Sherlock
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Sherlock Holmes (Benedict Cumberbatch) ist ein genialer Berater für die britische Polizei, doch er ist auch unglaublich arrogant, selbstgerecht und kann mit Menschen nicht umgehen. Ausgerechnet mit solch einem Widerling zieht der ehemalige Militärarzt Dr. John Watson (Martin Freeman) zusammen. Und nicht nur das: Gemeinsam lösen sie Fälle, bei denen Scotland Yard nicht weiterkommt. Dabei zeigt sich das Genie des sonderbaren Soziopathen Holmes – jedes noch so kleine Detail kann er in einen Gesamtkontext bringen, was ihn auf der Suche nach der Lösung eines Falls schnell weiterbringen kann. Doch schnell zieht Holmes die Aufmerksamkeit eines unglaublichen Verbrechergenies, des geheimnisvollen Dr. Moriarty (Andrew Scott), auf sich. (ARD)
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I was bored and put the first episode with dubbing on TV, now I’m so thrilled that I will watch the remaining two episodes very soon, in original language. Funny, tense and flawlessly made. 1x01 - 90 %
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After the end of the third episode, saliva was running down my chin and I was like a hungry dog looking for the next murder that would be entertaining enough for Sherlock to take it on. He is a hero from the ranks of absolute anti-social types like Dr. House or Sheldon Cooper, whose brilliant minds are perfectly at work and are absolutely useless and unbearable in the context of ordinary life on this planet. The type-perfect Cumberbatch/Freeman duo works perfectly, the verbal jabs never end, the cases are really catchy, and most of all it's all incredibly entertaining. Even the weaker second episode (weaker within the series, in a regular production it would stick out like a pitchfork from the dung) doesn't stop me from joining all the praise. Edit: The second season takes it much further. Especially the opening episode A Scandal in Belgravia is a literal masterpiece. If only we didn't have to wait over a year for the next season.
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Staffel 1: Ich muss sagen, dass ich seit langem nicht mehr die Ehre hatte, ein so gut und konstant durchgeführte Aktualisierung zu sehen. Formal wird diese BBC-Serie nach allen Regeln der Moderne gedreht, jedoch sie enthält Momente, welche gar ungewöhnlich altmodisch wirken welche die Welt des zeitgenössischen London mit all seinen Eigenschaften in die Zeiten der dunklen und verwinkelter Straßen zurückversetzten, in denen sich die gesellschaftliche Unterschicht herumtreibt. Im Grund Genommen bleibt Sherlock die traditionellste Krimigeschichte, für welche Action und Dynamik ein Mittel der Ironie sind (eine stroboskopisch chaotische Schlägerei im Das große Spiel Planetarium, eine bodenständige Szene im chinesischen Zirkus in Der blinde Banker usw.). Deduktion und Sarkasmus sind die Hauptwaffen des Charakters, welcher von Benedict Cumberbatch mit brillantem Einfühlungsvermögen wieder ins Leben gerufen wurde. Und die Hauptwaffe der Serie ist das atemberaubende Duett Watson-Holmes, welches das berühmtere Aufgebot von Ritchies Spektakel um zwei Klassen übertrifft. Dennoch bleiben sowohl die Charaktere, als auch die Fälle der Idee von Doyles Werk äußerst getreu, ohne sie in der cleveren, popkulturellen Verarbeitung einzuschränken. Es ist eine grenzenlose Freude, zu sehen, wie sich Holmes moderne Serienmantras unterwirft, sie neu interpretiert und beim Menschen den bis gar unkeuschen Drang erweckt, zu sehen, wie wohl der "Der Hund von Baskerville" in der Version dieser Filmemachergruppe aussehen würde. Sherlock kommt schlichtweg wieder mit dem dunklen und bezaubernden Mysterium daher, welches stets zu den traditionellen Detektivgeschichten gehört hat, und es gelingt ihm auch, ohne in der Zeit zurückkehren zu müssen. Und gerade das ist meiner Meinung nach zweifellos ein genialer Schachzug.
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An instant Classic! A modernization that doesn’t stop at “to make it present-day and look cool" (you know, Hamlet in a suit like in a Tarantino movie, holding a Beretta instead of a sword), but approaches the entire Holmes cult with such invention, while remaining true to the original (you can see that the creators are fans and had actually read the books and not just the cover notes), that however much Doyle didn’t like Holmes, he would love this “smart is the new sexy" style. And, from the very beginning, Cumberbatch is aiming for the best Holmes of all time, just as Freeman is gradually working toward becoming the most interesting Watson ever. 1x00: Unaired Pilot 4/5 See separate review. 1x01: A Study in Pink 5/5 The epitome of a perfect pilot “intro" episode to a series. And when I write perfect, I mean really perfect. 1x02: The Blind Banker 4/5: More detective, more adventurous in good penny-press style and in the second half even a much more traditional approach than you might expect after the first episode. Although being different from first time round, it certainly is no worse. 1x03: The Great Game 5/5: Having cut the pilot, McGuigan also did the cutting for the (first?) season finale, and you can really tell. If, using a bit of poetic license, we compare the first episode to Se7en, this one could be compared to Saw (or rather to Epitafios, if anyone has ever seen that). Phenomenal from start to just before the finish. The finish isn’t that phenomenal. It’s much, much more than “merely" phenomenal. I don’t share the certain hesitancy in accepting Moriarty’s affected style, but I understand. In any case it’s impressive. 2x01: A Scandal In Belgravia 5/5: Definitely the new sexy. The well-deserved status of “legend overnight" put Sherlock and its Moffat/Gatiss creator duo into a difficult position full of considerably great (or rather huge to unattainable) expectations not just of fans, but of everybody who values originality, style and quality. And so they spent a good long time preparing season two, because even a “darn good sequel" would have unavoidably meant disappointment over loss of quality. Also, in addition to these expectations, they lost the moment of surprise and initial enthusiasm too. On the other hand, time has shown that Sherlock isn’t based on hype. And so, how to repeat the unrepeatable? Simple... Add something else that not just jumps over the yardstick of quality, but that moves the yardstick up a notch. Yes, it seems impossible, but that’s how it is. Primarily due to the fact that the way Irena Adler is presented here is a commercial for femme fatales and is the perfect embodiment of sensuality. Sparks fly so much during their flirtatious scenes with Sherlock, that it’s surprising that the wallpaper in the living room didn’t catch light. The creators also improved their work with the viewer; this time round he/she is unabashedly encouraged (and he/she is given all necessary information and time) to engage in “deduction" alongside Holmes. And that wonderful feeling when here or there (or at least once!) you deduce sooner than he does... Money can’t buy that feeling of triumph! And while that intriguing idea involving characters’ “real" websites/twitter profiles from the first season remained unexploited, it is integral to season two. First and foremost is Watson’s blog where cases that came up between season one and season two are described in detail; unfortunately then these cases are merely mentioned in fragmentary form at the beginning of this episode. 2x02: The Hounds of Baskerville 4/5: Got to see a man about a dog. ...this English euphemism captures this perfectly. In comparison with previous episodes, this slows down by a few levels. Here and there we find breakneck speed or coquetting with the postmodern. It is sober (which isn’t necessarily bad), atmosphere building (nighttime passages are nicely horror movie, the daytime pleasantly less heavy). The problem is that this time for the first time ever the divergence from the original material in the main storyline comes across strained and forced; modernization in this case does more harm than good. This is not in essence The Hound of the Baskervilles and, what is worse, this isn’t even Sherlock. These are The X-Files; but good, no two ways about it. McGuigan did what he could In his director’s chair, but Gatiss did a bit of a sloppy job at his screenwriter’s desk. 2x03: The Reichenbach Fall 5/5: Or: the episode with the biggest heart. And also an episode when this version of Sherlock outgrew the original. Phenomenally written, even better performed; what the Cumberbatch, Freeman, Scott trio display here is usually rewarded with the highest of accolades. Enough ideas for thirty more movies (crime à la Brothers Grimm!). Suspense, an oppressive atmosphere, emotions, inevitable fates. You name it, you’ll find it here. A predictable ending, but how it was filmed. Hats off, wigs and all. 3x00: Many Happy Returns 4/5 The exceptional nature of Sherlock is reaffirmed in the domain of webisodes, which usually aren’t anything more than superfluous filler nodding exclusively at staunch fans. This episode is completely self-sufficient, clever and fans are also treated to more than one nod (and one wink). 3x01: The Empty Hearse 4/5 How to achieve the status of a legend after all that fatefulness? Simple: take a completely different slant that you have so far. Relaxed, tongue in cheek, even with a (meta)grin on their lips, which surprisingly really seems to fit after all that seriousness. The case as such this time is sidelined (literally), but for once it doesn’t matter one little bit. 3x02: The Sign of Three 4/5 The first episode which suffers from being feature length. You see, it takes a good half of the episode to get going, eventually managing to link the wedding celebrations with solving the case; however obvious the perpetrator and how he did it was. Although the first half contains potentially good scenes such as “Sherlock and the wedding speech" or “Sherlock and Watson drunk as a skunk" etc., but they are disproportionately drawn-out, sometimes teetering on the brink of an unintentional parody of itself. It doesn’t topple over it thanks only to the actors. 3x03: His Last Vow 5/5 That is the thing with Sherlock, it's always the unexpected. Full of twists and tension between characters and a finale in the best traditions of the preceding seasons. That makes it even more surprising that everything surrounding Appledore (including the solution) is so evident and unfortunately not very “Sherlock-esque". It was disappointing that the creators chose the cheap “ultra slippery" caricature option with Magnussen; if they had left him in a purely emotionless, business role, the solution would have suddenly been so much more interesting, controversial and bold. Too bad that they didn’t try that. 4x00: The Abominable Bride 4/5 See separate review of this special. 4x01: The Six Thatchers 3/5 See separate review. 4x02: The Lying Detective 4/5 See separate review. 4x03: The Final Problem 4/5 See separate review.
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As usual, I will deviate from the norm and be considered a heretic when I award two stars to the 14th best TV series (according to FilmBooster). However, in this case, a single episode with a feature-length runtime was enough for me to realize that this project was not my cup of tea. I have no love for the cult book series by Arthur Conan Doyle, and the same can be said for his detective hero because these classic detective stories always seemed contrived and tinged with typical British class and social snobbery to me. I accept modern adaptations if they delve into the realm of parody or general humor, as was successfully achieved in Guy Ritchie's pop culture-themed version. However, this interpretation aims more toward teenagers, and I am simply older. Generally speaking, when classic works are packaged for teenagers, they usually get a spanking from me. These two stars are not so much for the professional execution, but rather for the emotions evoked by the bored, self-centered young genius and his equally matched negative counterpart. Overall impression: 45%.
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1: No shit. Great casting, I was really surprised by Martin Freeman. Cutting Brit humor, great one-liners and all that in an excellent detective story. The setting in the present is no problem, in fact it breathes fresh air into Doyle’s classic story. 2: Not as snappy as the first episode, but thanks to cyphers, codes and the exotic from China it’s still really engrossing. 3: A whirlwind of cases and the final confrontation with M are a great ending to the first three episodes. Pleased to see Golem and Czech curiosities. I’m intrigued to see what comes next.
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What a shame that the series did not end after Season 2, in which case I would have given it five stars. I liked the first two seasons a lot. I was greatly entertained by the story of Sherlock Holmes set in the modern world. However, the quality of Season 3 dropped down to mediocre and Season 4 was just a desperate attempt to make something out of nothing.
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Britain is the country of Shakespeare, Churchill, the Beatles, Sean Connery, Harry Potter, David Beckham's right foot, and, speaking of which, David Beckham's left foot, and BBC's Sherlock, you might add. After three absolutely perfect seasons, I can safely say that there will only be one Sherlock Holmes. You’ve just got to love Benedict Cumberbatch's performance. What’s more, Martin Freeman complements him in an absolutely brilliant way, and few characters have ever represented the audience's emotions so precisely. Freeman’s Watson perfectly mirrors how the viewer feels when watching Sherlock in this masterpiece. A spectacular series which makes it a torture for any fan to wait two years for the next season. PS: It’s been mentioned a hundred times before but let me say it anyway. “A Scandal in Belgravia” belongs to one of those moments that justify the invention of television as such. Absolute precision in every detail. And the conclusion? Perfection, sending shivers down my spine.
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