****
Haunted by events some thirty
years earlier, an aged Sherlock Holmes looks back upon his life and ponders his
final case.
It is hard to imagine anyone
other than Ian McKellen taking on the role of the aged sleuth and pulling it
off with the finesse that he can. Each movement is idiosyncratic, each raise of
the eyebrow nuanced, and the moments of silence in which he stares into space
are as mesmerising as any speech. Indeed, one of the most powerful moments of
the film is when Holmes, stumped during an argument, merely stares directly
forward, his mind working away behind his intense eyes. Aged to look 93 by
excellent prosthetics and make-up, McKellen spends the majority of the film
struggling with his memory as he lives out his retirement in the countryside,
minding his bees. It is a quiet, subtle performance, aided by Milo Parker as
his protégé, Roger, the intelligent yet stifled son of his housekeeper (Laura
Linney). The relationship between these characters is at the heart of the film,
and whilst the film focuses on these three it is at its strongest, with the
Japanese storyline being too underdeveloped.
For me, this is a film about
storytelling. Holmes, characterised by Watson, provided with a pipe and
deer-stalker by the illustrator, is compared to his fictionalised self
throughout the film, but longs to free himself from that celebrity. Roger
revels in the stories that Mr. Holmes tells him, eager for him to continue the
story, whilst Roger’s mother reminds him of his dead father telling him stories
at bedtime. Holmes, in turn, can tell stories, reading the clothes and skin of
people to learn about their days. However, the main story is the blurred line
between fact and fiction – where is it appropriate to tell the truth, or to
carve out a story? Holmes has long fought for truth, believing in logic and
answers, but in his old age, he reconsiders some of the truths he has told,
pondering whether or not a fiction would have been preferable. It is a poignant
reminder of the power of words and language, and how cowardice and bravery are
often mingled in with the phrases we articulate, and as Holmes comes to realise
that he choices have not always been correct, McKellen is heartbreaking.
A slow and ponderous film, held together
by a series of brilliant performances, led by the nuanced Ian McKellen, Mr. Holmes is likely to be overlooked as
an unremarkable piece of cinema. And yet, I would argue that this quiet little
film is a masterclass in acting, directing, photography and editing. Unassuming
in its portrayal of bereavement and the decline into senility, it is undoubtedly
absorbing and highly emotional, and definitely worth two hours of your time.
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