Rating: 
Summary: Gothic Holmes.
Review: "Yes, the setting is a worthy one. If the devil did desire to have a hand in the affairs of men ..."With these words, Sherlock Holmes comments on the mystery presented to him in "The Hound of the Baskervilles." And the "if" is a big one indeed, as he immediately makes clear: Asked by Dr. Watson whether he is inclined to place belief into the supernatural explanation of the phenomenon haunting the Baskerville family, Holmes points out that the devil's agents may well be of flesh and blood, thus instantly discounting the idea of the supernatural, and explains that there are two questions only to be resolved in this matter - whether any crime has been committed at all, and if so, what that crime is and how it was committed. Similarly, in "The Adventure of the Sussex Vampire," Holmes dismisses all allegations of the work of bloodsucking fiends as "rubbish" and proceeds to prove in his seemingly effortless and strictly logical manner the perfectly natural solution to the events recounted to him by his client. And herein lies the distinction between the movies contained in this collection and Arthur Conan Doyle's literary originals; and at the same time, the movies' overriding common element. For what is presented here is not necessarily, as in the shorter episodes of the TV series starring Jeremy Brett, a faithful rendition of Conan Doyle's originals, but rather, a set of five more or less classic gothic tales which happen to feature the famous detective from Baker Street and his companion Dr. Watson (Edward Hardwicke, who took over from David Burke after the TV series's first season). "The Last Vampyre," based on the aforementioned Sussex Vampire short story, is in a way the most obviously problematic of these dramatizations, in that it departs from Holmes's (and Conan Doyle's) perspective on the supernatural by turning the tale into essentially an average horror story. Moreover, contrarily to the remaining feature films and the shorter episodes, the setting here is researched less faithfully and with less care for detail; and it shows. However, the movie is saved by the as always outstanding performance of Jeremy Brett, the *only* actor who ever managed to perfectly portray Holmes's imperiousness, bitingly ironic sense of humor and apparently indestructible self-control without at the same time neglecting his friendship towards Dr. Watson and the weaknesses hidden below a surface dominated by his overarching intellectual powers. And nowhere is that dichotomy clearer than in "The Last Vampyre," where Brett, himself already afflicted by the illness which would eventually kill him, reached new and never before explored depths in Holmes's soul. Although perhaps the gravest departure from Conan Doyle's literary original, noteworthy is also the performance of Roy Marsden as St. Claire Stockton, the village community's chief suspect of the alleged vampirism; a role demanding just the right degree of ambiguity in order not to lose credibility, and surely in the hands of a lesser actor the one role which would have brought the movie below the point where even Brett would no longer have been able to save it. Conceptually equally problematic in my view is "The Eligible Bachelor," which turns a fairly simple and (as Sherlock Holmes stories go) straightforward tale of a bride disappearing on her wedding day into a confusing labyrinth of nightmares, doomed heiresses, madness and family curses; trying hard, but alas, unsuccessfully, to look like a cross between Hitchcock's "Rebecca" and an adaptation of the Brontes' "Jane Eyre" and "Wuthering Heights." Approach-wise, this is almost unpardonable, because unlike "The Adventure of the Sussex Vampyre" - which is contained in the last Holmes collection, 1927's "Casebook," and at least thematically fits in with the darker mood of those stories, driven by the psychological devastation brought about by World War I - this particular story's original version, "The Noble Bachelor," is part of 1892's "Adventures of Sherlock Holmes," and thus one of the earliest adventures which open only rare glimpses onto Holmes's personal ghosts. "The Master Blackmailer" is based on the "Return of Sherlock Holmes" (1905) story "The Adventure of Charles Augustus Milverton" and, while containing some narrative padding, one of the more faithful realizations here. Outstanding in particular is the performance of Robert Hardy, who has Holmes's antagonist Milverton - the master criminal specializing in blackmailing women of society with letters he has secretly obtained - down to the story's last detail, complete with his insincere, "perpetual frozen" smile and "the hard glitter of [his] restless and penetrating eyes." In the tiniest departure from Conan Doyle, Brett's Holmes displays genuine sympathy for the housemaid with whom he fakes an engagement to obtain information about Milverton's household. The story's somber climax, however, is taken directly from its literary original. More faithful to Conan Doyle's works, finally, are also the realizations of the two novels "The Sign of the Four" (1890) and "The Hound of the Baskervilles" (1901) (with the notable exception of the first novel's end, which would have been irreconcilable with the series's premise of a shared tenancy at 221B Baker Street - a fact no longer true even at the beginning of "The Adventures of Sherlock Holmes"). Both novels contain allusions to the supernatural, juxtaposed with Holmes's detached, logical analysis; and relieved of the need to add flesh to the narrative bones of the shorter tales, the movies stay the course very well and bring to life in all their horror the events unraveled by Holmes over the course of his investigations. If I am able to enjoy even those movies which significantly depart from Conan Doyle's originals, it is because I have, over time, come to see them as entirely new entries into the Sherlock Holmes canon - validated almost singlehandedly by the stellar performance of Jeremy Brett, as well as that of Edward Hardwicke as a refreshingly unbumbling Dr. Watson; and the two unequal heroes' relationship, which Loren Estleman in his foreword to Bantam's "Sherlock Holmes: The Complete Novels and Stories" rightfully called literature's warmest and most symbiotic and timeless ever.
Rating:
Summary: Gothic Holmes.
Review: "Yes, the setting is a worthy one. If the devil did desire to have a hand in the affairs of men ..." With these words, Sherlock Holmes comments on the mystery presented to him in "The Hound of the Baskervilles." And the "if" is a big one indeed, as he immediately makes clear: Asked by Dr. Watson whether he is inclined to place belief into the supernatural explanation of the phenomenon haunting the Baskerville family, Holmes points out that the devil's agents may well be of flesh and blood, thus instantly discounting the idea of the supernatural, and explains that there are two questions only to be resolved in this matter - whether any crime has been committed at all, and if so, what that crime is and how it was committed. Similarly, in "The Adventure of the Sussex Vampire," Holmes dismisses all allegations of the work of bloodsucking fiends as "rubbish" and proceeds to prove in his seemingly effortless and strictly logical manner the perfectly natural solution to the events recounted to him by his client. And herein lies the distinction between the movies contained in this collection and Arthur Conan Doyle's literary originals; and at the same time, the movies' overriding common element. For what is presented here is not necessarily, as in the shorter episodes of the TV series starring Jeremy Brett, a faithful rendition of Conan Doyle's originals, but rather, a set of five more or less classic gothic tales which happen to feature the famous detective from Baker Street and his companion Dr. Watson (Edward Hardwicke, who took over from David Burke after the TV series's first season). "The Last Vampyre," based on the aforementioned Sussex Vampire short story, is in a way the most obviously problematic of these dramatizations, in that it departs from Holmes's (and Conan Doyle's) perspective on the supernatural by turning the tale into essentially an average horror story. Moreover, contrarily to the remaining feature films and the shorter episodes, the setting here is researched less faithfully and with less care for detail; and it shows. However, the movie is saved by the as always outstanding performance of Jeremy Brett, the *only* actor who ever managed to perfectly portray Holmes's imperiousness, bitingly ironic sense of humor and apparently indestructible self-control without at the same time neglecting his friendship towards Dr. Watson and the weaknesses hidden below a surface dominated by his overarching intellectual powers. And nowhere is that dichotomy clearer than in "The Last Vampyre," where Brett, himself already afflicted by the illness which would eventually kill him, reached new and never before explored depths in Holmes's soul. Although perhaps the gravest departure from Conan Doyle's literary original, noteworthy is also the performance of Roy Marsden as St. Claire Stockton, the village community's chief suspect of the alleged vampirism; a role demanding just the right degree of ambiguity in order not to lose credibility, and surely in the hands of a lesser actor the one role which would have brought the movie below the point where even Brett would no longer have been able to save it. Conceptually equally problematic in my view is "The Eligible Bachelor," which turns a fairly simple and (as Sherlock Holmes stories go) straightforward tale of a bride disappearing on her wedding day into a confusing labyrinth of nightmares, doomed heiresses, madness and family curses; trying hard, but alas, unsuccessfully, to look like a cross between Hitchcock's "Rebecca" and an adaptation of the Brontes' "Jane Eyre" and "Wuthering Heights." Approach-wise, this is almost unpardonable, because unlike "The Adventure of the Sussex Vampyre" - which is contained in the last Holmes collection, 1927's "Casebook," and at least thematically fits in with the darker mood of those stories, driven by the psychological devastation brought about by World War I - this particular story's original version, "The Noble Bachelor," is part of 1892's "Adventures of Sherlock Holmes," and thus one of the earliest adventures which open only rare glimpses onto Holmes's personal ghosts. "The Master Blackmailer" is based on the "Return of Sherlock Holmes" (1905) story "The Adventure of Charles Augustus Milverton" and, while containing some narrative padding, one of the more faithful realizations here. Outstanding in particular is the performance of Robert Hardy, who has Holmes's antagonist Milverton - the master criminal specializing in blackmailing women of society with letters he has secretly obtained - down to the story's last detail, complete with his insincere, "perpetual frozen" smile and "the hard glitter of [his] restless and penetrating eyes." In the tiniest departure from Conan Doyle, Brett's Holmes displays genuine sympathy for the housemaid with whom he fakes an engagement to obtain information about Milverton's household. The story's somber climax, however, is taken directly from its literary original. More faithful to Conan Doyle's works, finally, are also the realizations of the two novels "The Sign of the Four" (1890) and "The Hound of the Baskervilles" (1901) (with the notable exception of the first novel's end, which would have been irreconcilable with the series's premise of a shared tenancy at 221B Baker Street - a fact no longer true even at the beginning of "The Adventures of Sherlock Holmes"). Both novels contain allusions to the supernatural, juxtaposed with Holmes's detached, logical analysis; and relieved of the need to add flesh to the narrative bones of the shorter tales, the movies stay the course very well and bring to life in all their horror the events unraveled by Holmes over the course of his investigations. If I am able to enjoy even those movies which significantly depart from Conan Doyle's originals, it is because I have, over time, come to see them as entirely new entries into the Sherlock Holmes canon - validated almost singlehandedly by the stellar performance of Jeremy Brett, as well as that of Edward Hardwicke as a refreshingly unbumbling Dr. Watson; and the two unequal heroes' relationship, which Loren Estleman in his foreword to Bantam's "Sherlock Holmes: The Complete Novels and Stories" rightfully called literature's warmest and most symbiotic and timeless ever.
Rating: 
Summary: The rest of the story
Review: ...viewed through the lens of agony at the end of Brett's life, these movies blossom. He was battling severe depression and a nervous breakdown due to the death of his wife and dying of cardiomyopathy. Medication prescribed to control his bipolar disorder gave him the bloated appearance seen in later episodes. As the medication built up in his system, it wreaked his already weakened heart (he'd had rheumatic fever as a child)... What raises this above maudlin tribute is how much closer the latter-day Brett comes to the Holmes penned by Doyle. There is a problem with the Doyle Holmes even the best actors don't overcome. (Brett himself thought Doyle was better read than watched.) The agony Brett suffered in his last months seems to have enabled him to transcend that barrier. Maybe because Holmes is so dark a character. Tom Keogh says in Amazon.com's Editorial Review, "the ailing Brett gives an ever-fascinating performance... something darker and more personal" and "the ailing Brett, play[s] an increasingly darker and more neurotic detective." A writer once suggested Holmes' own words from Watson's memoir (in The Final Problem) could serve as his epitaph: "I think I may go so far as to say that I have not lived wholly in vain; if my record were closed tonight, I could still survey it with equanimity. The air of London is sweeter for my presence." Diana Rigg observed they might also apply to Jeremy Brett. The earlier episodes are more comely. Nevertheless, the rest of the story and the essence of Holmes are in The Eligible Bachelor, The Master Blackmailer, The Last Vampire, and The Hound of the Baskervilles.
Rating: 
Summary: An excellent series milked at the end.
Review: Agreeing with most of the reviews below, I'd add that the two hour length features appear to take the same pace and plot development of the Adventure series (with which I am most acquainted), and stretch it out into two hours. The result is that it appears dull and lifeless. Case in point, simple scanning of Sir Henry's ancestor's portraits in the hallway of the Baskerville Estate is slow and tedious, a time killer of sorts. If Hound was done in the standard one hour, with the same level of plot development, etc., it would appear as brilliant as those stories covered in the Adventure series. I'll take the Rathbone and Bruce version of Hound over this without question. The Last Vampire is slow, a little better done than Hound, but still below the quality of The Adventures. The Sign of Four is good, quite passible in terms of pace and plot. I can't comment on The Eligible Bachelor, as I haven't seen it yet. Skip this set and buy The Sign of Four as a single, its worth it.
Rating:
Summary: But watch these last.
Review: First let me start off by saying that Jeremy Brett is the greatest Holmes of all time, and this Granada television series is the best production of the classic tales, period. Okay, having said that, I think it was a mistake on the part of MPI to release these five 2 hour "feature films" before they completed the rest of the series, because these are, by far, the weakest productions of the series. There's something about stretching these classic stories into 2 hours that just doesn't work, and Brett's illness takes a toll on his performance here. I fear people may be turned off to the Brett/Granada Holmes before the release of the outstanding second season, The Return of Sherlock Holmes, on DVD in June/July, 2003. If you've never seen a Brett/Granada Holmes, RUSH to buy the first season, The Adventures of Sherlock Holmes, which has been out on DVD for some time now, and pre-order the second season. Then, when you become a hardcore junkie like me, you can get these. These movies DO have their merits, but don't let this be your introduction to this masterful series.
Rating: 
Summary: Only for the completists--save money and cherry-pick.
Review: I'd recommend cherry-picking the "fourth-season" 1988 episodes, "Hound" and "Sign," and purchasing them individually, rather than obtaining this set. The other three "movies" are from 1991 (after "Case-Book" and before "Memoirs"), and were the first episodes done after John Hawkesworth and Michael Cox had left as producers of the show and the faithfulness to the original stories fell dramatically: just as an indication, all three of these movies had their plots altered so much from the Doyle stories that the writers changed their titles (none of the other episodes had this happen). The only reason to purchase this set is to save money if you're a completist who needs ALL the episodes, or if you're a British-actor fan who doesn't care about script quality or Holmesian faithfulness.
Rating:
Summary: Only for the completists--save money and cherry-pick.
Review: I'd recommend cherry-picking the "fourth-season" 1988 episodes, "Hound" and "Sign," and purchasing them individually, rather than obtaining this set. The other three "movies" are from 1991 (after "Case-Book" and before "Memoirs"), and were the first episodes done after John Hawkesworth and Michael Cox had left as producers of the show and the faithfulness to the original stories fell dramatically: just as an indication, all three of these movies had their plots altered so much from the Doyle stories that the writers changed their titles (none of the other episodes had this happen). The only reason to purchase this set is to save money if you're a completist who needs ALL the episodes, or if you're a British-actor fan who doesn't care about script quality or Holmesian faithfulness.
Rating:
Summary: The Closer to the Canon, the Better
Review: In these five feature-length films, we see Holmes at his best (though the quality of the films themselves varies). With The Sign of Four, the Granada team decided to avoid the question that plauge Sherlockians 'how many wives did John Watson have?' by avoiding the subject all together. This was a risky move, but it proved to streamline this series dramatically, and ended on a most worthy note. The portrayal of Jonathan Small by Jonathan Thaw (TV's Inspector Morse) ranks as one of the best guest appearances on this series. Outside the Mary Morstan subplot with Watson, this is very faithful to the original narrative. Better than Ian Richardson, by far better than Charlton Heston's Crucible of Blood, and stronger than anything Rathbone and Bruce had to offer. Can you imagine Bruce's bumbling, mumbling Watson trying to carry a picture? Oh, that's right they tried that with their over-blown Hound.
The Hound of the Baskervilles found in this DVD set can be a bit dry, and a bit slow at times. It is obvious that Brett is in ill-health. However, his performance is solid, and the moments he interacts with Hardwicke's Watson, we see a relationship between Holmes and Watson that no other team has captured. While Holmes delights in foiling Watson, such as in the opening scene over Dr. Mortimer's stick, it is Watson who steals the show. Hardwicke plays Watson as a world-weary, older brother of Holmes who understands him, and who is much needed by the world famous sleuth. Incidentally, for those who feel this particular version is too slow, I challenge you to see what happens when one tries to make a 'hipper, darker' version of the story, such as the 2002 production with Richard (Moulin Rouge) Roxburgh. The result is a gore-fest with little of the original story left in tact.
The Master Blackmailer is my favourite of the set. Holmes has fallen in love. The inexplicable has happened. In the original Canon story, he did get engaged to Milverton's maid. However, she turned out to be the Lady Swinstead, who turned the gun on Milverton at the end. This version takes liberties with that idea, and presents us with perhaps the saddest look at Holmes; a man who does not know how to kiss, love, or be loved. I remember hearing how folks who have trouble cultivating romances watched this episode, and responded that the episode was theraputic. Brett himself in this episode appears as if his health was getting better. He has more energy, and appears younger than in Hound.
The Eligible Bachelor is loosely based on The Noble Bachelor, and here is where the series gets into some trouble. While the performances of Brett and Hardwick are amazing, the story itself gets just a little too weird, especially with Holmes Prophetic dreams and the harrowing hag-like woman who has been kept in captivity. Because of Brett's deterioration in health, it makes sense that Holmes is having a 'breakdown.' His monologue about a world without Moriarty is particularly engaging. These moments make the film. The case itself is a let-down.
And finally, the last disc, I'm sad to say is the worst of the Brett series. I also felt it was the worst of the Canon stories. In the Canon story, when the boy is found to have tried to commit murder, Holmes recommends that he takes a few years to travel abroad. What? So, in this version, we do have a Dracula-esque human being who takes the young lad under his wing. Brett looks very run down, and older than his age in this film. And although, for the most part, the Memoirs series (which followed these films) is very good, Brett continues to look worse and worse. Does it make these later episodes unwatchable? Of course not! BRETT IS HOLMES. But we can't help but watch, with a lump in our throats, the slow deterioration of the definitive Holmes, who was in life, one of the most remarkable actors ever to grace the world.
Rating:
Summary: The Closer to the Canon, the Better
Review: In these five feature-length films, we see Holmes at his best (though the quality of the films themselves varies). With The Sign of Four, the Granada team decided to avoid the question that plauge Sherlockians 'how many wives did John Watson have?' by avoiding the subject all together. This was a risky move, but it proved to streamline this series dramatically, and ended on a most worthy note. The portrayal of Jonathan Small by Jonathan Thaw (TV's Inspector Morse) ranks as one of the best guest appearances on this series. Outside the Mary Morstan subplot with Watson, this is very faithful to the original narrative. Better than Ian Richardson, by far better than Charlton Heston's Crucible of Blood, and stronger than anything Rathbone and Bruce had to offer. Can you imagine Bruce's bumbling, mumbling Watson trying to carry a picture? Oh, that's right they tried that with their over-blown Hound.
The Hound of the Baskervilles found in this DVD set can be a bit dry, and a bit slow at times. It is obvious that Brett is in ill-health. However, his performance is solid, and the moments he interacts with Hardwicke's Watson, we see a relationship between Holmes and Watson that no other team has captured. While Holmes delights in foiling Watson, such as in the opening scene over Dr. Mortimer's stick, it is Watson who steals the show. Hardwicke plays Watson as a world-weary, older brother of Holmes who understands him, and who is much needed by the world famous sleuth. Incidentally, for those who feel this particular version is too slow, I challenge you to see what happens when one tries to make a 'hipper, darker' version of the story, such as the 2002 production with Richard (Moulin Rouge) Roxburgh. The result is a gore-fest with little of the original story left in tact.
The Master Blackmailer is my favourite of the set. Holmes has fallen in love. The inexplicable has happened. In the original Canon story, he did get engaged to Milverton's maid. However, she turned out to be the Lady Swinstead, who turned the gun on Milverton at the end. This version takes liberties with that idea, and presents us with perhaps the saddest look at Holmes; a man who does not know how to kiss, love, or be loved. I remember hearing how folks who have trouble cultivating romances watched this episode, and responded that the episode was theraputic. Brett himself in this episode appears as if his health was getting better. He has more energy, and appears younger than in Hound.
The Eligible Bachelor is loosely based on The Noble Bachelor, and here is where the series gets into some trouble. While the performances of Brett and Hardwick are amazing, the story itself gets just a little too weird, especially with Holmes Prophetic dreams and the harrowing hag-like woman who has been kept in captivity. Because of Brett's deterioration in health, it makes sense that Holmes is having a 'breakdown.' His monologue about a world without Moriarty is particularly engaging. These moments make the film. The case itself is a let-down.
And finally, the last disc, I'm sad to say is the worst of the Brett series. I also felt it was the worst of the Canon stories. In the Canon story, when the boy is found to have tried to commit murder, Holmes recommends that he takes a few years to travel abroad. What? So, in this version, we do have a Dracula-esque human being who takes the young lad under his wing. Brett looks very run down, and older than his age in this film. And although, for the most part, the Memoirs series (which followed these films) is very good, Brett continues to look worse and worse. Does it make these later episodes unwatchable? Of course not! BRETT IS HOLMES. But we can't help but watch, with a lump in our throats, the slow deterioration of the definitive Holmes, who was in life, one of the most remarkable actors ever to grace the world.
Rating:
Summary: A must have
Review: Low price, great entertainment, and Jeremy Brett to keep you on suspense.
Make some coffee, poor some good malt, have some Swiss chocolate and place yourself in front of the screen...
Ahh....
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