whenever i see this scene i just remember that the phone was crazy expensive and the director was probably having a mild heart attack as he threw it into the air
can we talk about how sherlock holmes says ‘neat’
oh these kids were eating themselves to death with mercury poisoned chocolate
no no no
we don’t use ‘neat’ like that in England
he literally means ‘neat’
you get the idea
The Real Lost Vermeer is the Museum Guard’s Bedroom. Steve Lawes Said So. (Yay!)
There’s a lovely hard cut from the poster advertising “The Lost Vermeer” straight to the museum guard’s empty bedroom. The composition of this scene is an homage to the master painter. Look at the parallels between Vermeer’s “The Astronomer” and the museum guard’s messy room. The guard’s passion is astronomy, remember, and art is just his job.
- Vermeer’s signature: the light source- a single window shining from above at an angle.
- Dimmed or stark lighting conditions
- Intricate drapery, textiles (Note the drape on the right side of the bedroom’s door.)
- Painter of everyday life of middle class people
- Use of mirror in composition (Notice Sherlock’s and Watson’s reflections.)
- The museum guard/ astronomer is obviously missing, but his telescope fills in for the globe in the Vermeer painting.
reasons to appreciate Mike Stamford
- he can joke about his weight
- he has great taste in friends
- he introduced Sherlock Holmes and John Watson to each other
- look at that smirk he totally knew what he was doing
There’s something about Irene in this scene. As she says later on, John’s been gone for hours. She’s been all that time, until nightfall, safe in Sherlock’s flat with Sherlock himself, even though he doesn’t notice her presence for some time. She might’ve been around their apartment once in a while, but by her clothing she clearly hasn’t left. And once he breaks from his concentration, a sort of light comes into her eyes, they come alive, and a confession slips out. This is perhaps the first time Irene doesn’t make the conversation all about sex, or Sherlock for that matter. In that moment, when she asks “is it nice?”, there seems to be a sad resignation to her current form of living, but deep down a kind hope for a normal life, where her record is set straight and she can be, truly, free.
This post gave me a lot of emotions, all jumbled up. I agree - there’s something wonderful about this scene. Irene’s so much softer, so much more real. She’s always unapologetically and completely herself, but there’s a lot of artifice in the work she’s done. A lot of makeup and masks and being what she’s being paid to be, so many things along those lines. But here - this scene just really got to me. She let her hair down, and look what happened.
Thank you so much for posting this up tonight. It really made me smile.
Actually I consider this her moment of greatest artifice. She’s put all this work into getting at Sherlock, and now she “lets the walls come down.” Except she doesn’t, not really. She’s conning him, turning her truth and vulnerability and personhood into a weapon. This is her penultimate seduction.
Of course it doesn’t quite work, because he’s playing the game too. Neither of them wins here. Not till the end, when he finds he doesn’t have it in him to let her die in Pakistan.