Released: 23rd September 2020
Length: 121 Minutes
Certificate: 12
Director: Harry Bradbeer
Starring: Millie Bobbie Brown, Henry Cavill, Sam Clafin, Helena Bonham Carter and Louis Partridge
The stories of Sherlock Holmes have forever held high popularity throughout the UK and beyond, but in recent years an effort by author Nancy Springer has seen an expansion. Bumped from theatres to Netflix as a result of the 2020’s events, I highly recommend Enola Holmes for its different and committed take.
As the title implies, we follow the titular sister (Millie Bobbie Brown) of the well-known Dickens detective, who from a young age got into many off-kilter, unexpected activities. Defiant of both her brothers (Henry Cavill and Sam Clafin) and society’s expectations, the young Enola embarks on her own investigation; aiming to track down her mother (Helena Bonham Carter and uncover why she went into hiding. Just like the book series it’s based on; Enola Holmes is a purely feminist take on classic detective stories and it’s brilliantly told on-screen. We’re given plenty of time in the opening to establish Enola’s character, her close relationship with her mother and finally her desire to live on her own terms. From here, we move to London where the investigation begins in earnest. The progression we see is two-fold as Enola makes her talents known while also learning from those around her; it’s great to see her rise from an aspiring investigator into a caring person who extends her assistance to others. Characters come and go at a great pace and their interactions never outstay their welcome. That’s something that can be said for much of Enola’s journey; it’s incredibly well balanced and keeps the audience’s interest piqued throughout.
The protagonist herself is portrayed with gusto by Brown; her character goes through many emotions and challenges throughout her quest, which gets the audience rooting for her instantly. The film is very heavy on dialogue, but not only is it true to the setting, it never becomes overbearing. This includes all of Enola’s fourth-wall winks to the camera which get you even more invested in her travels. You’ll come to appreciate the interactions she has with others too. Sherlock and Mycroft are clever in their own right, but also ignorant in their own ways to what their sister wants to do. Henry Cavill’s smooth delivery is a great fit for the former, while Sam Clafin brings a more ruthless and controlling set of mannerisms to Mycroft. There is one gap however and that is the villains; Burn Gorman is often typecast as the relentless pursuer in both TV and film as of late and here, there isn’t much added to distinguish his character. The same goes for the opposing forces in general; there needed to be more detail and motivation behind their characters to craft a fully engaging feud.
As a period piece, Enola Holmes is a remarkably authentic recreation of late 1800s England; it’s a bright and vibrant production with a faithful window into the past. The little details of the city contrast seamlessly with the beauty of the country environments to create a stunning visual collation. The soundtrack is delicate and harmonious, a perfect fit for the film’s tone and the shots themselves are often gliding around the environments. As with the rest of the film, the pressures of the time period are fully integrated into the narrative; the most notable of these is a sequence inside a girl’s school which rips out all the colours and emphasises the oppressive methods it sports. All in all, the technical presentation is outstanding.
When all is said and done, Enola Holmes is an incredibly charming and beautifully produced production; one that offers a great deal enjoyment for older children and adults alike while falling short in just a couple of areas. The performances, authenticity to its setting and pacing are all very well crafted, making for a delightful piece of escapist entertainment.
Rating: 4/5 Stars (Great)
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