Warning-Spoilers: Let's talk about Nicol Williamson. His performance, though manic, saves this film. Williams, who has been described as a megalomaniac by some, puts his considerable acting skills, and perhaps some of his own personal flaw, into his role to create perhaps the ultimate characterization of the drug-addicted Sherlock Holmes. No one can touch Jeremy Brett as the master detective, but that is not the point of this film per se. The addiction to cocaine, here in hypodermic form, is ravenous, and Herbert Ross and Nicholas Meyer have combined to show at least some of the deleterious effects of that alkaloid. Watching Williamson speak swiftly in frantic paranoia, endure the rigors of withdrawal, and continue to suffer the pangs of addiction is the sort of gritty realism that makes for tour-de-force status.
The writing, however, is schizophrenic. The portions of this film dealing with drugs (no pun intended) are strong and convincing, while most of the remainder seems like filler. Watson's (Robert Duvall) ploy to bring Holmes to Sigmund Freud (Alan Arkin) is also well-done, but once "the game is afoot" in Vienna, things turn unintentionally (?) slapstick. Chasing Lowenstein (Joel Grey) is particularly unbearable, first to the horse stable (is Holmes so unaware that Lowenstein is so obvious?), and then to the brothel (where Joel Grey is allowed to mock up the proceedings).
The train chase is boring and unbelievable, even if the stunts performed are real and not CGI. The sabre scenes on top of the train are also straight out of Buster Keaton, but with less excitement. The resolution is also unsatisfactory: how do Holmes, Watson, and Freud explain their way out of illegal border crossings, hijacking a train, and destruction of property, all in the name of saving a prostitute?
The new slant in this film: that Moriarty is a villain from Holmes' past and not a super-criminal: has a little flavor, but not enough to overcome other flaws. Moriarty's agitated state, and Watson's long stare at his business card, are red-herrings to keep us thinking that Moriarty may yet be behind every devious turn of the story. Yet, the finale of Moriarty is, for us, just another blow to the Holmes legacy.
Alan Arkin as Freud is alternately brilliant and schlocky, and Arkin does his usual half-smirk in order to, it seems, throw off kilter any measure of seriousness to his role. Duvall as Watson is entirely too affected by his accent but still comes across as a strong characterization. Vanessa Redgrave seems dull and clumsy here. Yet, for all this, they receive higher billing than Williamson and, at the film's start, you may think that Holmes is secondary to the plot line, which he is not.
Excellent sets and scenery will keep your attention to detail, even as your interest in the story fades around midpoint.
The writing, however, is schizophrenic. The portions of this film dealing with drugs (no pun intended) are strong and convincing, while most of the remainder seems like filler. Watson's (Robert Duvall) ploy to bring Holmes to Sigmund Freud (Alan Arkin) is also well-done, but once "the game is afoot" in Vienna, things turn unintentionally (?) slapstick. Chasing Lowenstein (Joel Grey) is particularly unbearable, first to the horse stable (is Holmes so unaware that Lowenstein is so obvious?), and then to the brothel (where Joel Grey is allowed to mock up the proceedings).
The train chase is boring and unbelievable, even if the stunts performed are real and not CGI. The sabre scenes on top of the train are also straight out of Buster Keaton, but with less excitement. The resolution is also unsatisfactory: how do Holmes, Watson, and Freud explain their way out of illegal border crossings, hijacking a train, and destruction of property, all in the name of saving a prostitute?
The new slant in this film: that Moriarty is a villain from Holmes' past and not a super-criminal: has a little flavor, but not enough to overcome other flaws. Moriarty's agitated state, and Watson's long stare at his business card, are red-herrings to keep us thinking that Moriarty may yet be behind every devious turn of the story. Yet, the finale of Moriarty is, for us, just another blow to the Holmes legacy.
Alan Arkin as Freud is alternately brilliant and schlocky, and Arkin does his usual half-smirk in order to, it seems, throw off kilter any measure of seriousness to his role. Duvall as Watson is entirely too affected by his accent but still comes across as a strong characterization. Vanessa Redgrave seems dull and clumsy here. Yet, for all this, they receive higher billing than Williamson and, at the film's start, you may think that Holmes is secondary to the plot line, which he is not.
Excellent sets and scenery will keep your attention to detail, even as your interest in the story fades around midpoint.