The Private Life of Sherlock Holmes

We assume it's in modern times when "The Private Life of Sherlock Holmes" begins. We hear the voice over of Dr. Watson (Colin Blakely) talk about over the years he's chronicled the many cases of Sherlock Holmes. But then he mentions that there were other cases, we get the impression that they were of a much more personal nature, and they shall not be revealed until fifty years after Watson's death.

It seems we all know the stories of Sherlock Holmes, even those of us who haven't read the books know the legend about the man who was a master at deduction. He liked to play his violin, smoke his pipe, and on occasion have a seven per cent solution of heroine.

Most films about Sherlock Holmes even before or after this one have only eluded to his personal habits, because it's mostly the mystery that's most important. But it always begged the question just what was the world's greatest detective like? Really? Isn't that the mystery that most people want to find the solution to?

"The Private Life of Sherlock Holmes" is in my mind the definitive filmed version for Holmes affectionados, it's an original story not adapted from a book by Sir Arthur Conan Doyle, but it respects the source material and the man. There is a mystery involved, but there are more personal things at stake than usual.

The original script written by Billy Wilder and his long time writing partner I.A.L. Diamond was much longer than the finished film that is left for us. It was over three hours long and consisted of more adventures involving Holmes and Watson all of which I assume dissects the Holmes mystique even more. Even though I'd be curious to see the full film, the final two hour version feels like a full story on its own.

The film focuses mostly on the main mystery in Wilder and Diamond's screenplay concerning a young woman named Gabrielle (Genevieve Page). She appears on Watson and Holmes' (Played here with wonderful wit by Robert Stephens) doorstep one night, cold, wet, and suffering from amnesia. The next day, she is able to come to her senses and tells them that her husband went missing. This leads them to an investigation which will later concern a mystery involving a trip to Loch Ness, government secrets, and German spies. The plot may sound convoluted, and perhaps it is, but it takes a rather surprising and even tragic turn, and makes it into one of Billy Wilder's most poignant films.

I can see why a man like Wilder would be attracted to a character like Holmes in the first place. Both men could be thought of as cold perfectionists, Wilder has often been criticized for being too cynical for his own good, with scripts that may be clever but too calculating. Holmes is a perfectionist as well, a brilliant mind who could be thought of as isolated from the rest of the world. Wilder probably saw a bit of a kindred spirit in Holmes, but also a character that was too good to be true, which wouldn't be to his liking. I couldn't see Wilder make a straight Holmes movie with the mystery taking centre stage over the man, he always has to make his characters flawed and more human, and you can see the fun he has in his mythical makeover.

The beginning of the film has fun with the relationship between Holmes and Watson. Holmes is invited to a ballet where he is propositioned by famous ballet dance to father her children, her reason being he is a brilliant man so she wants brilliant children. Holmes deflects the issue by implying to her that he has carried on an intimate relationship with Dr. Watson for "five wonderful years". This of course has been the running joke in much of the history between Holmes and Watson, the idea of two bachelors sharing living quarters for such a long time without any question to their sexual preference can boggle the mind. Of course it never is settled, but is soon deflated by Watson's own response to the accusation, and later Holmes' growing relationship and fondness for the mysterious Gabrielle.

The film mostly focuses on two aspects of Holmes' legend that again has only been eluded to, his relationship towards women and his constant drug abuse with heroin. The heroin is first introduced in the film for Holmes when he is bored, there isn't a case for him worth solving and it's something to dull his senses. Watson mentions in voice over how there is nothing he can do but wait it out when he's on one of his drug binges. But then Gabrielle shows up and that's when things start taking shape. Almost right away, Holmes seems intrigued with this woman, in many ways, she is his equal. As a character, Holmes is sometimes thought of as a misogynist, something he debunks right away to Watson "I don't hate women, I simply don't trust them." With Gabrielle, comes a character who challenges him, and we see a growing fondness between both of them.

It's in fact Gabrielle who holds the key to the mystery at the end, and which ultimately becomes Holmes' greatest failure on a professional and personal nature. The ending of the film is one of Wilder's greatest, it should be known just as well as the endings he has for "Sunset BLVD", "Some Like it Hot", and "The Apartment", in that it leaves you with just the right note, and shows that at its core, it really is a rather melancholy film.

The more I see "The Private Life of Sherlock Holmes", the more I love it, it was made by Billy Wilder soon after his golden period had ended. Since "Double Indemnity", Wilder was a hit maker all the way through the sixties, but by the time he made this film in 1970, Hollywood had become overrun by a younger generation. "The Private Life of Sherlock Holmes" has a more traditional look to it than the contemporaries made at that time, and it wasn't a huge hit, but it remains one of Wilder's great films, and one that will hopefully be rediscovered in years to come.

Movie Review: The Artist

Yes, yes, yes, this is the way movies should be made, this is how they were made all the time, back in the day. You know the time I'm talking about, the time where people like Orson Welles, Hitchcock, and Billy Wilder were making movies. Back when Buster Keaton and Charlie Chaplin had the creative freedom to make any movie they wanted, back when Fred Astaire and Ginger Rogers danced along great art deco of the 1930s, back before all this digital technology, even before the days of television or that infernal Internet thing.

It's no doubt "The Artist" will bring up feelings for the biggest movie lover of that longing for the good old days when movie projections were bigger than life, I got that feeling right at the opening credits, and the beautiful black and white imagery that I saw. "The Artist" was a treat for the eyes, it captures that feeling of glossy Hollywood very well, complete with a tender love story and a lovable dog.

But that's where the similarities end, I was pleased by it's look, it's grandeur, it's charm, but I realized as I was watching it, what I was longing for were those real classic films that were made way back when, the ones that on more than one occasion took my breath away. What I can say for "The Artist" is, it's not without it's charm, it's an affectionate homage, but at times it feels too self-conscious to bring about that same old feeling we want from movies. At it's best, it succeeds some of the time but not all of the time.

The story of "The Artist" comes right out of the greatest Hollywood hits like "Singin in the Rain", "A Star is Born", and "Sunset BLVD". Jean DuJardin plays George Valetin a matinee silent star who falls for young ingenue Peppy Miller (Berenice Beju). As Hollywood moves from silence to sound, George's star falls, while Peppy's rises, yet the two were meant to be together.

Unlike the films "The Artist" attempts to emulate, the story doesn't resort to edgy satire or the bitterness of Hollywood life, it keeps its happy go-lucky tone throughout. Even when George attempts suicide in his apartment, it's never grim, not as long as he has his plucky dog to go out and find help. This type of film works up to a point, you soon realize it's going to be a happy ending, it has to be, although in my opinion it feels more tacked on than anything else, but perhaps that was another homage to old Hollywood as well, back when movies dealing with alcoholism or suicide were forced by the studio to have it end happily.

For their parts DuJardin and Beju are priceless together, they certainly have the type of charm and charisma to carry this type of conciet a long way, and you root for them to be together. The best scenes for me come near the beginning where they're courtship begins, George is attracted to her right away, they have a couple of charming dance numbers and they both seem to perform on the same wavelength not unlike Astaire and Rogers did.

The best scene for me comes when Peppy sneaks into George's dressing room, and she has a nice playing moment with his dinner jacket, of course George comes in and catches her, it's moments like those where the film seems to have its own personality rather than an homage.

The supporting cast is having fun too harking back to that old style of movie acting, particularly John Goodman who plays a big Hollywood mogul, James Cromwell who plays Georges faithful chauffeur, and Penelope Ann Miller who plays his long suffering wife. Miller in particular is underused, and she gets some of our sympathy which hints that maybe George isn't all he's cracked up to be, instead she's conveniently tossed aside in order to focus on the real love story between Peppy and George.

I was indeed happy to see "The Artist" on the big screen, it gives off that certain feeling of being in an old movie theatre and being in the golden days of movie making, perhaps a cartoon and a newsreel at the beginning would've heightened the experience even more. But the more I thought about it, the more I wasn't entirely fulfilled, all it made me feel was deep nostaliga for those real classic films I could watch to no end.

"The Artist" was charming but I don't believe it deserved Best Picture, for me that honor would go to Woody Allen's film "Midnight in Paris", a charming film itself, but far more contemporary and actually uses satire to make a point about the past it reflects. "The Artist" seems more like a film of the moment, and much like the past itself, it's something that is fleeting.

The Absolutely Positively No Doubt About it Best Films of 2011

And so we have reached the finale, the best films according to me, I've taken much time to deliberate and it is clear in my mind, that these ten films are by far the ten best experiences I had at the movies. Of course every person's top ten films are different, and had I been given to opportunity to see more, this might've looked completely different, but this was what was given to me. So now here we go.

1. Midnight in Paris Perhaps not a shock to some of you, I've heralded this film's praises, back when I first saw it on a warm summer day in July. Woody Allen's tribute to Paris was by far the most entertaining film I saw, full of wit, wisdom, and winning performances. Some films feel like they were made just for you, and that's the feeling I get when I watch this film, it's one of those special ones I can directly relate to, so why not make it the best of the year?

2. Certified Copy Famous Iranian director Abbas Kiarostami creates one of the most romantic mysterious films I've ever seen. Juliet Binoche and William Shimell play two people who, at the beginning look like they have just met, but the film takes a different turn, and then they start acting as if they are husband and wife. The film never makes it quite clear what their relationship really is, but it plays on the ideas about love, and art, and if the copy can be just as good as the original.

3. Meek's Cutoff Minimalist director Kelly Reichardt creates a vivid portrait of pioneer life. Most westerns are seen as epic stories, this keeps a quiet tone about a small wagon train of three families who struggle everyday to find a settlement. They begin to suspect their guide (Bruce Greenwood) is leading them off course on purpose. The film plays like a novel, with an involving plot, and high stakes, it ends abruptly but perfectly as nothing is quite resolved, but it's one where you realize, they're lives hang in the balance of the decisions they make, and the people they trust.

4. PoetryA South Korean film about a woman faced with the first stages of Alzheimer's, along with finding out her grandson committed a terrible crime. But she find solace and purpose in a poetry class she has just enrolled in. A very moving film about one woman struggling to find beauty and meaning in non sensical world.

5. Tree of Life Terence Malick's poetic opus, was probably this year's most ambitious. Starting off with the creation of the universe, and finding meaning in existence, the film is part philosophical and part a coming of age tale. It takes risks on film narration, focusing on rather than usual linear structure. Like the universe itself, it's full of questions and assumptions, an intriguing film.

6. Moneyball Based on the true story of Oakland A's manager Billy Bean (Brad Pitt) and the re-shaping baseball, by using computers and number crunching to create a championship team. Pitt has never been better, the script by Steven Zallian and Aaron Sorkin is punchy, and witty, the most complete mainstream film of the year.

7. The Girl with the Dragon Tatoo A vast improvement over the Sweedish version from last year, thanks largely to the direction of David Fincher. He makes the film a wonderful visceral experience starting from the opening credits. I found myself much more involved with the actual investigation in the film, and the relationship between Rooney Mara and Daniel Craig is handled with a more assured hand. A wonderfully entertaining, pulpy film.

8. 13 Assassins: An updated version of the Samurai film, using Kurosawa's "Seven Samurai" as a framework. This tells the story of 13 shogun who are hired to kill an evil corrupt emperor who's obsessed with killing, and mutilation. It all comes down to the amazing bloody battle which lasts for almost an hour, amazing filmmaking.

9. The Ides of March George Clooney's underrated political film about the inside of an American campaign. Clooney plays the candidate, while Ryan Gosling is the young ambitious campaign manager hellbent on getting him elected. The film is full of twists and turns, and some really great filmmaking from Clooney and a top notch ensemble cast working with a great script.

10. Our Idiot Brother Paul Rudd's wonderful comedic performance brings this film to a different level. A comedy about family, relationships, and how being an honest person can get you into trouble. Rudd makes his hippy dufus character both lovable and memorable.

Other films that just missed the list in no particular order would be Brad Bird's "Mission Impossible: Ghost Protocol" featuring some of this year's best action pieces, Steven Spielberg's epic "War Horse", the lady comedy "Bridesmaids" featuring Kristen Wig's brilliant comedic performance, Johnny Depp in "Rango" the psychedelic lizard western, Martin Scorsese's ode the old cinema "Hugo", and Clint Eastwood's intriguing bio "J. Edgar".

Some films I failed to see that I wish I could've "The Help, "The Artist", "Margaret", "A Dangerous Method", "Uncle Boonmee who can recall his Past Lives", "Shame", and "Melancholia."

2011 MVP: Brad Pitt

I'd like to mention the MVP award to a person who has had the most impressive body of work throughout the year. There was a lot to choose from, but in my mind no other performer stood out for me as much as Brad Pitt this year. To me Pitt is part of that great trio of modern movie stars who are commonly linked (George Clooney and Matt Damon being the other two). What these three actors have in common is their knack for picking quality work, that is sometimes out of the mainstream.

Clooney for instance had a tremendous year himself with the rather underrated political pot boiler "The Ides of March", which he co-starred as well as directed and co-wrote. He also starred in Alexander Payne's superb "The Descendants" which contains a nice role for him.

The always reliable Damon has been no slouch continuing his collaboration with director Steven Sodebergh making the big hit "Contagion", he was also seen in the fantasy "The Adjustment Bureau", as well as Cameron Crowe's "We Bought a Zoo", which even though didn't go well with critics showed his continued interest in working with interesting directors. Damon was also seen in "Margaret" which was filmed years ago but finally got released, and those who have seen it are calling it a masterpiece.

Other actors and actresses have had extraordinary years like Jessica Chastain, Michael Shannon, and Michael Fassbender, but it was Pitt for me who really had the pick of the litter.

Pitt was seen in two films this year, not only were they two of the best films of the year, they were also two of his best performances ever, plus he had a hand in producing them, how's that for quality?

First in "Tree of Life", Terence Malick's coming of age, poetic opus, which also deals with the existence of God, and man's own place in the universe, Pitt plays the character of the father. Pitt's character is far more complicated than just the mere villain of the film. He starts off as a brute of a father who disciplines his sons harshly and can be down right abusive. But later in the film we get a man who is really sympathetic and is seen more as a failure, but also someone who truly loves his kids and is full of regret.

Pitt disappears in this performance, it lets him take the kind of risks most movie stars wouldn't approach, he's not afraid to become unlikable, it shows he's an actor of immense depth, something that is easy to forget.

Later in the year Pitt was seen in "Moneyball" where he plays Billy Bean, a former baseball player who works for the Oakland A's. Billy is one of those great movie star roles where Pitt is able to bring in his natural charisma, and charm. We get on Billy's side right away, he's a competitor and a rule breaker, he wants to win. Billy is a character who understands baseball is now a game for people with the highest paycheck, so he alters the playing field.

"Moneyball" was one of the smartest mainstream movies to come out last year, and its success was mostly due to Pitt's everyman performance. It got him a deserved Oscar nomination, although in my mind, he could've been nominated for both films he was in.

A movie star like Brad Pitt makes me interested in seeing what he'll do next, because it never seems to be boring. Like Damon and Clooney, he seems attached to working with interesting, and creative people, he doesn't always resort to his natural charm, he wants to challenge himself as well as his audience.

2011 will probably go down as a pinnacle in Brad Pitt's career, he's been around for awhile, but it's interesting that just now he seems to be hitting his stride.

Favorite Male Performance of 2011: Paul Rudd in Our Idiot Brother

"Our Idiot Brother" was probably the best comedy nobody saw this year, and what a shame because it's about time people knew the genius of Paul Rudd. Rudd's been around for awhile now, I'm actually not sure when he first popped up, he just appears out of nowhere when you least expect it. I think I'll say right now, the next Paul Rudd movie is something I anticipate for, he should be the biggest comic actor right now, because he simply is the best.

"Our Idiot Brother" may not have worked with any other actor besides Paul Rudd, he's able to give his characters that little extra flavor. As Ned, Rudd is able to sink his teeth into a rather likable guy. Ned is just that way, he's a new age guy who grew out of the sixties and has the flaw of trusting people too often.

The set up of the film couldn't be more simpler, Ned is sent to jail for selling a cop pot, is kicked out by his girlfriend and ends up with his three sister who's lives he ruins while there.

It's a pretty simple premise, but Rudd is one hundred percent committed to this guy. Ned's biggest ambition is to get his dog who he calls Willy Nelson back from his ex. His sisters all have big complicated lives and when Ned comes in with his easy living ways, they are interrupted. The philosophy of the film is pretty simple, guys like Ned should be around to make the world a better place, that's all. "Our Idiot Brother" isn't very profound, but it was pleasant, and Rudd makes that pleasantness important because he makes Ned important in our eyes.

Some runners up would also be Brad Pitt for his performances in both "Moneyball" and "Tree of Life", Ryan Gosling for both "The Ides of March" and "Drive", Owen Wilson for "Midnight in Paris", Johnny Depp for his unseen performance in "Rango" and William Shimell for "Certified Copy".

Best Female Performance: Juliet Binoche in Certified Copy

While it's true I have not seen all the Oscar Nominations yet, I myself did see a number of great performances which I deem noteworthy, dare I say award worthy, even if the Academy doesn't think so.

Looking back at some of my favorite performances by women this past year, my cup seems to have runeth over. Modern actresses these days still strive for the great role, they are there, but if your name doesn't end with Streep then they may be hard to come by.

I must admit I haven't seen many of the Best Actress nominees, Meryl Streep included.

A few performances however did shine for me. Kristen Wig for example illuminated slapstick comedy in "Bridesmaids", for me she was that movie no matter how many Melissa McCarthy supporters are out there. McCarthy was all show and not much substance, Wig was the human face of it all, it was her story, and she's not afraid to show her character's loneliness and sadness, but she's able to play both sides of the coin, it's a slippery slope in comedy, but Wig pulls it off beautifully; the blood of Lucille Ball and Carol Burnett run in her veins.

But Wig would still be my runner up, Rooney Mara's performance in "Girl with the Dragon Tatoo" would come somewhere close, as would Michelle Williams for "Meek's Cutoff".

But after watching it again just recently I there is no doubt in my mind my favorite performance by an actress this year just happens to come from my favorite actress of the moment Juliet Binoche in "Certified Copy".

I've become enchanted with Binoche in recent years. She's had success in North America winning an Oscar a few years back for "The English Patient", also being nominated for "Chocolat". But it was probably in Keislowski's "Blue" I first really noticed just what a great actress she was. As a woman wrought with grief, she is restrained but real, it's her face that catches my eye, there always seems to be sadness but brightness behind it too.

With "Certified Copy", Binoche may have her best performance as Elle, she is a woman on a mysterious rendezvous with a man who may or may not be her husband (William Schimell). Throughout the film, Binoche seems to be going through different stages of a relationship, sometimes she must be flirtatious, sometimes sweet, then hurt, and longing. It's a romantic mystery and most of the screen time consists of these two people.

Binoche's Elle is never elusive to us, she is the one we identify with the most, and the way she plays her is perfectly lived in. The best compliment I could give this performance is Elle feels one hundred percent real to me, she is a person I wouldn't mind knowing and could see myself meeting at some point in my life. I've always noticed that Binoche seems to have this knack for creating characters which feel very lived in, she becomes a part of the character and can immediately sympathize with their situation. Bincohe can play those real moments, in "Certified Copy" she is heartbreaking when she comes out of the ladies room having just applied make-up and earings to make herself look beautiful for the man she loves. She is dismissed by him immediately and her face goes from disappointment to hurt, but she never overplays it.

Most actors who are honored with awards seem to be those who are able to fade away into a character, the chameleons such as Meryl Streep, who I admire very much do that well. But I love the actors who bring a bit of themselves to the role. Their performance always feels more intimate, more personal, more real. When I see Binoche playing her part, she's bringing me in to her world, and I will follow her wherever she goes. This is probably the performance of the year in my book.

Favorite Moments in Movies of 2011

Certified Copy The long two-shot take of James and Elle in the car near the beginning of the movie. As they drive by buildings which are reflected in the windshield, their conversation transcends convention as they are shown to be on a different plain.

Midnight in Paris Hemingway's advice to Gil in the back of the taxi, an inspired satire of Hemingway prose plus Owen Wilson's delivery of the line "Pretty sexy" is pitch perfect.

Our Idiot Brother Paul Rudd gives a lesson in sublime with his delivery of the line "Aww Fuck" when he just realizes he sold dope to a cop.

13 Assassins A wave of blood pours over a village fortress during the climactic battle scene, perhaps the most visceral image of the year.

The Girl with the Dragon Tattoo The bold new ending, which gives Lisbeth a muted moment of empathy, and a whole new dimension.

War Horse Spielberg's great use of the close-up as he focuses on the face of a soldier a second before his imminent death.

Poetry A woman suffering from the first stages of Alzheimer's suddenly realizes she just finished talking to the woman who's daughter was raped by her grandson.

"Tree of Life" The wordless discovery of a boys first love in a classroom a his early flirtation as he doesn't give her his paper to grade. What I like most about this film are the little moments like these that are scattered throughout.

Midnight in Paris Gil: "I'm having an insight, it's a minor one...but I think it explains the anxiety of my dream." and then later Gil again: "These people don't have any antibiotics". These are probably two of my favorite quotes of the year, they made me laugh more than anything else.

Mission Impossible: Ghost Protocol The best car chase of the year done in a sand storm, popcorn entertainment at its best.

Rango The best use of 3-D. Oh wait this wasn't in 3-D but once Rango gets to the vast vistas of the old west, it just feels that your there with him.

Meek's Cutoff The unexpected finale where we are left with our characters in that moment between hope and uncertainty.

Certified Copy Juliet Binoche's final words in the quietest most intimate scene of the year "J...J...James."

Bridesmaids Kristen Wig who was the true heart of the film juggles slapstick and pathos beautifully during her breakdown at the wedding shower.

"Meek's Cutoff" A wagon loses control down a hill, which could mean almost certain doom for its party.

Hugo The recreation of the films of George Melies using today's state of the art technology, films can still be magical.

Moneyball Brad Pitt driving aimlessly while his team is playing, then hearing his daughter singing a song for him at the end of it all.

The Ides of March The final close-up of Ryan Gosling, a wonderful ending.

The DescendantsShailene Woodley's reaction in the pool after she is told her comatose mother will die, then her remark right after that.

Tree of Life The creation scene is the most epic and awe inspiring sequence I saw in the theatre all year.

Film Socialisme The moments of real wind blowing against the boom mic. Baffling, but effective.

Mission Impossible: Ghost Protocol Say what you will about Tom Cruise, but I'm pretty sure that's him climbing on the side of the world's tallest building.

The Ides of March The moment Phillip Seymour Hoffman is given his walking papers, a restrained and effective moment.

13 Assassins Biggest WTF moment, that guy who got the sword in the throat isn't dead!

13 Assassins The image of a young woman who had both her arms, legs, and tongue cut out at the hands of the brutal emperor.

Drive Albert Brooks' matter of fact way of slicing a guy's arm open, cold blooded.

Drive Without giving anything away, the ending when we see Ryan Gosling blink.

Midnight in Paris The most movie loving romantic ending of any movie this year. Woody Allen delivers exactly what the film called for, walking in Paris in the rain.