San Francisco International Film Festival

It’s 1947 and 93-year-old Sherlock Holmes has been self-exiled to the Dover coast in retirement for almost thirty years. He’s still keenly observant, but his memory is deteriorating with age, and he knows it. That’s a problem as he feels an urgent need to summon up the facts of his final case, left unresolved in 1919. In Mr. Holmes, Ian McKellen plays Sherlock in his 1947 frailty and desperation and in the flashbacks to 1919, when he’s at the top of his game.

As Mr. Holmes, opens, Sherlock has just returned home from a trip to Japan. So desperate to refresh his memory, he has sought a Japanese homeopathic cure (“prickly ash”), in the process meeting a Japanese family with an unsolved disappearance of their own. Back home, he lives with his housekeeper (Laura Linney) and her gifted son, Roger (Milo Parker). Holmes recognizes the boy’s exceptionalism and quasi-adopts as a grandchild. The boy has lost his father in World War II, and his relationship with the old man is another central thread in the movie.

Ian McKellen is delightful and endearing as the crusty Holmes. McKellen is an actor of enough stature to pull off this iconic role, and he is able both to project the Holmes genius and to deliver the humor in this very witty screenplay.

Holmes resents how his former roommate Dr. Watson has depicted him in fiction – and doesn’t like fiction at all (until the very last scene). At least, when they lived together, Watson avoided an onslaught of tourists by publishing the wrong address for their rooms (they actually lived across the street from 221B Baker Street). And Holmes goes to a theater to see a very bad 1940s Sherlock Holmes movie.

I saw Mr. Homes at the San Francisco Film Festival at a screening in which producer Anne Carey and screenwriter Jeffrey Hatcher spoke. When Carey read the source material – the novel “Slight Trick of the Mind” by Mitch Cullin – she recognized the appeal of the central role, the settings and the theme of “don’t wait too long for things important to your heart”. It took her eight years to get director Bill Condon (Gods and Monsters, Dreamgirls) on board, who brought in McKellen.

Hatcher was attracted by Holmes’ relationship to the boy Roger and by theme of how we rewrite our own stories. He pointed out that the 1919 story in Mr. Holmes has four versions: what really happened, how Watsone added a happy ending in his book, the Hollywood melodrama of the film-within-the-film and, finally, as Holmes himself connects it to the Japanese story thread at the end.

Carey and Hatcher revealed that Condon playfully referenced Hitchcock in Mr. Holmes: Ambrose Chapel from The Man Who Knew Too Much, carrying of tea a la Notorious and a “Vertigo” sequence under the arches.

It’s a good story with a superb performance by McKellen. Mr. Homes opens tomorrow.

It’s 1947 and 93-year-old Sherlock Holmes has been self-exiled to the Dover coast in retirement for almost thirty years.  He’s still keenly observant, but his memory is deteriorating with age, and he knows it.  That’s a problem as he feels an urgent need  to summon up the facts of his final case, left unresolved in 1919.  In Mr. Holmes, Ian McKellen plays Sherlock in his 1947 frailty and desperation and in the flashbacks to 1919, when he’s at the top of his game.

As Mr. Holmes, opens, Sherlock has just returned home from a trip to Japan.  So desperate to refresh his memory, he has sought a Japanese homeopathic cure (“prickly ash”), in the process meeting a Japanese family with an unsolved disappearance of their own.  Back home, he lives with his housekeeper (Laura Linney) and her gifted son, Roger (Milo Parker).  Holmes recognizes the boy’s exceptionalism and quasi-adopts as a grandchild.  The boy has lost his father in World War II, and his relationship with the old man is another central thread in the movie.

Ian McKellen is delightful and endearing as the crusty Holmes.  McKellen is an actor of enough stature to pull off this iconic role, and he is able both to project the Holmes genius and to deliver the humor in this very witty screenplay.

Holmes resents how his former roommate Dr. Watson has depicted him in fiction – and doesn’t like fiction at all (until the very last scene).   At least, when they lived together, Watson avoided an onslaught of tourists by publishing the wrong address for their rooms (they actually lived across the street from 221B Baker Street).  And Holmes goes to a theater to see a very bad 1940s Sherlock Holmes movie.

I saw Mr. Homes at the San Francisco Film Festival at a screening in which producer Anne Carey and screenwriter Jeffrey Hatcher spoke.  When Carey read the source material – the novel “Slight Trick of the Mind” by Mitch Cullin – she recognized the appeal of the central role, the settings and the theme of “don’t wait too long for things important to your heart”.  It took her eight years to get director Bill Condon (Gods and Monsters, Dreamgirls) on board, who brought in McKellen.

Hatcher was attracted by Holmes’ relationship to the boy Roger and by theme of how we rewrite our own stories.  He pointed out that the 1919 story in Mr. Holmes has four versions:  what really happened, how Watsone added a happy ending in his book, the  Hollywood melodrama of the film-within-the-film and, finally, as Holmes himself connects it to the Japanese story thread at the end.

Carey and Hatcher revealed that Condon playfully referenced Hitchcock  in Mr. Holmes: Ambrose Chapel from The Man Who Knew Too Much, carrying of tea a la Notorious and a “Vertigo” sequence  under the arches.

It’s a good story with a superb performance by McKellen.  Mr. Homes is scheduled for a theatrical release on July 17.