Elementary: TV Review

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Elementary is the recently concluded reinterpretation of the Sherlock Holmes story. A setting of modern day New York is but one of the ways in which Elementary deviates from the traditional Sherlock Holmes story; the most publicised of which would be the inclusion of Joan Watson, an Asian woman portrayed by Lucy Liu, while Sherlock himself is played by Johnny Lee Miller. Elementary ran for seven years on CBS and has only just been concluded with a shortened 7th season. The show worked with an arching structure, with each episode standing on its own in terms of its content with side-strings adding up to the main plot line for each season. Despite warm public reception, Robert Doherty’s creation never grew to the level of popularity that its Holmes-ian counterpart at the BBC, Sherlock, seemed to draw in droves.

If you ask me, Elementary is better than Sherlock. I’ve seen both shows, in their entirety (which is more than most of the people who vehemently swear in Benedict Cumberbatch’s favour can say) and I do honestly believe the former is of a higher quality.

I appreciate the contemporary take on the situation; Watson being a woman was something that takes a moment to get used to, but, once you do, you come to realize it, along with setting the show predominantly in New York instead of London, were exactly the shake-up to the tone that the story and the characters needed. Watson being a woman, and not just any woman as Lucy Liu cements a fabulous character in Joan Watson over 7 years on the air, created a fascinating dynamic between her and Sherlock that would never have been possible otherwise. The side-by-side development of those two characters is, quite frankly, a feat of television writing that has gone completely unrecognised in the cultural zeitgeist. Miller’s Sherlock is superior to Cumberbatch (I’m a massive Cumberbatch fan, but the fact that it’s him can’t tint my vision here). He brings this humanity to the character, a level of vulnerability and an underlying wounded-ness, without losing an ounce of brilliance and raw intellect, that Cumberbatch, quite frankly, doesn’t even have the time to flesh out. Supporting characters on the show are exceptionally strong, from a performance and writing standpoint; Marcus Bell and Captain Gregson specifically. I even prefer Elementary’s conception of Moriarty, which I won’t detail so as to not spoil the end of season 1.

The shows structure is something really worth appreciating as well. The thing here is the potential for tediousness. Elementary has 7 seasons, each with about 22 episodes per season and 45 minute episodes. Out of those 45 minute episodes, maybe 5-7 of them will be relevant to the larger, arching plot of the season, usually at the beginning and the end, while the rest of it can stand on its own with a new case every episode. The cases themselves are more than interesting enough to entertain, but I know that people have complained about the amount of buildup that leads to the last two or three episodes of a season being relevant to the bigger picture. I always appreciated it, some don’t and if you think it’ll bother you then I recommend avoiding this show. In my opinion, it adds up to a narrative that asks more of you and gives more in return, but that’s my way of looking at it and I know it’s not for everyone. That reality leads to a lot of scope for character development, ups and downs in character dynamics, and, by the end of it, extremely comprehensive sketches of every supporting character in the show.

There’s a reality that I really appreciated about Elementary. The investigations are a lot more local as compared to, for example, Sherlock. There are examples of conflict turning international, but even then the writers manage to maintain an extremely familiar tone. A lot of times, Holmes and Watson were assisting the NYPD chase down more obscure kinds of criminals, pointing out the realities of crime that Sherlock really misses out on for me. It’s less superhuman in that sense, and I absolutely loved it. That grounded-ness in reality makes the show more relatable, lets it talk about issues without making those issues the point. A show that can do that, as consistently as Elementary has over the last seven years, is a rarity.

I’ve been watching Elementary for six or so years now; the end was a sad moment for me. I stand by what I said, there just isn’t much of a question in my head: elementary is better than Sherlock. I can understand someone’s perspective when they disagree, Sherlock is a great show in its own right, but I would encourage anyone who holds that opinion to watch this show properly before coming to any definitive conclusion. I keep bringing up the comparison, mostly to annoy a few people who I know will read, this but also to underline how far Elementary has been overlooked as a show because of that comparison. The mere presence of Benedict Cumberbatch does wonders to a shows image, the vast majority (but not the entirety) of people I’ve discussed this with have had irreversible opinions without having seen more than a couple episodes of Elementary. Obviously there was some decently sized regular audience population, the show survived 7 years, but the shows quality warrants a more notable place on the prime-time entertainment stage. Elementary is an exceptional show, and I do hope it picks up the kind of popularity and viewership it deserves post-finale.

– Aman Datta

Aman’s Score – 81/100                                                              Aryamaan’s Score –

Tolkien: Film Review

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Tolkien is the true story of the youth of one of the most famous and acclaimed fantasy writer in history. The creator of Lord of the Rings himself: J.R. R. Tolkien. The film takes place over the course of his youth and early adult life, including his experience in the trenches during World War One, and doesn’t actually describe the process of writing his culturally paradigm-shifting works (with a few hints and parallels drawn along the way which I’ll detail). Rather, it focuses on the man; providing a sense for the formation of one of the most celebrated minds in writing. The film stars Nicholas Hoult as Tolkien, as well as Lily Collins as Tolkien’s wife; Edith Bratt.

Just to clarify my personal stake in the quality or lack thereof in this film; I so happen to not be the biggest Lord of the Rings fan in the world. I’ve seen all the films and found them pretty good without being entranced, and I’ve only read the first book. I have heaps of respect for the historical and cultural reputation of the middle-earth universe, but I don’t think I could ever call myself a fan. As such, Tolkien is not my lord and saviour, I went into this film with nothing more than a passing interest.

What I was met with was, by my account, a perfectly lovely film. The strongest aspect was, by far, the way the writers have built character. Writing kids dialogue is never easy, you want to avoid the trap of writing kids like adults and putting incongruently mature voices to immature characters, without making it seem like a condescending dumbing-down. The youth component of the film is a significant one, and the writers have found the right tone with the T.C.B.S group of kids. Strong performances from those kids, matching the strength of their older counterparts, makes for an extremely potent character dynamic between those four characters. Are they all developed perfectly? No, but the fact that at least three of them are despite one of them being a titular character is creditworthy. Nicholas Hoult is very good as Tolkien. I can’t speak to the historical accuracy of his portrayal, but he does a splendid job as the young, exceptionally talented and lightly reserved young man. Lily Collins matches him in most all respects. Though obviously not quite as much the focus, her character is treated with much more nuance than perhaps I was expecting. Their chemistry is decent, and is helped along when necessary by some consistently deft writing.

The film is more or less not at all about The Lord of the Rings. With the exception of a couple blatant mentions, including what looks like the start of the process near the end of the film, the story focuses on the factors that shaped one of the most extraordinary storytelling minds of all time. His relationship with Miss Bratt and the T.C.B.S are front and center by any comparison. No opportunity is lost, however, to drop in the odd not-so-subtle parallel between his life and what he would go on to write in his books. The revelation that the man half carrying Tolkien the length of a First World War trench on a quest to find his friend is called ‘Sam’, or the imagery of the inn he stays at with his mother and brother, does little more than elicit a laugh. You laugh because it’s funny though, not because it’s a pathetic grab at a reference. I didn’t see anything wrong with the ways the author’s life is shown to parallel some of the events of the books and films, but, once again, I can’t speak to the historical accuracy of much of any of it. The best writers write from experience, so I don’t imagine that the correlation was zero, but the specific parallels are a little hard to believe. That said, the tone was not such that it seemed as though they were trying hard to convince you of its accuracy, and it makes for a more interesting narrative exercise.

I did thoroughly enjoy this film. It’s not spectacular; it does a lot well without being exceptional. In what it does well is a laying down of Tolkien’s important relationships in his life. The film captures a certain amount of beauty in the way Tolkien held those dear to him near his heart; by the end of the experience you find yourself very deeply contented with the representation of affection human beings can have for each other. Is it Lord of the Rings fan service? Probably not. Instead, we see a character sketch full of depth, vulnerability, and potency. In a world where cynicism and pessimism creeps ever deeper into the entertainment of the day, it might be a healthy reminder of the power of a fairytale.

– Aman Datta

Aman’s Score – 70/100                                                                      Aryamaan’s Score –

The Chronicles of Narnia: Voyage of the Dawn Treader Film Review

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2010 saw the release of the third, and, at time of writing, final Narnia film, The Voyage of the Dawn Treader. After the comparatively low box office turnout to the last film, particularly domestically, Michael Apted replaces the incredibly Andrew Adamson to direct the adaptation of C. S. Lewis’ fourth book in the series. In the story, Lucy and Edmund Pevensie return to Narnia along with their cousin Eustace Scrubb. They, after reuniting with Caspian, embark on a journey to find the original 7 lords of Telmar. Original cast reprise their roles, with the exception of the mouse Reeperjeep who is taken on by Simon Pegg, and with the addition of Will Poulter as Eustace.

There’s a lot I take issue with in this film. The departure of Adamson from the franchise meant the entrance of Apted, whose noteworthy filmography includes The World is Not Enough from the James Bond franchise, to take command of the story. His Bond film is one of my favorites, I was not predisposed farther than irritated that Adamson had been ousted. Apted made a number of strange decisions in the making of this film, chief among which would probably include the change in Ben Barnes’ accent. In Caspian, his accent as Caspian was European, which miraculously reverted to the actor’s natural English at the start of this film. Aside from the continuity issues that brings up, there was nothing wrong with the European accent in the earlier film! This is an example of a decision, of which there are more, which seem to show the finger to the older films just for the sake of it. I despise that attitude, it’s pompous and disrespectful to the excellent films that came before. Whether this attitude emanates from the director or from the studio, it’s difficult for me to say. Either way, continuity is not something by which much store is set in this film.

There is a shocking drop in the level of quality of the screenplay. The dialogues and character interactions, which used to be so fresh and real, were reduced to stiff, forced, and tight-lipped conversation that could just as easily have been written and performed by members of a primary school. The performances themselves are hugely inferior to the standards set by previous films, often comically so. There are some interesting story elements; some intriguing emotional situations and conflicts that do keep one watching, but that can just as easily be billed to the fact that you’ve been attached to the characters by this point. Most notably, the film doesn’t feel like it takes place in Narnia. In fairness, most of the film does actually take place on ships and off shore islands that do not technically belong to the Narnian mainland, but the magic and energy that Adamson brought to the first two films disappears entirely from this film.

There is an element of blame that rests on the original storyteller. The Dawn Treader is nowhere near the story that was told in the firs two films, even more loosely held together and less engaging in general. The decision to keep Peter and Susan out of the books after Caspian is a decision I still don’t understand, but even Lucy and Edmund, fully drawn characters in their own right, don’t entertain the way even they could have. Some of the story is just downright uninteresting. The introduction of Eustace, a strong character in the books, is helpful nugget in the film, well portrayed by Poulter. He helps keep things a little interesting, and Lucy, Edmund, and Caspian are interesting and nostalgically valuable enough for you to marvel at the development of their characters, but the film as a whole is bearable, not enjoyable.

The biggest material change between the films has to be Apted. He just didn’t understand what he was taking on, and couldn’t replicate the atmosphere Adamson created and maintained. Whether nose-thumbing was done by him or by someone in an office, the result was a weak attempt at following something excellent, and a sad end to what could have been an even better franchise. At present, Netflix does have the rights to The Silver Chair, the next in the chronological timeline, but from what I understand there are some doubts about whether that film will even be made; much less equal the efforts of past filmmakers.

– Aman Datta

Aman’s Score – Score: 48/100                                                  Aryamaan’s Score –