Lestrade began to laugh. “You are to many for me when you begin to get on your theories, Mr. Holmes,” said he.
--Sir Arthur Conan Doyle, “The Adventure of the Norwood Builder”
Leigh: This week, in “Norwood Builder”, Sherlock Holmes decides not to waste his skills by sitting around like he used to back in Memoirs and decides to actually get up and do something. That break where he was pretending to be dead didn't deaden his ability to solve a mystery. And boy did he solve a mystery!
A solicitor shows up on Holmes' doorstep one morning, crying and carrying on about how he's going to be arrested for murder. Lestrade turns up shortly after, as he often does, to arrest this poor young man while Holmes promises that he's going to figure out what the problem is. And he does but only after he almost didn't.
Most of the time when there is a bit of doubt from Holmes about figuring out a mystery, it is small and short-lived but in "Norwood Builder", he doubts himself a lot. At one point he says that he knows the solicitor is innocent but doesn't know how yet. That's some heavy stuff coming from the gung ho detective. For any of those worrying that Holmes didn't figure it out, don't worry he did, because of a thumbprint. A random thumbprint in a random spot in the hallway.
We know that Holmes has fantastic detecting abilities and yet something this small seems a bit too convenient. I'm willing to believe a lot in this Sherlock Holmes world where he can deduce anyone's profession just by looking at their sleeve but this thumbprint just seems...lazy almost. I am growing jaded to the detective's abilities or is it a bit silly?
|Jinkies, Lestrade! I think I found something!|
And speaking of silly, wasn't that the most ridiculous orchestration of shouting "fire!" that you've ever read?
Austin: We're getting into a new terrain of Sherlock Holmes stories it seems. This collection seems awfully theatrical. The resolutions are more visual with people trying to knock off busts and Watson lighting fire to straw. Are they ridiculous? Yes. But are they fun to read? Absolutely.
It's almost like Doyle knows that they will be adapted one day because his writing style seems different. There is more dialog than there used to be instead of crazy long monologues. They are changing locations and there are characters vocally questioning Sherlock. It makes for a more thrilling story even if they aren't as cerebral as they used to be.
I feel like a Michael Bay fan by writing this, but is it bad that I prefer these stories more than the last collection? When McFarlane stumbled into 221B Baker Street, he felt more like a new character than any of the other clients. The rapid fire desperation in his dialog made him feel fresh and it became all the more dramatic when Lestrade showed up early in the story to literally arrest the man on spot.
|I need you to solve something for me. I mean, it's a crime. It's a case. I didn't do it but there are those that think I did. Wouldn't this seem more natural if you were drinking coffee too?|
Is it just me? Are these stories turning more into blockbusters instead of quiet PBS dramas? If so are the mysteries suffering to the point where we should be concerned?
Also, where the hell is Watson's wife? I looked it up because the timeline for these stories are silly. This story definitely takes place years after The Sign of Four. What is Watson saying when he moved back into 221B? Is he just referring to his job? If that's true, does that mean he's just hanging out with his best friend all day breathing in second hand opium hoping that maybe a client will show up one day and telling his wife that he's hard at work?
Leigh: Watson's wife is dead. She died sometime between Holmes disappearing and returning. Watson doesn't make a big deal of it because he's British/Victorian. It's mentioned somewhere in “Empty House” albeit very briefly. Watson and Holmes are roommates again in the Norwood Builder. SPOILER: Don't worry, Watson'll marry again.
|A face like this can never be a bachelor for too long.|
No, I completely agree. There is a new life in these stories. There was a formula, a closely stuck to formula, that Doyle used when writing the last set of stories. It never quite felt that he was sick of the characters or of the universe but you could tell that he was phoning it in on a couple of stories from Memoirs. But with this adventure, it's completely different. We do start off back at Baker Street but instead of Holmes figuring it out all while sitting in his chair or leaving a bit then coming back to tell Watson what he's discovered, Watson (and the audience) get to come along with during the great reveal! This alone adds a new aspect to these stories that I didn't know I wanted but after I read I realized I did, if that makes any sense at all.
There's more excitement and more suspense than there used to be with these stories. As I said earlier, Holmes never really doubted himself before and then in this story, he's full of doubt. That creates a new level to his character that the audience hasn't really seen before. This could be a new found enthusiasm on Doyle's part or it could be that he's altering the very new genre of mystery. Before it was "here is the puzzle so let's solve it." Now it's, "Here's the puzzle but where are the four missing pieces? And why is this one on fire?!" There's definitely some change and I'm voting that it's an evolution of sorts on Doyle's part. Maybe he got bored of sticking to his formula and decided to shake it up a bit!
So we're talking about the change that's taking place and we both agree it's good, but is the heart of the mystery affected by this?
Austin: Mrs. Watson is dead? Christ, now I need to reread "Empty House" and apologize to every single Sherlockian reading this who is violently rolling their eyes at me. Maybe Watson should have been grieving a little? Mention it once or twice to his best friend? Feel the sting of death on a personal level instead of always being the outsider to crime? Whatever, R.I.P. Mary. I felt I never really knew you. Probably because you were pushed to the side in every story except for The SIgn of Four.
Anywho, back to the fire. I really enjoyed that Lestrade showed up right at the beginning because then we were able to examine the dual methods of examination. Once again, I admire that Lestrade is not portrayed as a goof. He is a respected detective who also recognizes that he is not perfect and is grateful for what Sherlock can bring to the investigation. In many ways, he is the voice of reason. Anyone on the case would accuse McFarlane of the crime. It plays like the dumbest version of The Postman Always Rings Twice. Instead of messing with insurance scandal, he's going right for the will.
By having Lestrade and Sherlock walk through each room together we get to see two mysteries. The normal procedural and the guy who lights shit on fire to make a point. At this point in their friendship, Lestrade has respect for Sherlock to make his wild leaps of logic because he knows that there is a point to be made. Even if it's being withheld simply for the sake of theatrics.
At certain parts the duality of the situation is too much favored in Sherlock's direction because even the dumbest criminal shouldn't be leaving a bloody thumbprint behind. Just a glance back at the room should point that out to you. And yet such a thing should be considered as a clue because it is literally used as an iconic example of what a clue should look like.
|Magna cum Murder will be in Indianapolis this October!|
I'm excited to read more into the Return.
Later this week. (Aka tomorrow) We're going to watch a really awesome Sherlock Holmes movie that is arguably....not even a Sherlock Holmes movie. Even though the main characters are Sherlock Holmes and Dr. Watson. It's They Might Be Giants starring George C. Scott as a judge who has lost his mind and believes that he is Doyle's famous character and is up to him to stop Morarity. It's hilarious and heartfelt and on Netflix. Watch it with us!
And here is Leigh Montano with the last word....