When the first season of the modern remake of "Sherlock" reached it’s final scene, the last moment was something that could not easily be undone. The great detective finally encountered his arch-nemesis, James Moriarty, in what was a tension-filled, explosive moment for the new series.
The problem with the resolution of the cliffhanger ending from 'The Great Game,’ lies within the characterization of Moriarty and Holmes. The final scene makes it clear where both men stand–Holmes will pursue him to no end, and Moriarty recognizes the liability.
It’s an awkward, but nevertheless cheeky, conclusion when resolved at the beginning of ‘A Scandal in Belgravia,’ the show’s season premiere episode. However, once reached, it becomes easier to engage in the mystery of the first story of this three-episode season.
Recruited by his older brother, Mycroft (Mark Gatiss, also the series co-creator), Sherlock is tasked with retrieving embarrassing photos of a royal family member in the possession of self-proclaimed Dominatrix, Irene Adler (Lara Pulver), a noted character in Sir Arthur Conan Doyle’s stories.
In their first scene together, both of them increasingly try to beat the other at their own game, with Adler entering the room in a state of undress, to stump him at getting an accurate reading on her characteristics, and later when the detective sneakily coerces a piece of vital information from her.
This encompasses much of their relationship that develops throughout the episode’s story: a battle of two intelligent minds, duking it out to see which one comes out on top. The effectiveness of their liaison is measured in the believability of a pivotal plot point between the two late in the narrative.
Returning as Holmes, Benedict Cumberbatch remains one of the best, if not the best, actors to be cast as the famous detective.
The deductions alone would make his portrayal of Sherlock well worth the audience’s attention, but in his characterization he is no less than compelling. He’s able to balance deductions about humans with a complete lack of understanding and tact, but still register an inkling of humanity.
He can deduce why an acquaintance wears a revealing dress and carries a neatly wrapped Christmas gift, but the fact that she may be dressing up for him slips his mind when he mercilessly breaks her down.
While indeed a talented dramatic character, Cumberbatch brings forth a comedic side that fully rounds the character.
As usual, Paul McGuigan, the episode’s director, brings a strong sense of stylized composition to every shot he directs, something that he established in the pilot he directed for the series, ‘A Study in Pink.”
The episode as written by ‘Sherlock’ co-creator, Steven Moffat, contains his usual minute attention to detail. Any episode written by him almost requires multiple viewings to grasp all the little details he peppers in.
The series’ three 90-minute episodes allow for tremendous detail in the narrative and production, creating one of the most tightly written and fully engaging mysteries available to audiences presently. These details are highly unlikely to be duplicated when CBS airs its response to the British version of the show, with 24 to 45 minute episodes in their own modern update.
Despite best intentions, the PBS program Masterpiece Mystery is an awkward fit for transplanted British series that have no commercial breaks. The hour and a half episodes force them to cut scenes from the episode for introduction and sponsorship segments to make their allocated time slot.
The second season aired on PBS Sunday, and will be available for purchase Tuesday.
Reach the reporter at tccoste1@asu.edu
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