They Might Be Giants

This is a quirky, oddly affecting comedy about a judge, gone psychotic after the death of his wife, who believes that he is Sherlock Holmes. His brother wants him committed to an asylum, not for reasons of concern, but so that he can become executor of the would be Holmes's considerable estate.

A female psychiatrist is asked to interview him for the formality of the commitment but becomes fascinated by the "Holmes" she meets because of his truly extraordinary deductive reasoning. It's apparent that, delusional or not, he may be a genius of some kind, and far more fascinating than most ordinary mortals.

The psychiatrist, whose name just happens to be Watson, joins this Sherlock Holmes in his quest to search the streets of New York City for his nemesis, Professor Moriarty. On the way they meet various other people, also largely spurned by society, but, somehow, kindred souls in an otherwise pretty cold world.

This strange but intelligent, utterly charming film died a quick death at the 1971 box office, but has found a cult following of sorts over the years. George C. Scott, with briar pipe and deerstalker hat, is virtual perfection in the role of the man who believes he is Holmes, while Joanne Woodward, devoid of her usual glamour, playing the socially awkward psychiatrist who starts to gradually believe in his cause, brings a warmth and touching vulnerability to her role.

The film has a few wonderful scenes with lovely little touches. Holmes takes his Watson to a little movie theatre, almost empty but for a few street people, and a makeout couple in the top balcony. Yet the street people there all know him, greeting him with smiles as "Mr. Holmes" at this theatre where he likes to come for comfort and watch westerns.

At another unexpected moment a police officer suddenly comes around the corner, spots "Holmes" and a large smile spreads across his face as he says, "Why, Mr. Rathbone, it's an honor, sir," as he reaches over to shake his hand.

And, towards the film's beginning, there is a marvelous scene in which Scott, dressed as Holmes, arrives at a seedy asylum where an inmate is being abused by an orderly. There's a low angle camera shot of a towering Scott/Holmes as he struts through the hallway unruffled, dispassionately disarming orderlies who try to grab him, then proceeds to analyze the mind of the abused patient in a manner that has the patient's doctor (Watson in her first encounter of him) in almost open mouthed admiration.

The film's final scene will undoubtedly baffle many viewers because of its ambiguity. It's a moment that is clearly open to interpretation. But I think that scene, and this film, are about the soaring human spirit, and a belief in one's self even though logic and all around you may tell you that you are wrong.

They Might Be Giants is now better known for giving the name to a quirky pop group rather a quirky cult film in its own right. Although the title is derived from Cervantes novel Don Quixote.

The films is an adaptation of the stage play where George C Scott plays a brilliant jurists who after the death of his wife thinks he is Sherlock Holmes.

His brother tries to have him committed so he can receive his money. The psychiatrist who is to evaluate him is called Dr Mildred Watson (Joanne Woodward) in order to understand his condition more ends up enlisting in his adventures to venture down the streets of New York to find Moriarty.

Dr Watson is sceptical at first and knows the condition he is suffering from, standard textbook stuff really. However Dr Watson a middle aged spinster has issues of her own and is drawn to the former judge and the director pulls off a remarkable trick where at a point in the film the sceptic becomes a convert. Both fall for each other and pursue Moriarty with zeal.

The film deals with mental illness and some themes in this film were pursued two decades later by Terry Gilliam in the movie The Fisher King, a director who has long pursued to make his own version of Don Quixote.

This is a small scale actors film. Both Scott and Woodward give terrific performances with a strong support cast. It does have it flaws, maybe the brother needed to be drawn stronger as a villain and it might just get a bit to silly at the end. The climax is rather frustrating as they think Moriarty is approaching.

James Goldman's most beautiful and literary script, a fragile and delicate fantasy/comedy that delivers on its initial promise. Beautifully acted by Scott, Woodward and Gilford, and with a dozen or more cameos that are truly memorable, this is truly a feel-good movie for the literate and the intelligencia. I would rank it among my top half-dozen.

This is one of those films that is so quirky that you love watching it. Certainly not a big budget film despite having two great actors in George C. Scott and Joanne Woodward but it is a fun film. Director Anthony Harvey had an odd career. He only directed nine theatrical feature films and in only his second film he hit a home run with 1968's The Lion in Winter getting seven Academy Award nominations including Best Picture and Best Director for himself. He didn't win in those two categories but that film did win three Oscars. He didn't direct another film for three years until he came out with They Might be Giants which was such a small film and such a departure from his previous big historical epic. George C. Scott turns in an excellent performance here as does Woodward. This isn't a great film but it's fun and interesting and the supermarket scene is a riot. I've seen this a couple of times and would definitely like to see it again sometime. I would give this a 7.5 on a scale of 10.

If you look for flaws in this film you will find plenty. Still, I gave this film a 10 vote because it has overriding qualities which are extremely rare. It is a magical film, full of poetry, it touches you where other films cannot reach. It creates a fantasy world of its own in the midst of modern society, a fantasy world which is utterly implausible and yet so compellingly persuasive.

The cast of this gem is mesmerisingly excellent, all parts I can think of are cast with character actors who on their own have stolen entire films from the stars. The central performance by George C. Scott is majestic, and so is John Barry's wonderful score. The film contains many memorable scenes, but outstanding amongst the lot is the supermarket scene. If I had to compile a list of the ten best scenes ever put to celluloid, this would be included.

Unique.