The second season (each one has been only three
episodes long, so they’re more like autumn in Lapland than any of the four
seasons most of us are used to) of the BBC series Sherlock has just ended, with the show getting generally good reviews,
bordering on the rave in some quarters.
Starring the man with the most unlikely name in
acting since Arnie burst onto the scene in Conan the Destroyer, Benedict
Cumberbatch (no prizes for guessing what he was called when he was at prep
school), and Bilbo Baggins, AKA Mr. Everyman, AKA Martin Freeman, real name Tim
From The Office, Sherlock proved to
be very much a curate’s egg.
It was best in Series I: Episode 1, good in
Series 1: Episode 3 and Series II: Episode 1, average in the weekend’s finale,
poor in Series II: Episode 2 (“The Hounds of Baskerville”) and dire in Series
1: Episode 2. This 90-minute offering had a ridiculous plot involving a Chinese
beauty from the impoverished hinterland who for some strange reason spoke
Cantonese - “Daaih lou! Cheng lei!” ("Brother! Please!”) - and had become involved
in crime because she had no prospects. And this show was supposed to be set in
the modern day – when bright, not to mention, beautiful kids like her go to
university and feast themselves on the fruits of the world’s fastest growing
economy – not in the nineteenth
century!
One of the problems with any adaptation of a
Conan Doyle tale to the screen is that the stories themselves, in common with
Poe’s seminal detective stories, depend to a large extent on atmosphere. Things
happens, of course, but not at the breakneck speed at which they tumble over
each other in, say, a Robert Ludlum blockbuster, written with one eye on the
silver screen.
To make up for the intrinsic lack of action, the
team responsible for Sherlock decided
to fall back on two tried and trusted remedies: the “bromance” (complete with
jokes about “confirmed bachelor John Watson” – nudge, nudge, wink, wink, SAY NO
MORE!) and the manic edit. The latter, featuring our hero doing a supersonic
mental filing of all the tidbits he’s somehow stored up over his short lifetime
on his way to coming up trumps yet again, is a convenient way of papering over
holes in the plot but can misfire if the viewer’s willing suspension of
disbelief shifts to apathy.
Verging dangerously close to albino, with eyes
the colour of a husky’s, Cumberbatch’s Sherlock is angel-like, not in terms of
his character – his impatient arrogance leads to some good dialogue, such as “I
can’t just turn it on and off like a tap” in response to his sidekick’s “Don’t
get clever!” – but in respect of his ability to perceive things intuitively by direct
apprehension. Who needs brilliant powers of deduction or superior reasoning
skills, if you can just see the truth?
Verdict: unlikely to pass the test of time as
well as Basil Rathbone and Nigel Bruce.