Sherlock’s little sister takes on the
world in superior sequel- and the first film is quite good, too!
Sequels are tricky and often in a film series the second one is a bit of a dip, yet Enola Holmes 2 is bigger and better than its predecessor which was quite good anyway. The confidence the team has is visible on screen. Whereas the storyline of the first was rather meandering and not sufficient for the run time, here there is plenty of incident and, crucially, it is more of a mystery that needs to be solved. Bigger and broader though it may be, the film does not lose the moral undertow that makes the character so empathic in these times.
Enola has set up her own detective agency
(not sure where the money came from?) but cases are non-existent as her older
brother’s reputation grows and people assume she’s just his assistant. That is until
a young girl asks her to find her missing sister. She is Sarah Chapman; a real historical
figure and the story takes elements of this along for the ride. The resulting
trail takes us down into the lower reaches of English society, specifically to
a match factory were the young girls who work there do so under a strict regime
and seem to be falling ill to typhus. The seemingly unimportant detail of how
the process of making the matches has recently changed is the key to opening a
wider plot of corruption.
This all feel like a much juicier case
for young Enola to embark on and she does so with her usual fervour. The harsh
world she inhabits, only shown briefly in the first film, becomes a vital part
of this one as Enola goes undercover in the factory and will later visit a
noisy pub and even a theatre. An undercurrent of violence stalks her every move
with several well composed scenes of peril each of them upping the stakes.
Other characters are worked into the narrative
far more smoothly than first time round especially Sherlock who is quite a
presence here with a wry humour that some other versions don’t show even though
this has inspired the ire of some Holmes devotees. “I like this version of you”
says Enola and it is essential with a well-worn character to sometimes alter
things a bit. The film also develops the charmingly verbal relationship between
Enola and the now Lord Tewksbury as well as Enola’s mother Eudoria and her
helper Edith.
One of the most enjoyable aspects is how
Enola isn’t some smooth mistress of disguise- her attempts at fitting in
whether in the match factory or later at a ball are filled with doubts, faux
pas and just about managing to fulfil her aims but only by the skin of her
teeth. These scenes are fun to watch and fashion a heroine who is likeable, a
trier who does the right thing sometimes at considerable discomfort for herself.
Yet Enola is very resourceful and those fourth wall breaking lines or looks
delivered to us carry the viewer along. If at times it does give a sense that
no real harm will come to anyone and that this is all a jape, that is soon
dispelled by one of the violent fight scenes or chases that pop up.
The storyline deftly includes real
historical events at the factory while burning through the narrative is an
indignation at working conditions that drives Enola’s wish to get to the truth.
More than just a clever murder- mystery this is a film making a point and doing
it well. By working together, the disparate bunch gets results while this
storyline retains the strong feminist theme of the first film as well as telling
one of the first great industrial relations stories. The real Sarah Chapman
gave female workers a voice at a time when many men believed women should not
be working at all, something that is referenced in the film when visitors to
Enola can’t believe she is running her agency. Elsewhere there are plenty of
interesting historical details especially about the secret language of flowers.
The cast are all tremendous knowing
exactly how to pitch roles that could easily become over the top. Millie Bobby
Brown excels again as Enola, a character who is easy to warm to and who despite
her considerable skills never seems completely in control. Brown has a lovely
comedic timing that she uses both verbally and in the action scenes. Henry
Cavill goes some way to making Sherlock a more understandable character (most
portrayals make him seem like an alien!) while Helena Bonham Carter as the
eccentric devil-may-care Eudoria gets more into the action this time as does
Susie Wokoma’s wonderfully sarcastic Edith. Louis Partridge’s Tewksbury is
brought into the centre as well especially as the character’s reformist zeal
complements Enola’s investigations. The actor successfully manages to make the
transition to a more adult demeanour without the character losing the
principles he had. Scenes where he teaches her to dance and she teaches him to
fight – both in a few minutes- are a delightful role reversal from the usual. This
kind of film needs a good villain and David Thewlis is on hand to give us
Superintendent Grail, a pale stick wielding man whose motives are hidden as he
makes for a very difficult foe to beat. Lurking somewhere in the background too
is Sherlock’s legendary nemesis Moriarty and the way that plays out is a
surprise that should not be spoiled.
The pace of the film is much more even
than the first and home to several outstanding set pieces notably a historical
equivalent of a car chase albeit with coaches. I love the way it apes a modern
sequence yet using historic vehicles. Best of all is a thrilling final
confrontation involving multiple dangers taking place in the appropriately
dramatic location of a theatre.
It’s odd that while the first film was
originally intended for cinema release, it seems a lot smaller in scale than
this sequel which ramps up in every area. It looks more expensive; it is more ambitious,
and has the heft of a big screen release, yet it will likely never see your
Odeon. Which is a shame because this is a proper Big Film that I’d have liked
to have seen at a cinema. There’s talk of a third and I really hope that
happens.
Meanwhile if you’ve not seen either you
really need to watch the first film first!
Enola Holmes 1
Enola Holmes is the teenage sister of
the already well-known Sherlock whose gift for deduction seems to run in the
family. With both her brothers away, her mother disappears mysteriously so
Enola sets off to discover her whereabouts. Using the decidedly unconventional
skills Mrs Holmes taught her growing up (ju-jitsu, codebreaking etc!) she seems
preternaturally equipped to deal with the outside world. Unlike both of her
taciturn brothers she’s also more sociable.
Headed for London by rail she encounters another runaway, the Marquis of
Tewksbury (he’s locked himself away in a bag!) and their stories become
intertwined when a henchman’s attack leads them to leap from the train and
continue their journey using their wits. On arrival in the big city, they part
company but somehow their fates are linked. Intended as a big screen film but
moved to Netflix due to the closure of cinemas in the pandemic it suits the
platform better.
Yet when the drama does catch fire, it’s
really good. Stranger Things’ Millie Bobby Brown is terrific as Enola
and really suits the style of frequently breaking the fourth wall. Her performance
is full of life and curiosity which must have been fun after the grim
experiences of her most famous character. She also sparks with Louis Partridge
who plays Tewksbury, and it makes for a fun dynamic whenever the two of them
are together. Playful sparring and a clear connection are played with subtly by
both.
Though ostensibly an elongated cameo
with additional clips Helena Bonham Carter is great as Mrs Holmes bringing a
caring eccentricity to motherhood even if her disappearance is a somewhat odd
scenario. As Sherlock, Henry Cavill joins am impressive list of actors who have
walked this path and his take is a little lighter as a contrast to Sam
Claflin’s sneering Mycroft who could easily be the villain without changing his
behaviour. I’m not sure mixing them in with the narrative does as much as it
could and wonder whether the two kids should carry it alone.
Jeopardy is not as frequent as it could
be there are some powerful action sequences including an attack in Limehouse by
a positively scary Burn Gorman as a killer sent to despatch the Marquis. Just
his scary look is enough to chill the bones and the sequence is extended with
inventiveness and drive as Enola uses the hidden tools of the Suffragettes to
defeat him. There’s also a dramatically staged stand -off near the end set in an
atmospherically shadowy long hallway which includes a genuinely surprising
reveal.
The direction captures both the bucolic
countryside and the busy city and it’s a pity that having collected so many
strong elements, the story itself is weak in places. A generous two hours running time means it is
stretched too far to reveal its slight contents which is perhaps why Enola has
so much to say! Yet it remains enjoyable and there is even a sequel, return to
top…
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