As I sit, trying and struggling to get into the pilot episode of 'Elementary', I'm more and more forcibly reminded about this superior example of the original contemporary Sherlock show in this phase of Holmesian adaptations. 'A Scandal In Belgravia' is by far the best example of the BBC television movies, written by the ever excellent Stephen Moffat and directed by the now moved-on Paul McGuigan.
The joy of the BBC 'Sherlock' is in the sheer joyful blending of the modern canonical details with present day Britain, and the modern substitutions that it possible to be so authentic. Text messages are an automatic replacement for telegrams, while the Internet is an easy substitute for tabloid papers. Finally, it was possible for modern Watson to be returning from service in Afghanistan just as the canonical Watson did. It's an easy fit now, after decades of adaptations being not quite right. Even the lauded Rathbone and Bruce Holmes films struggle in the imperfect calendar setting.
Looking at 'A Scandal in Belgravia' specifically, we see an intricately constructed film that integrates elements from the story 'A Study In Scarlet' with a massive number of original elements, and the prevailing loneliness of the Holmes brothers. The massive enlargement of the role of Mycroft Holmes is one of the most endearing aspects of 'Sherlock', allowing massive insight into the background of Sherlock without ever spelling it out explicitly. The surest way to kill an iconic character is to explain them, and that is never done here. We see the things that motivate them without understanding the reasons why. Also, Mark Gatiss is brilliant in the role, a far better performer than he is writer in fact. The epic nature of the story, spanning months, and the entirely new character of Molly also allow access into Sherlock's development without really explaining any of it.
The other thing that elevates the marvellous 'Belgravia' is the usage of Irene Adler, known forever to Sherlock and his fans simply as 'The Woman'. Here she is woman amped up to the extreme, powerful and vulnerable, and the only one to crack through the imbalanced mentality of Sherlock. She is the Woman, and defeats him at every turn until the end. The underlying story of 'Sherlock' is that he is a man missing a part, that he will never become fully normal, but this is an interesting waypoint on the way to his ultimate destiny. The final reveal at the end, motivated as it is by Sherlock having been told his own earlier undoing at Adler's hands, is all the sweeter in combination with what is perhaps the most sumptuous music to ever be scored on a television show. He wins, but destroys himself in the process.
When we look back at 'Sherlock', after its full run of twelve or fifteen films has been completed, it is very likely that this episode will stand as the pinnacle of the bunch. No-one writes Sherlock Holmes like Moffat, unshackled as he is here by the content restrictions he normally has on 'Doctor Who'. The other writers pale in comparison, even when they turn in solid examples. Strangely the next film, 'The Hounds of Baskerville', was critically lauded while being deplorably bad. It's sad, really, that glitz can overrule judgement so thoroughly and in direct contrast to 'Belgravia'.
It's time to stop, as the pilot episode to 'Elementary' winds down without ever really winding up. Strange and mercenary thing to do, manufacturing a second updated Sherlock Holmes television show. Maybe it will become more engaging? But never as much as 'A Scandal In Belgravia'.
Roll on, series three, it's long past time!
O.
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