one of our finest exports. Looking forward to the next one now... just to see if any of my wild theories are right.

Sherlock: A Scandal In Belgravia

Belgravian Rhapsody

Sherlock: A Scandal In Belgravia

Airdate: January 1st 2012. UK. BBC1

Warning: You might easily be able to deduce

the presence of spoilers in this review.

As much as I bemoan Steven Moffat’s current involvement in Doctor Who as being, well, a bit hit and miss compared to the Russel T. Davies era, I have to say that his updating of the Sherlock Holmes stories just keeps getting better and better. This series two opening story lifted/updated from A Scandal In Bohemia, the only tale to feature “the lady” Irene Adler (who was really the only person who outwitted Holmes), is absolutely brilliant and shows off British TV and creativity at its best. As the episode carried on, with very specific stopping points which seemed to indicate the end of where a shorter episode might finish but then just carried on like a three act drama, I was getting more and more impressed with it.

The cast were all good, of course, but that’s to be expected. Irene Adler has been revamped by Moffat into a high class dominatrix with all the wonderful flair for drama these ladies have in them in real life... although they don’t all tend to make the gazillions of cash Moffat seems to think they do, to be sure. There’s a certain amount of mismatch between the character and her real life counterparts it seems to me but, then again, Moffat knows how to exaggerate his playing pieces and make them interesting... this is Sherlock Holmes after all... a character who really couldn’t exist so easily in real life.

Ok... so character depth aside... it has to be said that this incarnation of Irene Adler is one of the best ever concoctions in my opinion. A more addictive and seductive version of the character has probably not been written, it seems to me. She’s well matched in her witty dialogue by Holmes, of course, but this is not the only standout element of this particular episode.

Starting up from that awful cliffhanger ending from the end of the last block of three episodes, there’s something of a whimper of a start as Moriarty leaves our heroes Holmes and Watson alive, in order to solve the puzzle of a particular piece of code for him, it turns out. However, the momentum of this episode gathers as it dazzles the viewer with brilliant visual and audio techniques that rush the episode along at a blistering pace.

Screen wipes are used, for example, to disappear prospective cases as Holmes walks in front of them... only to be taken back and used to reappear a set of clients when Holmes hears something that catches his attention (in a case which is one of many puntastic titles referring to actual Conan Doyle titles... in this case The Greek Interpreter becomes The Geek Interpreter). Other scenes place Sherlock right at the crime scene even though he’s not actually there... interpenetrating objects and spacial juxtapositions from cross cut scenes into each other, like having Irene Adler sitting on a sofa in a field as Sherlock talks her through a case. This is very much an extension of the kind of thing Soderbergh was doing in his movie The Limey, where two characters have a conversation shown at three different cross-cut locations which makes perfect sense “in the moment” until you realise the practicalities of this don’t actually work. They tend to work in Sherlock because transitions between plains of reality are surreally blended to herald their arrival as a visual metaphor in a much more blatant manner than many directors would push. And it all hangs together very well here.

The use of typography to indicate “silent information” which was used the most in the very first episode of the last series, is used even more in this episode so that it’s on people’s radar more in time for a scene which demonstrates that Holmes is completely unable to “read” the naked Irene Adler when he first meets her. This is a really great sequence, not just because it shows this basic fact but because it simultaneously sets up Irene Adler as a powerhouse of a character and a worthwhile opponent for Holmes... also, obviously, because it’s got a hot, naked Irene Adler in it... but primarily for the way in which it sets the character up.

The story has a little twist in its tail right at the end which you almost guess is coming and which you almost wish the writer hadn’t done. The ending gives the viewer hope that Adler might return as a major character in a future episode and, although I would certainly welcome that, it would take some fairly nifty writing since, as far as I remember, the character only ever appeared in one story (although I believe she is referenced in a few).

Frankly, though, this episode was a real tour-de-force of British television and was so much better even than the three episodes of the last series. This may well have been the best hour and a half of television that I watch all year... which is a bit worrying but, no matter, at least I have a new benchmark now.