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Marissa Porraz
Dr. Lynda Haas
Writing 39B
19 May 2014
The sentence contains awkward sentence structure and needs restructuring.
I need to omit these awkward phrases and reword them to make the sentences clearer.
Grammar/Conventions Errors
These sentences need more explanation because they are vague.
The Final Problems
As a whole, Sir Arthur Conan Doyles creation of an archetypal detective genre has
generated many modern interpretations of Sherlock Holmes, his sidekick, Watson, and their
various mystery solving adventures together. It is one of the few genres in which the reader
becomes part of the story; however, the audience no longer sees the story through the classical
point of view of John Watson, but through the camera lens. The modern take on the Holmes
series gives the audience much more freedom in determining the outcome of the mystery because
modern directors have given viewers the luxury of seeing Watson, Holmes, and even Moriartys
thought processes in film. More importantly, with each new modification of the Holmes series,
there comes the modern interpretation of the villain, Professor James Moriarty. Between the two
twenty-first century versions in the BBC television series Sherlock and the film Sherlock
Holmes: A Game of Shadows, Holmes and Moriartys final problem is carried out in closely
similar but different ways; both building suspense for the audience as well as leaving in aspects
of the original elements of the classic Doyle stories.
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In the final fight scene from A Game of Shadows, Holmes is invited to both a chess
match and a battle of wits with Professor Moriarty. Much to the surprise of the villain, Holmes
has observed Moriartys documentations in a small, red notebook, stolen it from him in a
previous altercation, and has completely destroyed his diabolical plans for an all-out world war.
Consequently, Holmes and Moriartys symbolic chess match leads to a stalemate, as Holmes
realizes his injury in his shoulder will compromise him the match when added to Moriartys
equally destructive mental foresight. It is within this scene that the viewer actually gets to see
inside Professor Moriartys head through the voiceover conversation he has with Holmes. Over
the course of the movie, the audience has developed a sense of pathos and sympathy for Holmes
and by including a plot twist where the main character dies; the element of surprise is established
(Filmslate). It is an essential scene because it keeps within the story the mutual destruction of
Holmes and Moriarty just as Sir Arthur Conan Doyle does it in The Final Problem. In contrast,
there is no final note left by Holmes to tell Watson of his inevitable death. Instead, Watson walks
in right at the ending of the scene as Holmes and Moriarty go over the balcony, where Watson
and Holmes exchange final glances before he is gone.
Essentially, much of the suspense within this scene is attributed to the cinematic structure
between film editing and sound. For example, an overlapping edit shows what Holmes and
Moriarty are plotting for their next moves before punches are actually thrown and when the
actual actions happen. This type of editing adds the suspense to the fight because what the
audience sees differs by the time the actual fight is enacted (Yale). Also, the camera angle is at
eye level, which speaks to the equal mental and physical power of Moriarty and Holmes
(DaVega). Holmes and Moriarty are equal forces, if not the same person, but on opposing sides
and the camera angle is what accentuates this concept. Lastly, the sound is yet another important
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element that adds to the drama because as DaVega argues, the audience notices it less, but feels
it more than many elements of visual cinematic language (0:36-0:42). The audience hears the
voiceovers of the two mens thoughts, a synchronous sound, made to match what we see in the
images with what is likely to happen. The post-synchronous dubbing, such as the sound of the
fists flying, the whirring motions with each swing of the arm elevate the action of the fight.
Finally, the fast-paced score increases the pace of suspense, which has the audience at the edge
of their seats, determined to know the final outcome of the fight (Yale). Yet, the slower, more
dramatic score establishes the loss of a sympathized character, and re-establishes the cinematic
reality of what the audience has just witnessed.
Another great comparison of the last altercation between Holmes and Watson is shown in
BBCs Sherlock episode, The Reichenbach Fall, where Holmes and Moriarty dish out their
final problem on the rooftop of St. Bartholomews Hospital. In this part of the show, Moriarty
has destroyed Holmes reputation and the only way out is for Sherlock to commit suicide;
otherwise, the three most important people in Holmes life, Watson, Ms. Hudson, and Lestrade,
will be killed by Moriartys men. Once again, the element of surprise is established to increase
the tension; however, the audience is now torn between their main character and his friends.
Here, emotion is evoked and immediacy becomes key to maintaining a suspenseful scene
(Filmslate). What differs from the classical Final Problem and BBCs interpretation is that
there is no literal waterfall that Holmes goes down, but a fall from a building; more specifically
The Reichenbach Fall, in which Holmes name, reputation, and fame from the Reichenbach
case has given him. Also, Moriarty does not take this fall with Holmes, but strays from Doyles
story by killing himself. On the other hand, what has been salvaged from the classic stories is the
diversion that Moriarty set up for Watson to be somewhere else, in this case, checking on Ms.
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Hudson. Lastly, Holmes calls Watson on his cell phone in order to give him a modern twist of
the suicide note that the original Holmes left in The Final Problem.
Ultimately, the suspense in The Reichenbach Fall is made through similar cinematic
elements like in A Game of Shadows. For example, the shot that closes in on Holmes and
Moriarty shaking hands symbolizes how they have essentially become the same person.
Combined with the beating sounds in the background, it foreshadows an unexpected plot twist of
Moriartys upcoming suicide. Within aspects of the scene, the audience sees the two characters
in conversation in a full shot, where it frames them, reduces the background, and emphasizes
their importance (Davega). Once Moriarty shoots himself, the pace of the beating sounds get
faster and the score intensifies Sherlocks necessity to make a decision. Consequently, the
element of immediacy is put into the scene and creates suspense when combined with the other
elements of sound and framing (Filmslate). Racking focus is utilized as it shifts between each of
the speakers and blurring out the listener as the other is talking, thus strengthening the suspense
between characters (Yale). Lastly, the calmer score that follows Moriartys suicide illustrates
Holmes final decision and his goodbye to Watson.
The modern day interpretations of Sherlock Holmes display how the directors have both
taken liberties with the Holmes genre, but also left in some of the crucial classical elements of
the Conan Doyle stories. With this in mind, A Game of Shadows displays how the director,
Guy Ritchie, attempts to leave in some of the classical elements of the Holmes stories while
creating a modern twist. Although the film is set in the late Victorian Period, the film is still
filled with many anachronistic elements. For instance, esteemed film critic, Roger Ebert claims
that many of the explosions, gunfire, special effects, and fights bear no comparison to the
fistcuffs of the period, essentially that all the advanced technology used in the film would not
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have been relevant in the actual Victorian period. Nevertheless, Sherlock Holmes takes on more
of a superhero role, more than simply the sarcastic and witty consulting detective the Sherlock
audience knows. In addition, the film incorporates somewhat of a love affair between Irene Adler
and Sherlock Holmes despite that the classic stories say that he simply does not have a love life.
Lastly, James Moriarty is actually presented as a university professor and an equal, if not more
powerful opponent for Sherlock Holmes.
Conversely, the BBC Sherlock series is both made and set in the twenty-first century.
What adds to the construction of the show is that along with Sherlocks unique knowledge and
deduction skills, he is aided with more advanced technology such as phones, texting, internet,
taxicabs, and even the hospital laboratory. As the film critic known as MEW argues, This
cutting edge Sherlock has a smart phone permanently attached to his hand, which he consults at
lightning speed. Rather than send telegrams, he texts. Rather than publishing articles and
monographs, he has a website called The Science of Deduction. This goes hand in hand
with the advanced graphics that the creators incorporated into scenes for the reason that the show
is set in the twenty-first century. Graphics such as superimposition of road maps of London,
subways maps, and Holmes deductions bring the viewer into the Mind Palace of Holmes, but
also plays on the time period of the twenty-first century while still incorporating the classical
elements of Doyles stories.
Essentially, even with all the differences between the two modern interpretations of
Sherlock Holmes, both the BBC Sherlock and A Game of Shadows allow the audience to enter
Holmes thoughts. This is something that the classical Doyle stories leave out so that the readers
will be more active in figuring the mystery out for themselves. In one respect, the modern
versions of the Doyle stories still incorporate the viewer into the story, piecing together the clues
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with Holmes and Watson. The detective canon, although old, must be followed even with the
large gap of time between the centuries. In addition, the fight scenes are what do the classical
stories the justice by adding the elements needed to create the much-needed suspense to leave the
viewer on the edge of their seats. Lastly, the modern twist of the villain Moriarty is something
new as we actually get to know the weaknesses and even the thoughts of the all-powerful
nemesis. Essentially, the final problems are worked out in very different ways, but ultimately
tackle the same conventions the original Sir Arthur Conan Doyle created.
































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Works Cited
Building Suspense: How to Keep the Audience at the Edge of their Seats. Filmslate. Web.
18 May 2014. < http://www.filmslatemagazine.com/filmmaking/building-
suspense-how-to-keep-the-audience-on-the-edge-of-their-seat>
DaVega, Stephen. Angles YouTube. YouTube, 19 October 2009. Web. 19 May 2014.
<https://www.youtube.com/watch?v=ULLesIpNQUA>
DaVega, Stephen. Sound YouTube. YouTube, 19 October 2009. Web. 19 May 2014.
<https://www.youtube.com/watch?v=7kpFj8rLSfw>
DaVega, Stephen. Shot Types and Implied Proximity YouTube. YouTube, 19 October 2009.
Web. 19 May 2014. <https://www.youtube.com/watch?v=FhPm3UBF5mk>
Doyle, Arthur Conan. Memoirs of Sherlock Holmes: Adventure #11: The Final Problem.
Lit2Go. PDF.
Ebert, Roger. Sherlock Holmes: A Game of Shadows Movie Review. RogerEbert.com. 2011.
Online Publication. <http://www.rogerebert.com/reviews/sherlock-holmes-a-game-of-
shadows-2011>
MEW. Review-Sherlock BBC TV. McCurdos Camp. 2011 January. Online Publication.
<http://mcmurdoscamp.wordpress.com/cultural-items-2/review-bbcs-new-sherlock/>
Ritchie, Guy, dir. Sherlock Holmes: A Game of Shadows. Warner Bros. Pictures. 2011. Film.
The Reichenbach Fall. Sherlock. BBC. United Kingdom. Television.
Yale. Part 3: Cinematography. Yale University Film Studies Program. 27 August 2002. Online
Publication. <http://classes.yale.edu/film-analysis/htmfiles/nojava_index.htm>
Yale. Part 4: Editing. Yale University Film Studies Program. 27 August 2002. Online
Publication. <http://classes.yale.edu/film-analysis/htmfiles/nojava_index.htm>
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Yale. Part 5: Sound. Yale University Film Studies Program. 27 August 2002. Online
Publication. <http://classes.yale.edu/film-analysis/htmfiles/nojava_index.htm>