If it’s Wednesday it must be London and the magnificent, arrested decay of the Alexandra Palace Theatre which as the BFI’s Jean Mitri awardee Bryony Dixon said in her introduction was not only contemporary with Sir Arthur Conan Doyle’s Sherlock Holmes series as published in The Strand magazine but also the films based on his work made by the Stoll Picture Company. The Theatre was originally opened in 1875 and was screening films as early as 1906 with the tin projector room installed in the early twenties still remaining. After 80 years of closure, the venue is being restored in much the same way as these three films we saw screened, with just 44 more to go…
This was the grandest of archival screenings at the London
Film Festival for some time and featured new scores from Neil Brand, Joseph
Havlat and Joanna MacGregor who conducted the Royal Academy of Music Soloists
Ensemble, leading from the piano. My mother was a huge appreciator of Ms
MacGregor’s classical work and she would have loved this evening of exemplary
musicality and performance.
The Stoll corporation made three series of 15 episodes and
two feature films, all featuring Eille Norwood as the great detective a
performer that Conan Doyle approved of in the role, both on stage and on
screen. A vastly experienced stage actor, Norwood so impressed the author with
his obsessive attempts to bring every detail of Holmes to light that he gushed
about his “brooding eye” and his “rare quality, which can only be described as
glamour, which compels you to watch an actor eagerly even when he is doing nothing.”
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| Screen presence - Eille Norwood (Photo Yves Salmon BFI) |
That original materials survive for these films is
remarkable but as Bryony pointed out, duplicate positives were made in the
fifties and sixties and so the BFI was thinking ahead – not for nothing is it
one of the leading archives in the world. For two of these films those
duplicated formed the basis of photochemical and digital restoration whilst the
third, the shattering The Final Problem (1923), was based on a tinted
nitrate original and looked stunning.
That film left us literally on a cliff-hanger but the future
of this series is ensured and I look forward to watching everyone… the French
may have had Louis Feuillade but we had Maurice Elvey and then George Ridgwell,
who directed the second and third series. The project is in collaboration with
Iron Mountain Entertainment and will make this unique collection available on
home media as well as on the big screen. Tonight, we had episodes from across
the series all of which showed the flavour of the Eile Sherlock and the ways
these wonderful stories were adapted for the big screen.
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| Sherlock and the King of Bohemia (Alfred Drayton) |
A Scandal in Bohemia (1921), score Joseph Havlat
This was the seventh in the series and Norwood crams a lot
of character into his screen time ably enabled by Elvey’s economy and focus. So
many stock Sherlock moments are concentrated into this film that it underlines Doyle's desciption of “glamour”: one early example is the detective noticing that his companion Dr
Watson (the ever-present Hubert Willis) has employed a new housemaid who has
been over-rigorous in cleaning his shoes. I noticed that modern Sherlock
writer, Stephen Moffat was on hand and probably making notes furiously!
Doyle was impressed with Norwood’s “quite unrivalled power
of disguise…” and in Scandal we’re treated to a taxicab driver so
convincing that The Strand reported he was nearly ejected from the studios as a
trespasser! He also plays a non-conformist minister in his attempts to trick
Irene Adler (Joan Beverley) into revealing the whereabouts of her incriminating
pictures of her affair with the King of Bohemia (Alfred Drayton). Of course,
Watson is fooled every time but Miss Adler proves to be altogether as smart as
Sherlock…
Miles Mander makes an appearance as Godfrey Norton, Irene’s
true love interest and – surprisingly perhaps for those who have seen his later
silent work, he’s not a bounder but a thoroughly decent chap!
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| Watson, Prof Coram (Cecil Morton York) and Sherlock |
The Golden Prince-Nez (1922), score Neil Brand
The quirkiest of the three, this puzzler was the 14th
of the second series – directed by George Ridgwell who covered series two and
three after Elvey moved on – and involved the death of one Professor Coram’s
secretary, who died clutching his killer’s eyeglasses in his hand. Sherlock
quickly deduces that the murderer was a short-sighted woman with a broad nose
and so it proves just not the one the police grab. There’s always a twist and a
logical explanation and this one was a doozy.
Norwood has such presence and also a twinkle in his eye –
his Sherlock enjoys the challenges and, just like our puppy Mungo, likes
showing off how clever he is! Here the mystery is “readable” by the viewers and
we can join in matching wits with the detective and the guilty parties.
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| Percy Standing and Eille grappling... |
The Final Problem (1923), score Joanna MacGregor
To Cheddar Gorge and the culmination of Sherlock’s final
battle with his criminal nemesis, Professor Moriarty… This was the last of the
series and was directed by George Ridgwell. Here Holmes faces his evil equal, Moriarty
(Percy Standing) with both men nearing the end of their tether after a series
of bruising score draws in the streets of London. Sherlock makes a number of
early signifying references to being willing to stop the man even at the cost
of his own life.
He thwarts the evil schemer one more time and, leaving
instructions with the police of Moriarty’s gang’s secret lair, heads of for
some relaxation with Watson at Cheddar Gorge… it’s not quite the Reichenbach
Falls but you may guess what’s coming. This featured stunning tints - restored
from an original nitrate print – which really brought out the flavours of the
locations and the epic battle of wits.
The orchestrations were powerful and evocative with each
composer taking a slightly different route but delivering compositionally and
as scores illustrating these timeless tales. Norwood plus time equals more or
less Cumberbatch and I have the spirit of Sir Arthur Conan Doyle on my side.
MacGregor tackled her dual role with ease and the players brought out rich textures
in each approach creating a seamless whole of pure invention, deduction and
delightful problem-solving verve!
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| Neil Brand and Joseph Havlat take their bows (Photo Yves Salmon BFI) |
The Final Problem was written in 1893 and viewers of
1923 would have been fully aware that Sherlock would return as he did
originally in 1903’s The Adventure of the Empty House… but, as then, the
finale here seems final. But, gentle reader, do not worry about our favourite
sleuth for he will return, along with Maurice Elvey, in the feature film The
Sign of Four (1923).
And now we must await further developments and restorations
for the rest of the series; this was a most exciting entrée to the programme
and probably the biggest such undertaking since the Hitchcock Nine back in
2012. I can’t wait.
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| Joanna MacGregor (Photo Yves Salmon BFI) |
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| Alexandra Palace Theatre |
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| Fourth row back, chap with the beard, looks quite concerned... that's me! (Photo Colby Todisco BFI) |
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