 |
"Is this silly enough for you yet?" Moriarty asks Sherlock from beneath a bridal veil, in a twist which turns out be part of an extended heroin fever dream. The answer is an incontestable yes – the climax of 'The Abominable Bride' is, among other things, extraordinarily silly. The show's much-hyped Victorian special is a mind-boggling, time-travelling whirlwind that pulls out the "It was all a dream" card in lieu of making a lick of sense. But for all its flashiness it's not glib, and there's just enough emotional substance in it to sustain the chaos.
It's hinted from the start – as we pick up on a brief but exhaustive "So far, on Sherlock…" montage – that 'The Abominable Bride' is not quite the one-off non-canonical episode it's been billed as. Though immaculately designed and peppered liberally with Arthur Conan Doyle fan service (The Strand magazine! "That great cesspool"! Boswell!), the Victorian world in which Sherlock and John suddenly exist doesn't feel quite solid. Scenes don't connect, details are slippery (John has moved out yet still seems to live at 221B) and things become increasingly dreamlike as the duo investigate a string of murders seemingly committed by a vengeful ghost.
Benedict Cumberbatch and Martin Freeman slip effortlessly into playing this more traditional Holmes and Watson, and it's significant that the episode's best scene is also its simplest: the quiet and intimate exchange in which Watson questions Holmes about his past. Watching these two simply talk is more compelling than any of the narrative pyrotechnics going on around them, and the scene includes some beautiful bits of Doyle ("It is the grit in a sensitive instrument, the crack in the lens…")
 |
Readmore
0 komentar:
Posting Komentar