MR. HOLMES – The Review

Lets add another entry to the long, long list of feature films concerning the fictional character that’s been in more movies than any other (perhaps this new one will put him past Dracula, or at least in a tie with the Count). Just who is it? To evoke the old cliché, it’s elementary, film fans, for it’s none other than “the world’s greatest detective”, Sherlock Holmes. Most recently director Guy Ritchie cast Robert Downey, Jr. in two big screen blockbusters set at the start of the 20th century (while Sherlock jumped to the modern-day for TV shows on CBS and the BBC). This new film is also set in the 20th century, but our sleuth is not the bare-chested, bare-knuckle brawler from the Ritchie flicks. No, this is set in the middle of said century, with our hero well, well past normal retirement age. Sir Ian McKellen, the portrayer of pop culture icons Gandalf and Magneto breathes new life into another powerhouse from the printed page as MR. HOLMES.

Near the end of his life, long after he wrote the last mystery novel, Sir Arthur Conan Doyle would be asked by interviewers, “So, what’s Sherlock Holmes doing now?”. He would respond with a stock answer about him retiring to a country farm in order to continue his bee-keeping studies. This is pretty much where we find Holmes (McKellen) at the film’s start. Arriving at a rural train station, he boards a taxi to that cozy cottage, tended to by his housekeeper/cook, the widower Mrs. Munro (Laura Linney) and her ten year-old son Roger (Milo Parker). Holmes instructs Munro to add the juice of the prickly ash plant to his food and drink. This rare plant was the reason for his recent trip. To Japan. Holmes was the guest of author/biologist Tamiki Umezaki (Hiroyuki Sanada), whose recent work touted the plant’s regenerative effects on the human brain. Seems that the “royal” honey produced at the farm is not helping the great Holmes mind. Almost didn’t mention that the year is 1947 and Mr. Holmes is a still spry 93. But his razor-sharp faculties are dulled by age. He’s ruined many a dress shirt by writing names, “crib notes” (of recent friends) on his cuffs. Hopefully this will help with his newest project: writing his own account of his final case, since Dr. Watson had too much of a flair for the dramatic. Roger happens upon the manuscript and implores him to finish. But the facts fade until finally Holmes can fully recall this solo (Watson had married and moved out) case, one whose tragedy hastened his retirement. As his twilight days dwindle away, Holmes bonds with Roger over the bees, as his mother contemplates a change.

There’s still more than five months left in 2015, but I’ll be very surprised to see five better lead actor performances than the wonderful work from the always compelling Mr. McKellen. The stage and screen veteran nearly provides a master class in acting, bringing new unseen dimension to this familiar role. Holmes goes from angry to charming, arrogant to modest almost at the duff of a top hat. Most unusual is his fear, that of losing his skills, and his attempts to hide his frailties from others and … himself. Finally here’s a Holmes that learns to care about people, that’s it’s not a failing fault of lesser folk. This may be best shown when he is horrified by a family argument that seems to cut like a jagged dagger. And there’s also regret as he recalls how his choices affected others, often tragically. Linney is a forceful head of the house who will not be intimidated by the famous man. Parker is exceptional as the fatherless boy who clings to Holmes as a mentor and perhaps a grandfather. Their interplay is quite delightful. As for the supporting players, Hattie Morahan gives a haunting performance as the object of that last case. She is at first scornful of Holmes, not being impressed by his “parlour tricks”, then realizes that they are somewhat kindred spirits. And big kudos for casting a former screen Sherlock as the star of the matinée feature that Holmes views at his local London cinema (which causes him to squirm in his seat).

The reteaming of McKellen with his GODS AND MONSTERS director Bill Condon is cause for celebration (can it possibly be seventeen years?). Condon brings a light, intimate touch, knowing when to cut for the maxim effect while inspiring such terrific work from this impressive cast. He also is adept at story “plate-spinning” as he keeps jumping between three different timelines without an ounce of confusion. Truly effective is an eerie sequence in which Holmes explores a real historical locale far more shocking than any “hound of Hell”. The sets and costumes stun as does the camera work by Tobias A. Schliessler. The pace never lags either, thanks to screenwriter Jeffrey Hatcher’s adaptation of Mitch Cullin’s novel “A Slight Trick of the Mind” (and Doyle’s classic creations, of course). The music by Carter Burwell never intrudes or overwhelms. My only complaint is his choice for the matinée music, it doesn’t really evoke the lush, full orchestra scores of the golden age of Hollywood. Ah, but I’m splitting hairs because this is a sublime affecting entertainment. If you’re smart enough to go to the right address (one of the film’s clever quips), than please treat yourself to a visit with MR. HOLMES.

5 Out of 5 Stars