Brown’s acting style recalls the effusive spontaneity Keira Knightley brought to “Pride and Prejudice,” shattering the straitlaced propriety of so many Jane Austen adaptations before it. Her performance may be incongruous with the era, but that’s hardly a bad thing. On the other hand, Brown (who could pass for “Sherlock” star Benedict Cumberbatch’s sister) brings some of the awkwardness we traditionally associate with the iconic detective to her role: Enola was never indoctrinated by her mother in the ways of polite society, and as such, she’s meant to represent female intellect in its natural, unrepressed state. It’s one thing to be dismissive of Mycroft, but the casting of Cavill turns the iconic Sherlock character into what we might call metrosexual today: worked-out and so meticulously groomed he easily could be mistaken for gay - a far cry from the tweed-clad, deerstalker-capped gentleman of yore. This advertisement has not loaded yet, but your article continues below. “You have no interest in changing a world that suits you so well.” This may be true, but it’s something of a shock to watch the great Sherlock Holmes - a forward-thinking man of science and reason who pioneered the field of forensic investigation - depicted as little more than a self-interested pretty boy, sympathetic to his 20-years-younger sister yet hopelessly behind the progressive attitudes that Enola embodies. “You don’t know what it is to be out of power,” one of Eudoria’s female friends scolds Sherlock, doing that distinctly 2020 thing of calling out a prominent man on his privilege. And the second, “Every vote counts,” speaks to those old enough to impact elections, reminding that the right was an honor hard-won.
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Enola (whose name, we’re too-frequently reminded, is “alone” spelled backward) becomes a symbol of solidarity for those who feel like outsiders in their nonconformity. And what could be more empowering than the film’s twin messages? The first, “You are not alone,” should resonate with the young women in the audience. While the project may be British, it could hardly be a coincidence that a story hinging on this decisive vote over the Reform Act should land within weeks of America’s most important election in decades. His wants him dead, and hers - eldest brother Mycroft (Sam Claflin) in particular - aims to send her to a finishing school for young ladies. After rescuing this “useless boy” from an assassin (Burn Gorman), Enola goes her own way, only to recognize that they’re both on the run from their respective families.
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Try refreshing your browser, or tap here to see other videos from our team.Īlthough it was her mother’s unexplained sortie that prompted her adventure, it’s the equally peculiar appearance of Partridge’s character - a cute young lord entitled Viscount Tewkesbury, Marquess of Basilwether - that consumes her attention for much of the film.
WHERE IS THE ENOLA GAY AND DOES SHE RUN MOVIE
Centered on a long-haired runaway lord (Louis Partridge) and the passage of Great Britain’s Representation of the People Act 1884 (which paved the way for women’s suffrage a quarter-century later), the movie has contemporary issues of gender equality on the mind - and an endearingly radical protagonist in Enola. “Enola Holmes” offers a different kind of feminism from that game-changing show, based less in accepting women with all their flaws than in the conviction that men have bossed around long enough, and it’s time to make room for other people. A socially awkward character who’s not the slightest bit uncomfortable on camera, Enola serves as her own narrator, frequently breaking the fourth wall as she speaks to the audience or shoots knowing looks in our direction - a style obviously modeled after the confidential “just between us” tone Bradbeer and star Phoebe Waller-Bridge struck in “Fleabag.”
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WHERE IS THE ENOLA GAY AND DOES SHE RUN SERIES
Adapted from the first instalment in a six-book series by Nancy Springer, “Enola Holmes” modernizes the Victorian world of Sir Arthur Conan Doyle, enlisting “Fleabag” director Harry Bradbeer to bring a similarly breezy, direct-address approach to the material.