Who has played Sherlock Holmes on screen better than any other actor? Who has captured the essence of the role most accurately? There are those who would say Basil Rathbone; others might plump for Jeremy Brett; Peter Cushing has his admirers too. Not in a month of Sundays would you think Roger Moore could make it onto that illustrious list. Moore is usually the suave, handsome, ever-humorous leading man – the Saint, yes; Lord Brett Sinclair, yes; James Bond, yes - but not a character actor with sufficient range to play Conan Doyle's famous literary sleuth. As it happens Moore is surprisingly good as Holmes, giving a refreshingly witty and confident performance in this made-for-TV movie. While he never quite threatens to erase memories of Basil Rathbone, he certainly creates a memorable and unique interpretation of the oft-portrayed character.
In Victorian London, nefarious villain Moriarty (John Huston) is confronted in his hideout by a disguised man who reveals himself as Sherlock Holmes (Roger Moore). Moriarty successfully escapes from the confrontation, leaving Holmes to return to his famous home on Baker Street to ponder his next move. Aided by his loyal sidekick Dr Watson (Patrick MacNee), Holmes deduces that Moriarty is on his way to realizing some sort of sinister master plan . a plan which somehow involves New York City. Holmes and Watson embark for New York, where they try to convince American policeman Inspector Lafferty (David Huddleston) that trouble is in the air. Holmes also renews his acquaintance with an ex-flame, Irene Adler (Charlotte Rampling), whose young son Scott (Geoffrey Moore) may be his son. Eventually, it becomes evident that Moriarty is scheming to carry out an incredibly audacious bank robbery, simultaneously kidnapping young Scott to discourage anyone from pursuing him. Holmes must use his considerable intellect to thwart his arch-enemy's despicable plan .
The actors seem to be having a ball with their respective roles in this film. Moore enjoys the opportunity to escape his James Bond persona; Huston is slightly hammy but very enthusiastic as the cunning Moriarty; MacNee provides amusement as Holmes's ever-reliable sidekick; and Rampling is her usual elegant self as the ex-lover. Alvin Sapinsley's script is wordy but clever, bringing in various characters from the original Conan Doyle stories, while Boris Sagal directs the film solidly. The film has a rather studio-bound look which detracts from the overall believability and brings unwanted attention to the film's modest budget. But on the whole this is an enjoyable affair, a TV-movie of rare quality which passes very nicely indeed as a lazy afternoon's entertainment.
In Victorian London, nefarious villain Moriarty (John Huston) is confronted in his hideout by a disguised man who reveals himself as Sherlock Holmes (Roger Moore). Moriarty successfully escapes from the confrontation, leaving Holmes to return to his famous home on Baker Street to ponder his next move. Aided by his loyal sidekick Dr Watson (Patrick MacNee), Holmes deduces that Moriarty is on his way to realizing some sort of sinister master plan . a plan which somehow involves New York City. Holmes and Watson embark for New York, where they try to convince American policeman Inspector Lafferty (David Huddleston) that trouble is in the air. Holmes also renews his acquaintance with an ex-flame, Irene Adler (Charlotte Rampling), whose young son Scott (Geoffrey Moore) may be his son. Eventually, it becomes evident that Moriarty is scheming to carry out an incredibly audacious bank robbery, simultaneously kidnapping young Scott to discourage anyone from pursuing him. Holmes must use his considerable intellect to thwart his arch-enemy's despicable plan .
The actors seem to be having a ball with their respective roles in this film. Moore enjoys the opportunity to escape his James Bond persona; Huston is slightly hammy but very enthusiastic as the cunning Moriarty; MacNee provides amusement as Holmes's ever-reliable sidekick; and Rampling is her usual elegant self as the ex-lover. Alvin Sapinsley's script is wordy but clever, bringing in various characters from the original Conan Doyle stories, while Boris Sagal directs the film solidly. The film has a rather studio-bound look which detracts from the overall believability and brings unwanted attention to the film's modest budget. But on the whole this is an enjoyable affair, a TV-movie of rare quality which passes very nicely indeed as a lazy afternoon's entertainment.