The Return of Sherlock Holmes: The Bruce Partington Plans

 "All the Queen's horses and all the Queen's men cannot avail us in this matter."

This is the final episode in the guise of The Return of Sherlock Holmes; sees the return of Charles Gray as Mycroft; and is one of the finest episodes thus far, after a couple that were perhaps a little below par. It's a fitting end to the eighties for the regular episodes.

Brett and Hardwicke are very much on form, with plenty of character moments, and the deduction in this episode is first class- the way Holmes sees the significance of the points, and what they mean for Cadogan West's place of death, is an extraordinary sequence. We also have some superb guest actors, not least of which is Catweazle himself.

It's also exciting, especally at the end, so see Sherlock Holmes straying into spy territory. It's also interesting to see how Mycroft is far more important within the Civil Service than we had previously been told, beng a kind of proto-Cabinet Secretary. This is an appalingly small Civil Service, too, with "clerks" being given what seem like senior responsibilities. On the other hand, "junior clerk" Cadogan West appears to be paid rather well, so some Victorian values are certainly worth emulating. It's also instructive that MI5 does not yet exist, so Inspector Bradstreet is called in.

Diversions aside, though, this is a truly fine episode.

The Return of Sherlock Holmes: Wisteria Lodge

 "We must not confuse the unlikely with the impossible."

This episode is... well, not bad, but disposable. It's well made, produced, shot and (mostly) acted, but this is not one of my favourite Conan Doyle short stories. The initial premise- a house guest (splendidly dressed in Victorian pyjames and one of those pointy hats for sleeping in) wakes to find himself alone in the house- is intriguing, but the resolution (the machinations of a deposed former Central American dictator) seem to owe little to the beginning.

Still, any episode of this programme is bound to be entertaining, and both Brett and Hardwicke are, as ever, outstanding. Freddie Jones gives a bizarrely mannered performance as this episode's inspector- are we supposed to admire his skill, as per the short story, or patronise him? It's an odd way to portray Inspector Baynes, the only police detective to have ever matched Holmes. Yet the Victorian locations are superbly shot and done, as ever, with plenty of period detail.

There's also a piece of period dialogue that jars ("negroid features, mulatto-like"). Otherwise, this is hardly an episode that stands out. Still, we shouldn't expect that, and the episode is decent enough.

The Return of Sherlock Holmes: Silver Blaze

 “That was the curious incident..”

This episode, and the short story upon which it is based, is in fact quite atypical, yet paradoxically very much the popular impression of a typical Sherlock Holmes story. There is a purity in how what we get is a pure murder mystery, told methodically with no cheating, with all the clues laid before us.

It is an excellent whodunit, of course- the short story is a standout classic- but difficult to adapt well for a series that depends far more on Victorian colour and idiosyncratic acting for its success. Indeed, while Jeremy Brett is superlative as ever, there is little here in the way of windows into Holmes’ soul for him to latch on to. 

Nevertheless, the tale is told well, with gorgeous Devon location filming and a nicely nuanced guest performance from Peter Barkworth. There’s nothing really to fault the episode. It’s simply a very straight whodunit with very little else happening.

It must be said, though, that this is a fine whodunit, and the final summing up is most satisfying. That this episode does not really stand out is simply a matter of the story not translating well to the visual medium.

The Return of Sherlock Holmes: The Devil's Foot

 "John!"

This is a very interesting way to begin a new season, to say the least. I suppose this episode is known for two things. One, of course, is the glorious Cornish location filming, which truly sells the austere, ship-wrecking beauty of the peninsula which is not quite, really, a part of England. The other is the unexpected trippy sequence where Holmes and Watson get high on some bad acid, man.

The thing is, though, it works. It has a plot-related reason and, indeed, is part of the original Conan Doyle short story- this is yet another faithful adaptation. Yet we see some rather well done trippy direction as well as flashbacks including the Reichenbach Falls and, rather randomly and interestingly, some William Blake woodcuts. Jeremy Brett is extraordinary here, as he is always. He is also good at presenting us with hins of the psyche of a Holmes who is close to breakdown and recuperating for the good of his mental health. There are some excellent scenes, in particular, of Holmes alternately taking cocaine and trying to get rid of it, and Watson's reaction. None of this, in a nice subtle touch, is referred to at all either in the dialogue or Watson's narration, which is thus given the air of euphemism.

As for the mystery itself, it is executed very well indeed, with a strong cast. But this episode lingers in the mind for the ancient wildness of the land beyond the Tamar, as well as the land behind the doors of perception.

The Return of Sherlock Holmes: The Six Napoleons

 "Watson! This is no time for humbugs!"

This is an interesting choice of episode for a season finale- the short story by Conan Doyle, I recall, works rather well as a detective story with the twist being particularly effective. While there are plenty of twists and turns here, and the episode functions rather well as a mystery, there is a lot more going on here.

The structure, as is sometimes the case, is a little odd, with a lengthy series of opening scenes, with all dialogue entirely in unsubtitled Italian leading us, like Lestrade, to suspect that these stereotypically excitable Italians (including one Marina Sirtis) have some connection to the Mafia- after all we, unlike Lestrade, have probably seen The Godfather, and there's some clever misdirection in getting us to think of Senor Venucci as a kind of Don Corleoni figure.

But I think there's something else going on. All these excitable characters, wearing their emotions on their sleeves, are intended as a contrast with Holmes. For this is a superb episode for examining Holmes as a human being, and Jeremy Brett gets to act his talented little socks off.

The friendship between Holmes and Watson on one side, and Lestrade on the other, is superbly captured. There's a real rivalry, yes, but also a mutual affection, although of course one that can never be stated. The dialogue, the looks, Lestrade's tolerance for Holmes' quirks, all are superbly written, acted and directed. And that final scene, where Holmes awkwardly accepts Lestrade's fulsome praise, hints at the obvious supposition that Holmes may not be entirely neurotypical, without being reductive about it. Simply superb.

The Return of Sherlock Holmes: The Priory School

 "You have given me back my future..."

Another splendid episode here, with a more or less faithful adaptation of the story filmed in the glorious surroundings of the Derbyshire Dales where the Midlands meets the North, and partly filmed in Chatsworth House itself.

It should be a commonplace by now to point out that Jeremy Brett is sublime, but this episode gives him more opportunities than usual to enjoy himself with Homes' many physical and verbal mannerisms that his performance made definitive. edward Hardwick excels too, though in a slightly reduced role. It's always good to see Christopher Benjamin, too.

The story, as with Doyle's original, is an entertaining one, although it is further than most Sherlock Holmes stories from fulfilling the rules of detective fiction which did not then exist. Could there be, perhaps, in the story of the Duke's family originating as cattle thieves, a little light mockery of the whole aristocratic principle on the part of the good Dr Doyle? I ought to re-read the short story and see. But this, as an adaptation, is pretty much faultless. Right now, they bloody well all are..,

The Return of Sherlock Holmes: The Man with the Twisted Lip

 "I sometimes wonder whether men ever really, truly grow up."

This is another superb episode, again a rather faithful adaptation which, if we can forgive Conan Doyle for perpetuating the myth of the wealthy professional beggar, is a rather clever and well-structured little mystery- unless one happens to guess the twist upon which all depends.

I hadn't noticed untill watching this adaptation that the opening sequence, with Watson helping poor Mrs Whitney with her opium addict husband, perfectly mirrors what turns out to be the case with Mrs St Clair and her own, less obviously errant husband. That's a clever piece of foreshadowing, and there's a very interesting theme of long-suffereig, responsible wives and their immature and selfish husbands. I'm not used to seeing such a clear subtext. And I trust that Conan Doyle, writing this in the 1890s, was not intentionally propagating the myth that there are professional beggars who can genuinely sustain a wealthy lifestyle.

The narrative being partly in flashback sadly reduces the screen ime a little for Jeremy Brett, who is as superlative as ever, but Edwardd Hardwicke certainly has the presence to carry scenes on his own. It's great to see the wonderful Denis Lill as Inspector Bradstreet, and Clive Francis is incredible.

So here we have yet another excellent episode. Surely we're due a dud at some point?

The Return of Sherlock Holmes: The Musgrave Ritual

 "And the singular affair of the aluminium crutch."

We have another splendid episode here- a delightful little gothic puzzle which provides us with some entertainment as the mystery is solved yet, for the unfortunate and proud Mr Brunton, his death, amidst a subtext of class (the butler is cleverer than his master by far yet must not be seen to go "above his station") and sexual passion (he's been a naughty boy).

There is a major change from the original Conan Doyle short story in that the whole thing take place in the mid-1890s of the present day, with Watson very much part of the story, although Holmes' early tease of the glorious titles of some of his early cases hint at the story's origins- a nice touch. It's also pleasing to see that, correctly, the servants and the inspector (Ian Marter, shortly before his awful death) speak in a West Country-type accent which we would not usually today associate with Sussex but once (with variations) spread all the way from Cornwall to Kent- although I'm in no way fit to judge the specific accuracy of the accents here. But the fact the Sussex accent is now extinct shows, sadly, how little respect the "Home Counties" have for their own regional culture and heritage. We in the Midlands ought to take note, me duck.

The cast is strong and the tale is a satisfying one both intellectually- I love how Holmes decodes the ritual- and in terms of character. And the final revelation, with the fireplace behind, is quite masterful.

The Return of Sherlock Holmes- The Second Stain

 "The motives of women are so inscrutable..."

This, again is a very strong episode- again adapted from a particularly strong Conan Doye short story, althogh yet again one in which the "rules" of detective fiction, which had yet to be drawn up when Conan Doyle was writing, 

Brett is wonderful, as ever, imbuing far more character into Holmes than Conan Doyle's dialogue hints at. I love his leap of joy as the episode ends. It's a strong cast too- a young Patricia Hodge impresses, and Harry Andrews is enormously charismatic as priime minister Lord Bellinger. Is he a fictionalised Lord Salisbury? The short story is set in the Summer or Autumn of 1888, long before The Final Problem. This would be shortly after the accession of Wilhelm II, which would make sense as I think it's clear he is the "foreign potentate" who writes the offending letter.

Such things are piffling, however. This is superb telly. I love so many things- Lestrade's misplaced smugness, making me rather fond of the man; the kerfuffle at the start as the distinguished visitors are expected; the fact that late Victorian London comes alive before our eyes. I'm well aware that sharks will at some point be jumped, but right now it feels as though the series can do no wrong.

The Return of Sherlock Holmes- The Abbey Grange

 "The game is afoot!”

This is, perhaps, one of the finer episodes, where the production and acting are very much on form in an adaptation of what is, while perhaps not one of the more well known of Conan Doyle’s short stories, certainly one of the better ones.

I’m blogging the series, not the short stories; I’ve read everything Conan Doyle ever wrote featuring Holmes (and, I must confess, absolutely none of his other stuff, which would have annoyed him) at least once, but in all cases some time ago. And that “some time ago” you just read was written by a man of forty-three years.

However, I simply have to comment on the story here. Conan Doyle was never really one for the “rules” of murder mysteries; said rules were only codified by Father Knox in 1928 after all, the year after Conan Doyle finished writing Holmes. Yet here we have what looks like a classic mystery of a murdered squire in a country house, with a billiard room to boot... and the killer turns out to be some randomer we hadn’t previously met. And Holmes lets him off. Incredibly, it’s all quite satisfying because of this precisely because the question isn’t so much whodunit as how and why. Things were more fluid before Father Knox came along with his rules.

This is a superb production, of course, and Brett is magnificent; I particularly love his discomfort as Lady B hugs him, and as ever he delivers Conan Doyle’s lines with depth and character. Hardwicke, in his first filmed episode, impresses too. The whole series seems as good as ever at this point.

The Return of Sherlock Holmes: Series 1- The Empty House

 "Thank you.... Doctor... Watson..."

Well, that was a wholly enjoyable, and somewhat faithful adaptation of The Empty House. It helps, of course, that Edward Hardwicke makes a much more charismatic and believable Watson than the rather flat David Burke. But Jeremy Brett is spellbinding as ever, and the script and production sparkle.

It's an interesting cast, too, featuring a cameo by James Bree giving an extraordinarily mannered performance as the coroner which calls to mind his role as The War Chief in Doctor Who. And Colonel Moran is played superbly by the magnificently voiced Patrick Allen- known to his enemies, and The Black Adder fans, as "The Hawk".

The episode nicely fits in a proper whodunit with Watson- now assisting Lestrade as a police surgeon and making endearing but not always correct attempts at Holmesian deductions: the coroner is, as it happens, correct to chide him for his assumptions. Yet the moment of Holmes' return is wonderful- arsehole though he is for teasing Watson and making hin faint. The explanation of Holmes'survival is both plausible (it contradicts the final shot of The Final Problem but we can, I suppose, see that as Watson's imaginings) and givs a decent reason for why Holmes should have played dead for three years.

This is an extremely strong opener. Yet I'm looking forward to more straight whodunits crammed with character actors.