Millie Bobby Brown – the rising star of generation Z, is widely known for her memorable depiction of the troublesome Eleven on “Stranger Things.” It’s not hard to picture her performance to be smart beyond her years, solve issues that were both cognitively and physically difficult, and give a clear route ahead in a dark and perplexing world.
The very first impression, we learn her name as “Enola Holmes,” it’s certain that Brown has to tackle all of those tasks once more, but this time she gets to have some exciting time doing it. Brown is absolutely stunning in this film, exuding the same adult demeanor and grace as she did in the Netflix sci-fi series, as well as an engaging fun edge and brilliant comic delivery. It’s as if we are going to get to know her one more time, and it’s wonderful.
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And, if the ending of “Enola Holmes” is any indicator, this could be the beginning of a much-needed female-led franchise.
“Enola Holmes,” based on Nancy Springer‘s Young Adult novel series, sees Sherlock’s little sister trying to whip up mischief, solving mysteries, and carving out a place for herself in aristocratic Victorian England. Despite the fact that she has a renowned brother, she is very much her own person when it comes to playing detective. Emmy winner Harry Bradbeer infuses this staid atmosphere with irresistible energy by having Enola breach the fourth wall right away with comically self-aware asides, a technique he utilized regularly on the numerous episodes of “Fleabag” he directed. She chats to us directly while riding her bike through rolling hills and over huge fields of flowers—until she bites it and lands face-first in the mud. “Cycling is not one of my core strengths,” she admits as she dusts herself off, and we’re captivated.
Enola mentions in the Jack Thorne script that her name is “alone” spelt reverse. And she and her utterly unconventional mother (a well-cast Helena Bonham Carter) are precisely that as they wander around their sprawling country estate painting, reading, and even playing tennis and archery indoors. (Carter is an encouragement to all of us suffering parents as the best homeschool educator ever.
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) But, as Enola approaches her 16th birthday, she vanishes, leaving her daughter to care for herself, aided only by a series of cryptic hints and a couple of disapproving elder brothers who have come to watch on her.
As the snobby, scheming Mycroft, Sam Claflin gets a mustache to twist, and Henry Cavill is the finest Holmes ever—truly, it’s hard to conceive how he had time to visit the gym between solving murders. However, while Sherlock seems to like his younger sister’s bright mind and sprightly disposition, Mycroft is disgusted by how disheveled and vulgar she has become, and demands on putting her to an austere finishing school to make her into a respectable woman. (As the prim and persnickety headmistress, Fiona Shaw is right out of a Dickens story.)
“I don’t want a husband,” Enola declares emphatically to Mycroft. “And that is another thing that will have to be educated out of you,” he adds, defining the film’s underlying fundamental conflict: the battle for female liberty in a patriarchal culture that refuses to change. While the film takes place during the debate over women’s suffrage, and Enola’s battle cry (passed down from her forward-thinking mother) is “Our future is up to us,” the film is mostly a fun, family-friendly adventure replete with secret codes to decode and hidden treehouses in the woods.
On the trip to London to find her mother, she unexpectedly meets and rescues Viscount Lord Tewksbury, Marquess of Basilwether (Louis Partridge), who is also an escaped adolescent. And, like her, he has no desire to follow in his family’s footsteps of affluence. The charming Partridge has a youthful Mick Jagger sense about him, with his dark, floppy hair and mischievous smile, and he and Brown have a lively, hyper-verbal relationship.
London is an overwhelming, dense quagmire of disorder through the lens of cinematographer Giles Nuttgens (“Colette,” “Hell or High Water”), a stark contrast to the luscious hues and bright sunshine of the countryside. This is where “Enola Holmes” starts to seem like two films working in tandem, generally in unison. Enola is still looking for her mother, and she stumbles onto a ferocious underground of female fighters, led by Susan Wokoma, a powerful tea store owner and jiujitsu master. But she also wishes to save Tewksbury from the nefarious forces determined to put him in his place, as well as figure out why he’s in danger. Brown’s charming presence, as well as that of his co-stars, go a great way toward nicely tying up these narratives.
However, at almost two hours, “Enola Holmes” is a little too lengthy. It also becomes strangely violent at the conclusion, which is a stark contrast to the other adventures, which were just mildly frightening at moments. However, between seasons of investigating mysteries in Hawkins, Indiana, Brown—as both performer and producer—hopes to continue solving crimes in England.
“Enola Holmes” is now streaming on Netflix.
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