Let’s set the record straight. Sherlock Holmes is a fictional character that was featured in 4 novels and 56 short stories written by Scottish author Sir Arthur Conan Doyle. Mr. Holmes then is a fabrication that envisions the imaginary sleuth as a 93-year-old reflecting back on how a case ended his career 30 years ago. The thing is, the picture is so meticulous, so deliberate and so…uh…well sluggish that you might be inclined to actually believe that this is the carefully studied profile of an authentic man. This is the latter day experiences of an erudite detective where entertaining embellishments are frowned upon in service of reverent restraint.
Writer-director Bill Condon and actor Ian McKellen have worked together before in Gods And Monsters. There the chronicle also centered on a life story. The difference is then it was director James Whale, an actual person. This time we’re detailing a make-believe guy. Mr. Holmes is a handsomely mounted production to be be sure, but one whose sole joy rests in watching a talented thespian act. Sir Ian McKellen, that English Academy Award nominated star of stage and screen, beautifully embodies the role of the agent in this dignified feature. He has a certain presence, but why so serious? This is a fantasy, not a biography where slavish attention to detail is a must. We could have used a little more fun perhaps. Accompanying McKellen are Laura Linney doing her best Emily Watson impression as his housekeeper and young Milo Parker who evokes Freddie Highmore as her son Roger. The allusions to other actors are in no way meant to negate their fine work here.
As a mater of fact, Ian’s McKellen’s scenes with budding star-in-the-making Milo Parker are the highlight of this production. The child has a precocious air that is quite endearing and never grating in the way some youngsters can be encouraged to act. Roger is the inspiration for Holmes to re-remember a mystery from his past: his last assignment. Roger is fascinated by the private investigator and his emotion captures the audience’s interest. Numerous flashbacks recall these details. There’s a lot of jumping around – first to a recent trip to Japan – then 35 years into the past. This for little apparent reason other than to utilize old age makeup on McKellen for the modern setting. Honestly the change isn’t all that dramatic. The real problem is, the case at hand isn’t very interesting. Mr. Holmes has its moments, but if I may quote another English literary character: “Please, sir, I want some more”. There just isn’t enough here to sustain a film. Ultimately it feels more like the studious artifact of bygone history than the fanciful re-imaging of a fictional super sleuth.