In this stylized and expanded adaptation of Conan Doyle's "The Adventure of the Noble Bachelor", Lady Helena (Anna Calder-Marshall) refers to her elaborate plot to escape captivity as "a science of instability". Director Peter Hammond appears to have replicated this approach in his conception of T. R. Bowen's surreal teleplay. Just as Helena painstakingly reconstructed, one stone at a time, the structure of an old, dilapidated chapel, only to deliberately topple the entire edifice in order to secure her freedom--the chapel being a particular apt metaphor for Helena's struggle, as her confinement originated with subjugation to the institution of Holy Matrimony--so Hammond dramatically breaks down and reassembles the detective story structure to facilitate the most evocative and--ironically--cogent possible visualization of a script that, admittedly, may go a bridge too far in expanding the horizons of Brett's volatile, sensitive Holmes.
Bear in mind that in previous episodes, particularly The Musgrave Ritual and The Devil's Foot (both excellent), we have already seen Homes battling with his over-stimulation, drug dependency, and consequent physical exhaustion--qualities all of which, incidentally, were suggested throughout Doyle's original stories, even if the author didn't intend to challenge or subvert the detective genre with more pronounced, incisive character development.
Given Brett's layered portrayal of Holmes throughout the Granada series (in particular, an unwell Holmes vacillating between moody distance and almost delirious fits of giggles in The Musgrave Ritual is a significant precedent), his fragility and flightiness here are a credible--if ambitious--move to take the character to a logical extreme. The dream sequences perhaps take this a step beyond logic, and it is here that Bowen's script may be overreaching, but the result--with Hammond, in his plunge from the white cliffs of scientific deduction to the uncanny valley, taking the only remotely feasible approach to this material--offers a fascinating, quite effective film experience when taken on its own aesthetic merits, as an expressionistic and occasionally surreal visualization of chaotic mental interiorities.
In short then, I can understand why this installment isn't especially well-liked by fans, but I think some of the ire is unwarranted. Superficially, the first issue with its very loose adaptation: Conan Doyle's original storyline is relegated to a subplot, the surrounding circumstances of which are morphed beyond recognition. On the other hand, a straight adaptation of that short story would have been pressed to fill up 50 minutes of screen time, let alone tell a truly engrossing story of relevance to contemporary audiences. And in large part, the job of dramatists in adapting these stories has always been to find, and shape for TV, an effective balance of Doyle's own characteristic synthesis between detective work and florid, Watson-style melodrama. If anything, this episode simply leans a little too far in favor of the later, eschewing the former by necessity of its bold decision to develop the detective-protagonist in directions not usually humored by the genre.
If the only reason you watch this series is to see close adaptations, you may be disappointed--but I recommend giving it a chance anyway.
As a film, it has a lot to recommend it. The presentation is sophisticated and sumptuous. Gloven, one one of the main settings, is beautiful. The sequences introducing the title character, Lord Robert (Simon Williams) and Hettie (Paris Jefferson) are beautifully acted and filmed. I'm almost certain it was designed to appeal to drama-lovers. There are expansive views of the estate, glistening sunlight-on-water shots, clever panning shots to pull us into the next section. Williams and Jefferson are also standouts among the episode cast. These shows always had excellent actors and Paris Jefferson is especially powerful for me as Hettie, who most definitely is not a damsel in distress. When Lord Robert teases that she's more "wild and beautiful" than a great cat, he ironically does not realize how true that is.
While the film has been called both boring and confusing, I'd take issue with those. "Confusing" I can understand. Especially in the first third or so, you could say some parts are disjointed. I think we're purposely being fed scraps of information. "Boring" is the last word I'd use. I guess it doesn't move quickly, but for me it's a comfortable pace that allows the story to unfold and the viewer to absorb the things happening on screen. There are one or two sequences that are a bit shoehorned but they are minor to some other pretty effective editing choices. Such as the sequence of events on Holmes' night out or intercutting the wedding with Holmes in his flat.
Speaking of Holmes, I think Jeremy Brett is tremendous here: one of his finest performances as Holmes, however out of sorts the character may be--not a moment gone amiss. Some people think Brett is theatrical, affected, flamboyant, over the top, and so on. Guess what? He is and it's a style that, by the this point, he had, for my tastes, honed to perfection. It's evident to me that there's an incredible depth and intensity emotion that Brett drew upon in these performances. His depth shines on through as Sherlock's depth.
Regarding acting, props also to Anna Calder-Marshall, who has a strong dual role playing sisters. I'm not sure why she was cast in both roles (other than saving money) but it's done cleverly, as the actress's appearance is obscured for different reasons for both characters. Really, the whole cast cast is strong except for the man playing Hettie's love. Although he only appears briefly, he seems lifeless. I doubt he was/is authentically American. Maybe he was more preoccupied with the accent than the acting.
Contrary to some other reviewers, I would definitely recommend Holmes/mystery/film fans give this film a fair try, with as little clouded judgment from negative reviews as possible. Sure, it's weird; what's wrong with that?
Bear in mind that in previous episodes, particularly The Musgrave Ritual and The Devil's Foot (both excellent), we have already seen Homes battling with his over-stimulation, drug dependency, and consequent physical exhaustion--qualities all of which, incidentally, were suggested throughout Doyle's original stories, even if the author didn't intend to challenge or subvert the detective genre with more pronounced, incisive character development.
Given Brett's layered portrayal of Holmes throughout the Granada series (in particular, an unwell Holmes vacillating between moody distance and almost delirious fits of giggles in The Musgrave Ritual is a significant precedent), his fragility and flightiness here are a credible--if ambitious--move to take the character to a logical extreme. The dream sequences perhaps take this a step beyond logic, and it is here that Bowen's script may be overreaching, but the result--with Hammond, in his plunge from the white cliffs of scientific deduction to the uncanny valley, taking the only remotely feasible approach to this material--offers a fascinating, quite effective film experience when taken on its own aesthetic merits, as an expressionistic and occasionally surreal visualization of chaotic mental interiorities.
In short then, I can understand why this installment isn't especially well-liked by fans, but I think some of the ire is unwarranted. Superficially, the first issue with its very loose adaptation: Conan Doyle's original storyline is relegated to a subplot, the surrounding circumstances of which are morphed beyond recognition. On the other hand, a straight adaptation of that short story would have been pressed to fill up 50 minutes of screen time, let alone tell a truly engrossing story of relevance to contemporary audiences. And in large part, the job of dramatists in adapting these stories has always been to find, and shape for TV, an effective balance of Doyle's own characteristic synthesis between detective work and florid, Watson-style melodrama. If anything, this episode simply leans a little too far in favor of the later, eschewing the former by necessity of its bold decision to develop the detective-protagonist in directions not usually humored by the genre.
If the only reason you watch this series is to see close adaptations, you may be disappointed--but I recommend giving it a chance anyway.
As a film, it has a lot to recommend it. The presentation is sophisticated and sumptuous. Gloven, one one of the main settings, is beautiful. The sequences introducing the title character, Lord Robert (Simon Williams) and Hettie (Paris Jefferson) are beautifully acted and filmed. I'm almost certain it was designed to appeal to drama-lovers. There are expansive views of the estate, glistening sunlight-on-water shots, clever panning shots to pull us into the next section. Williams and Jefferson are also standouts among the episode cast. These shows always had excellent actors and Paris Jefferson is especially powerful for me as Hettie, who most definitely is not a damsel in distress. When Lord Robert teases that she's more "wild and beautiful" than a great cat, he ironically does not realize how true that is.
While the film has been called both boring and confusing, I'd take issue with those. "Confusing" I can understand. Especially in the first third or so, you could say some parts are disjointed. I think we're purposely being fed scraps of information. "Boring" is the last word I'd use. I guess it doesn't move quickly, but for me it's a comfortable pace that allows the story to unfold and the viewer to absorb the things happening on screen. There are one or two sequences that are a bit shoehorned but they are minor to some other pretty effective editing choices. Such as the sequence of events on Holmes' night out or intercutting the wedding with Holmes in his flat.
Speaking of Holmes, I think Jeremy Brett is tremendous here: one of his finest performances as Holmes, however out of sorts the character may be--not a moment gone amiss. Some people think Brett is theatrical, affected, flamboyant, over the top, and so on. Guess what? He is and it's a style that, by the this point, he had, for my tastes, honed to perfection. It's evident to me that there's an incredible depth and intensity emotion that Brett drew upon in these performances. His depth shines on through as Sherlock's depth.
Regarding acting, props also to Anna Calder-Marshall, who has a strong dual role playing sisters. I'm not sure why she was cast in both roles (other than saving money) but it's done cleverly, as the actress's appearance is obscured for different reasons for both characters. Really, the whole cast cast is strong except for the man playing Hettie's love. Although he only appears briefly, he seems lifeless. I doubt he was/is authentically American. Maybe he was more preoccupied with the accent than the acting.
Contrary to some other reviewers, I would definitely recommend Holmes/mystery/film fans give this film a fair try, with as little clouded judgment from negative reviews as possible. Sure, it's weird; what's wrong with that?