The core difficulty in gauging the achievements of America’s most recent take on Sherlock Holmes is that it is impossible to view in isolation. The world’s only consulting detective has become such an all-pervasive feature of pop culture that the CBS network’s insistence on the creative independence of its new series Elementary is instantly laughable. Attempting to judge the series on its own merit is not only to ignore the source material and long legacy of adaptations dating back to 1900 (Holmes currently has the distinction of being the Guinness Book of World Records’ Most Portrayed Literary Human Character in Film & TV), but it is also to overlook the inevitable elephant in the room: the BBC’s hugely successful Sherlock starring Benedict Cumberbatch as the titular sleuth.
The production of Elementary was from the start doomed to walk eternally chained in its UK counterpart’s shadow, following a thinly veiled threat of legal action from BBC producer Sue Vertue should the project too closely resemble their own. Despite this, it has proved one of the most successful new shows to premiere in the 2012 season. Was this simply the predictable result of the soulless US suits’ evil plan to cash in on the current Sherlock Holmes-mania, or does Elementary actually have something new to offer to a dangerously overused concept?
Despite the cynicism surrounding its debut, Elementary is not simply a McDonaldised version of its UK rival, but has cultivated its own personal charm to create a genuinely entertaining show. At the root of this is unquestionably Jonny Lee Miller in the central role. While it is too much to say he carries the series entirely, it seems unlikely that Elementary would have stayed afloat without an actor of his calibre at the helm.
Miller offers a softer-mannered and, indeed, more faithful interpretation of Holmes than his predecessors, while simultaneously bringing a refreshingly edgy physicality to the role. Miller’s portrayal is exposed and often vulnerable, and though he of course retains the characteristic alienating intellect, has largely abandoned its use as an icy mask. This is mainly enabled by the decision to forefront Holmes’ drug problem, an integral part of Elementary’s premise as it shapes the introduction of a new, and not necessarily improved, Dr Watson.
The good news is that Lucy Liu’s character does not strike the viewer as gimmicky, as was feared initially. The bad news is that she doesn’t strike the viewer as much of anything. The ever-imminent cliff of misogyny here ruled out the stereotypical comic-relief sidekick formulation of the Watson character. She is refreshingly authoritative and capable, but the downside is the lack of much chemistry; Liu plays her role competently, but fails to connect with her co-star. The writers have ultimately been disappointingly cautious with the gender revision, even refraining from use of the name Joan in place of the haltingly formal Watson.
The show has other minor difficulties; the episodic format regularly falls into the predictable pattern of the quirky crime procedural. The major change to the premise, the relocation to New York, is made little use of, and effective use of the modern setting is avoided, likely for fear of the BBC legal team.
All in all, though, Elementary is a strong show with a great deal of potential. As the relationship between the principal leads looks set to evolve beyond the mid-season finale, and with the introduction of the wider Sherlock Holmes mythology, it is likely that the series will prove a durable hit – provided Liu’s bland Watson is further fleshed out. To a certain extent, enjoyment of the show will always be coloured by familiarity with the source material and alternative adaptations, but Elementary does manage to offer a little something for everyone.
But no, it’s not as good as Sherlock.
