One legacy of the Covid-19 pandemic will, I'm sure, be a high level of demand for escapist entertainment in a wide variety of forms. We're already seeing evidence of this in a number of places, and the popularity of the Netflix movie Enola Holmes is a good example. It's a light, feelgood movie with some excellent acting and high production values and although it does have various weaknesses, to some extent it chimes with the mood of the times.
The great strength of the film lies in the appeal of Millie Bobbie Brown, who plays Enola, the younger sister of Mycroft and Sherlock Holmes. She brings a great deal of verve to the part, and in an interesting move, she breaks the fourth wall by talking directly to the audience. The film begins on her sixteenth birthday, with the sudden and inexplicable disappearance of her mother Eudoria (Helena Bonham Carter).
Sherlock and Mycroft hasten back home - having ignored Enola for many years - and Mycroft's attempts to send Enola to finishing school prove abortive. She sets off to find her mother and becomes involved in another mystery, involving an attempt to kill young Viscount Tewkesbury. I particularly enjoyed the railway scenes, filmed on the wonderful Severn Valley Railway.
There is an enjoyable role for Frances De La Tour, and the reliable Fiona Shaw is also in the cast, but this is Enola's film. Her character is genuinely interesting and engaging, whereas the mystery storyline is pretty ordinary. The detective work is nothing special - it's mostly to do with codes and ciphers - and we don't get to meet Dr Watson, while this version of Mycroft is unappealing. The script isn't a model of subtlety and because the film is far too long, my attention did begin to wander. Just as the best Sherlock stories were the short ones, so the best screen versions of stories featuring the great detective are crisply written and don't outstay their welcome. This isn't one of the best, but it's a pleasant time-passer. And it's made a vast amount of money, so a sequel is on the way.