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....
Leigh: FIRE!
