A Study in Pink

Sherlock Holmes has lived on to the 21st century: adapting to its technology, but not its society, Sir Arthur Conan Doyle's iconic conception gets refurbished all around by Mark Gatiss and Steven Moffat and is solving the same crimes he has already been solving more than a hundred years earlier in just a slightly altered fashion in Sherlock, a superb BBC series.

The three-part first series commences with "A Study in Pink" and introduces its titular sleuth in what is easily the most peculiar way of all Sherlock Holmes adaptations: flogging a corpse. Of course, that slightly disturbing start fulfils the mere purpose of solving a death and the next scene reveals that Benedict Cumberbatch's rather young Holmes is not that big of a sociopath. In any case, we have yet to see a more spellbinding and distinctive on-screen portrayal of SH (as he signs his text messages) than the charismatic Briton's and because of that, the changes of character traits in comparison to the novels don't concern me at all. His colleague Dr Watson, often narrowed down to a simple right-hand man in adaptations of lesser quality, is equally uniquely and lovably portrayed by Martin Freeman and the two are the perfect match for each other, delivering amusing pieces of black humour, exchanging small insults, and sharing homoerotic dinners. More first- class acting is to be found in supporting roles, with unexceptionally all cast members making the most out of a witty, funny, and not once boring screenplay written by series creator Moffat himself. Especially Phil Davis as the episode's memorable antagonist and series creator Moffat himself as Holmes's brother Mycroft are dazzling additions to the cast and impress as they are conversationally facing Sherlock's two protagonists.

This particular detective story itself is not among the greatest Sherlock Holmes adventures of all time, but is gripping until the end and expertly interwoven with the exposition and establishment part the series pilot logically brings with it. The cream of the crop is the dialogue though, trotted out at a breakneck pace and ever quotable. "A Study in Pink" is then topped off by technical grandeur, in beautiful captures of London and the characters, properly timed editing with not one scene being either too long or too short, a catchy score blending mysterious and funny musical aspects together, and wonderful set design for 221B Baker Street especially. My only issues with Sherlock are the opposite of grave and can be easily dismissed: for one, Sherlock's inner map of London and some of his deductions fly in the face of reason and for the other, his written thought bubbles shown on screen are fully unnecessary when explained just a moment later.

Otherwise, "A Study in Pink" is outstanding filmmaking on every level and brilliant at transferring the original story into this day and age, with Holmes an avid mobile phone user and Watson a veteran of the Afghanistan war. From this pilot onwards, I've considered Sherlock to be the very best adaptation of the Conan Doyle novels there is and one of the most entertaining TV series into the bargain.

My detective scribblings: • "How can people keep themselves safe from these serial suicides?" – "Don't commit suicide." Inspector Lestrade, brimming with useful advice. • I was quite surprised about not seeing Sherlock reacting to John's two different ways of pronouncing the word 'assume' within a matter of minutes. • "I'm not his date!" More serious shows could profit from running gags. • Sherlock Holmes receives almost universal disdain in this series and, as he casually mentions to pickpocket from Lestrade when he's annoying, one can somehow relate to that. • What an absolutely magnetic sequence of Sherlock discovering the story behind the pink phone that is: flashbacks, cross-cutting, camera movement, and all the brilliant facial expressions by Benedict Cumberbatch make it by far the pilot's most impressing. • Best line of dialogue: "I could be wrong, but I think that's really none of your business." John Watson, teaching kids how to courteously tell someone to bugger off.

Absolutely fantastic episode in the series of Sherlock Holmes!

This series is a great remake of the original Holmes series and novels. The character Holmes is a complex, borderline insane man who loves solving crimes. With his new partner Dr. Watson, they participate in solving the murders happening around town in Central London. This leads to a lot of evidence, weird coincidences, and dangerous situations for both of the men.

I was rather skeptical before watching the episode but was left speechless in the end. The film was funny, exciting, and kept you on the edge of your chair at some points.

Benedict Cumberbatch, playing Sherlock Holmes, is a fantastic actor for this series and handles the character perfectly. His facial expressions are on point and his rude remarks concerning the CSI Anderson and Sergeant Donovan make the room fill with laughter. Holmes' mind is intriguing and his explanations of his discoveries leave you wanting more insight of his overactive mind.

I would definitely recommend this series to anyone who gets a kick out of crimes and solving them. It is a very enjoyable episode that makes you want to watch more. Suddenly, all your spare time will be spent on watching the nine episodes in the three seasons that right now have been aired.

Enjoy your life being taken away by Sherlock!

A contemporary adaptation of the Sherlock Holmes novel 'A Study In Scarlet'.

This is an excellent feature length television episode with a good use of the source material, solid production values and great performances.

The plot loosely follows the concept of the original story but provides enough original material to make it fresh and interesting. Particularly towards the end it gets very compelling, although it's not hugely suspenseful because you know Holmes' life would not really be in danger. You do, as much as Holmes, want to know how the antagonist can do what he claims to do.

What makes it work so well is the star power and charisma of the lead characters. These are two great actors playing two great characters and they constantly entertain thanks in part to the dialogue.

Visually it is excellent, with strong cinematography, editing and art design. I was not completely sold on the amount of title sequences used to help viewers keep up with Holmes' observations, particularly when he explains it a few minutes later, but this is a matter of taste.

Generally, the use of modern technology in place of the traditional devices with the same principle in the books is another strength of the production.

I have avoided this for over 10 years for being yet another Holmes adaptation, but have to admit it surpassed my expectation.

They say a true classic is something that, despite costumes and taking place in another time, remains timeless. And we see with Shakespeare and other great writers, their plays are often put into modern settings and still work. The same is true of classic characters.

"Sherlock" brings Sherlock Holmes and Dr. Watson into the 21st Century. This isn't, of course, the first time these two have worked and lived in modern times, as the Sherlock Holmes film series starring Basil Rathbone and Nigel Bruce was used as propaganda during World War II.

This time, though, Sherlock (Benedict Cumberbatch) is young, working in the lab where he met Watson (Martin Freeman), the army doctor. Here, Watson has just returned from Afghanistan and is trying to adapt to civilian life. In need of a roommate, but feeling that no one will want to live with him, a friend introduces him to someone else no one wants to live with - Sherlock. Sherlock's landlady, Mrs. Hudson (Uma Stubbs) has given Holmes a deal on an apartment at 221B Baker Street. Watson moves in, with some trepidation.

This first case, A Study in Pink, concerns a series of suicides from the same poison, committed by three unrelated people. Holmes thinks they were driven to it, but how? He is called in by Lestrade (Rupert Graves) when a woman is found dead and Lestrade becomes desperate. Watson goes along and soon finds himself caught up in Holmes' deduction.

Fast-moving, fascinating, and delightful, Holmes and Watson now have use of the Internet, GPS, and cell phones. Sherlock, in fact, is a great texter. He wears three nicotine patches because smoking in London has become impossible, and he meditates on a crime while wearing them. The other modern touch is that everyone thinks Holmes and Watson are gay lovers. Instead of stories, it's looking like Watson is going to be writing a blog. All of these modernisms are very effective and work well in the story.

Stage and TV actor, 34-year-old Benedict Cumberbatch is Holmes, thin, youthful, fast talking and attractive; and the slightly older Freeman is a serious and troubled Watson, not the buffoon of Nigel Bruce, but a person who perks up when he becomes involved in the excitement of Holmes' case. They make a good team.

Really can't wait for more of these - very enjoyable, suspenseful, and entertaining.

Just watched it on Swedish Television (in Norway), this genial piece of modernized, classical institutionalized British fiction. It's fun and full of suspense. Freeman is perfect as Watson with his neurotic energy. Just as he is in the Office. Cumberbatch is good as the modern Holmes, much like Suchet in the role of Hercule Poirot the last 20 years. The first episode is exciting and fast pacing; reminds of the Dark Night (Batman). Sharp analysis and blending remarks of cosmic intelligence, replacing each continuously. The humor is dry and funny. Holmes'analysis of the initial dead people are clever and modern; you hold your breath while smiling.... Great photography too, dark and earthly colors... I love this episode and series, assuming that the rest is just as good. Holmes is living well in the present moment, his superior deductions are not possible for a conventional thinker, but still possible to relate to. Besides the unnecessary snide remarks about Watsons intelligence, he is as close to Buddhism as it is possible to get, west of Bhutan.