Sherlock – The Abominable Bride

Wow! Take the concept, add the twist - show us what is going on in Sherlock's mind and how he works out the problem, sometimes holding onto his sanity, his concentration and his plot twists by a knife edge. This is brilliant writing from a team that knows and loves the Holmes character and canon inside out and treat their audience as intelligent - as intelligent as they are (what a compliment!) Thus is ground breaking, revelatory TV at it's best.No wonder so many people have got the wrong end of the stick and are confused and disappointed. Look again, open your mind, recognise you have been pitched headlong deep into Sherlock's though processes - have you spotted that wonderful fleeting scene in the hansom cab where Watson appears as both his modern and Victorian selves as Sherlock holds onto his sanity by his fingertips? This special manages to deliver several things all at once: a new Victorian plot, an insight into all the characters, give a respectful nod to the original stories, provide an old fashioned ghost story for Christmas and find a way of adding even more depths to the continuing modern saga of Sherlock - and yet they still manage to add a great cliffhanger ending which leads us brilliantly into series four. Compliments too for the presence of the grossly fat Mycroft ( as per the original stories; yet unrecognisable as the normally sleek Mark Gatiss ) and a transmutation of Molly into Hooper; a credible and well acted trope based in history, fact and folklore. Give Moffatt and Gatiss all credit for their courage and commitment for writing the most intelligent, brilliant and trailblazing drama on television today. Onwards and upwards, everyone! And God bless you all for the only intelligent, daring and fresh take on current TV.

I've been a Sherlock Holmes fan for many years and so many great actors have played the part (Peter Cushing, Basil Rathbone, and Ian McKellen to name but a few). For me Benedict Cumberbatch is as good as the best of them and the new adaptations are wonderful to watch as they nod to the original Conan Doyle stories but with new twists and turns. This episode is one I love as one thread so resembles the Jeremy Brett era but also there's the modern day tale running alongside, all peppered with humour and Hammer Horror. For me it was a case of just watching, not thinking and enjoying the well written, superbly acted, great special effect laden story. This edition has a 'Making Of'' section on the bonus disc which is also worth watching. Basically if the new Sherlock isn't your thing, don't buy this. If you however, enjoy the Moffat/Gatiss vision of the world's greatest consulting detective you'll enjoy this.

Very enjoyable if you like authorial roguishness, subtext, banter, and character-driven comedy. And probably a lot less enjoyable if you don't. [*spoilers, as vague as possible*] This is the kind of ride where you get to constantly revise your idea of where you've been. There's nothing incoherent about it, though the viewer also gets to have the fun of finding the contradictory or unsettling details and reconciling them into an explanation. For example, the plot about the main Sherlock case quickly introduces a couple of apparent mistakes and odd turns of phrase, and it's up to you to put those in place in the escalating Victorian disarray. After you've guessed a best 'solution', the previous events seem retroactively funnier or more illuminating. This occurs on more than one level. Being 'clever' in a framework like this hasn't been new for a very long time. The fun and originality lie, for me, more in the apparent confusion, in the wrong turns taken, in the way the details reflect the characters or add depth to them, and in the deftness of the working of the basic idea into the events. (If a basic idea exists - sometimes ambiguity is intended. Though perhaps not here.) Outside an elevated Nabokov level of reader obfuscation, I think this episode loses nothing to some similarly structured fiction/movie counterparts I know of. As a bonus, 'Sherlock' is funnier. (And additionally, the actors are fantastic.) If there are minor quibbles left after things have been figured out, it would be a little mean-spirited to complain. There's nothing else quite like this on TV. You need to have seen the rest of the series to have fun with the subtext, and the more you know about Holmes, Watson and incarnations, the more references you'll pick up. I apparently missed lots of allusions to classic movies, but had a great time regardless. Fortunately the episode can be enjoyed without taking along a consulting connoisseur of the full Sherlock Holmes industry.

Love the movie and I am happy for this purchase since no DVD was ever released in Italy. Having the chance to buy it from the UK is good also because Sherlock's Italian dvd editions aren't this good (packaging, qualità, subs...)

Arrived in good condition. Very complex. Some interesting twists and turns, and a delightfully ambiguous ending. A great combo of fun and scary.

Benedict Cumberbatch et Martin Freeman enfin de retour à Baker Street !! Ils commençaient à me manquer sérieusement ! Une petite piqûre de rappel avant la quatrième saison dont le tournage commence dans quelques semaines après plus de ans d'attente !! C'est du pur Gatiss & Moffat, c'est un régal et les deux acteurs sont comme d'habitude excellents !!

Well, this was to put it plainly – trippy as hell. Easily the most labyrinthine, involved, occasionally confusing Mark Gatiss, Steven Moffat-helmed affair thus far, “The Abominable Bride” unquestionably challenges the show’s following to think, but is it good? (Yes….yes it is). The episode is set in 19th century, effortlessly channeling the standard so long wonderfully set by most existing incarnations of Sir Arthur Conan Doyle’s greatest creation. The context seems simple. It is a “one off” alternative episode to hold over rabid fans aching for some new fare since the exceptional ending of Season III’s heralded return of Jim Moriarty (Andrew Scott). We open with the now mustachioed Watson (Martin Freeman) returning to 221 B Baker Street with Holmes (Benedict Cumberbatch) after the resolution of a recent case. Their interaction and banter are what we have come to expect, though this version of Watson is more the classic variant in that he not terribly quick, but exceedingly loyal and reliable. We learn that he is publishing Holmes’ exploits referencing his latest, “The Blue Carbuncle” which he routinely queries friends, colleagues and staff as to whether or not they liked it. The inside “everyone’s a critic” joke is used gleefully. Mrs. Hudson (Una Stubbs) takes exception to her portrayal in his writing as she is presented as having nothing to say and simply showing people in and out of their residence. Watson’s comeback that that is pretty much what she does leads to the requisite pique. A case is brought to Holmes by Lestrade (Rupert Graves) who plays a greater dunder-headed version of his twenty-first century self. We learn of the case of Mrs. Emilia Ricoletti (Natasha O’Keeffe), a woman who apparently goes insane and shoots at her husband before ending her own life. Holmes’ comment is vintage – “boring”. When an obviously shaken Lestrade is allowed to continue via the intercession of the more compassionate, and emotionally observant, Watson; we learn that the woman has somehow “resurrected” and has killed her husband. Holmes then changes his tune stating giddily “you are spoiling us Lestrade” before uttering his catchphrase, “the game is afoot.” This special is a true homage to the established Holmes-ian lore. There are numerous references to the classic Holmes including a perfect utterance of a later catchphrase which absolutely sells this run. Existing twenty first characters begin creeping into the narrative, including “Hooper” (Molly Brealey), the contentious coroner and Anderson (Jonathan Aris). Moriarity’s death is referenced throughout the ep and little by little, there is a shift in focus leading the viewer to another deep cerebral journey. In this version, they reference the classic “Riechenbach Falls” incident, alluding to no body being found after the incident , indicating that Holmes’ master nemesis might still be around. Inevitably there is a shift in focus as Mycroft (Mark Gatiss) calls upon his younger “less clever” brother to look into a case of an “invisible army” noting that this foe unlike other threats to their nation “will win”. Holmes queries him as to why and Mycroft replies simply “because they should.” Another twisted aspect is thrown into the mix and viewers are taken into yet another direction and dangling plot point. Absolute kudos must be given to the show-runners for the physical transformation of Mycroft in his 19th century depiction. He is fairly disturbing. While the verbal sparring and wit between the two remains, the bet between the two regarding Mycroft’s mortality is gallows humor at its darkest. Mycroft’s working with Mary Watson (Amanda Abbington) recalls her role in the 3rd installment, presenting her as more than she appears, in this case an under-appreciated house wife. There is just so much going on, including an apparent supernatural aspect that recalls the formidable “Hound of the Baskervilles” episode from season 2. The viewer is tugged in so many directions that the show becomes amorphous, and nearly stream of consciousness in segments. The link with Moriarity however is the semantic key to this mini movie. The scenes with him and Holmes as always are fantastic. Scott’s take on Moriarty is career defining and leaves an indelible mark on a character oft presented but infrequently made as darkly memorable. Scott’s Moriarity is evil in its purest form. The notion that he is part of Holmes at his core, occupying more than just a place in his memory palace is boldly presented. Inevitably the aspect of a mystery within a mystery is just a small part of this latest run. The notion that the process is every bit as important as the outcome regarding solving cases becomes an epiphanic quotient. So many plot aspects are juggled, often in seemingly jarring fashion. It is a testament to the writing skill of Gatiss and Moffat that all plots and subplots come together, presenting a powerful precursor to the fourth installment. While managing so many narratives is obviously challenging, “The Abominable Bride” is yet another solid foray, proving once more that “Sherlock” is simply outstanding and well worth your time.

It's 1895 Victorian England. Inspector Lestrade, sporting muttonchops, visits Watson, Mrs. Watson and Holmes at Holmes' rooms at 221B Baker Street. 'Tis the season, and the unusually pensive Lestrade murmurs "Merry Christmas." Watson and Mrs. Watson respond in kind and the always impatient Holmes says, "Thank god that's over." So why is Lestrade really there? Because he's scared. Yesterday morning, a woman in a wedding dress, "white as death, mouth like a crimson wound", stood on a balcony and shot at people in the street with a pistol. Before each shot, she asked, "You?". Then she put the gun in her mouth and shot the back of her head off. Sherlock, "Really, Lestrade. A woman blows her brains out and you come to me?" Yes. Because that evening, in Limehouse, the same bloody bride accosted her husband on the street, and shot him dead with a shotgun. Or, as Lestrade puts it, "Til death do us part. Twice in this case." Skip to several months later, and Lestrade visits again. There's been 5 men murdered in their homes. In each case, rice was scattered on the floor like in a wedding. And written in blood on the wall was "You." What is at work here? Is it a ghost, as the newspapers speculate? Not likely. Holmes tells Watson, "Every great cause has martyrs. Every war has suicide missions. And make no mistake - this is war." "The Abominable Bride" originally aired on 1/1/16. It is 86 minutes long (without commercials). It is a good show, a lot of eerie fun, with a bit of melodrama, action in two time periods, and more than one ending. I found it a joy to see Cumberbatch and Freeman in Victorian clothes and setting: "You're Sherlock Holmes - wear the d%$#n hat." Trivia: In a 2015 RadioTimes interview, Steven Moffat makes this surprising statement (with which I admit I don't agree): "As for Holmes's death, I don't believe that Conan Doyle ever really planned to kill him off. That's faithfully reported, but I don't believe it. The way he's killed off in "The Final Problem"... well, there's no body, is there? So Sherlock is obviously not dead. Conan Doyle was a mystery writer, for goodness' sake! I'm sure the plan all along was to 'resurrect' him." In spring, 2016, they will begin filming the 3 episodes of "Sherlock" Series 4, also to be 90 minutes each. Sherlock: "Why aren't you dead?" ??? "Because it's not the fall that kills you, Sherlock!" The DVD/BluRay present the show in 16:9 anamorphic and Dolby Digital Surround sound. English subtitles are available on the show and all of the Bonus Features. Bonus: ....1. "Mark Gatiss: Study in Sherlock" (30 minutes) Gatiss (co-creator and co-writer) hosts this special. Other commentators include Benedict Cumberbatch (plays Sherlock), Martin Freeman (plays John Watson), Steven Moffat (co-creator and co-writer), Amanda Abbington (plays Mary Watson), Una Stubbs (plays Mrs. Hudson) and Andrew Scott (plays Moriarty). Gatiss says, "Steven and I were very keen on, from the beginning... to dramatize certain things which had not been done." Most Sherlock Holmes depictions start at a point where Sherlock and Holmes have been friends for a long time. For this special, we are shown the scene "where young Stamford introduces his friend Dr. Watson to a mysterious stranger called Sherlock Holmes." ....2. "Production Notes" (6 minutes) Using his cell phone to record, Gatiss takes us along for a day of filming. It's February 4, 2015, the day they shoot the Reichenbach Falls scene. Commentators include Jean-Claudd (J.C.) Deuara (VFX Supervisor), Steven Moffat and Benedict Cumberbatch. At one point, Gatiss turns the camera on himself and says, "It's twenty to 5:00, we finish at 8:00. We've got tons to do. We're in big trouble. The lens keeps foggiing up. Everything takes too long..." and so on. ....3. "Writers Interview" (4 minutes) Gatiss and Moffat talk with each other about the characters. ....4. "Creating the Look" (32 minutes) Commentators include Danny Hargreaves (special effects supervisor), Mark Gatiss, Sue Vertue (executive producer), Natasha O'Keefe (plays The Bride), Lisa Heathcote (food stylist), Ben Mangham (locations manager) Steven Moffat, Sarah Arthur (costume designer), Amanda Abbington, Gordon Seed (stunt co-ordinator) and Jean-Clude Deguara. Among other scenes, see an Afghanistan battlefield created in a serene English field. There's filming at the hedge maze at Longleat. And the fun of converting a modern London road into a Victorian outside scene. Per Mangham, it took 3 1/2 weeks of preparation for one morning of filming. ....5. "Sherlockology Q&A" (21 minutes) Short Q&A sessions with Amanda Abbington, Una Stubbs, David Nellist (plays Mike Stamford), Sue Vertue and Steven Moffat. Per Vertue, it takes about 25 days to shoot each 86-minute episode. That explains why we have such long waits in between series. Freeman and Cumberbatch are busy actors. To the people who don't like how "Sherlock" has messed with the Sherlock Holmes canon, these comments by Moffat are interesting: "We have no desire, no interest, in doing anything that is totally wrong for Doyle.... We're not gonna massively contradict him. I mean, minor things, like what century it's set in, yes, but ... the canon... isn't a restriction. It's an amazing platform.... It's not a cage. It's a stage." Last, but not least, am I the only person bothered by the 221B on the outside of the boarding house? Shouldn't it be just 221? Happy Reader (Details added after watching the special.)