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Alicia Wang
Professor Lynda Haas
Writing 39B
21 May 2014
Bromance
Media scholars who study film and television often refer to genre theory to define how
texts work; they assert that all genres go through multiple stages, changing in each stage to
remain appealing to the historical and cultural time period in which they were created. These
stages include the primitive (the first appearance of the genre), classical (when the genre gains
popularity and is in high demand), parodic (when the genre is well known and used as a source
of satire), and revisionist (when the genre is so well known that writers must change the original
conventions and bring something different to maintain the audiences interest). In this essay, I
will be focusing on the revisionist stage but reference the classical stage as support. Leroy Lad
Paenk, author of Read An Introduction to the Detective Story touches on the history of the
detective genre and the authors who have shown hints at the detective genre (7). Paenk says,
there must be classical precedents for the detective story (7). I will skip past the primitive
stage, but continue with the classical, and revisionist stage of the genre. Conan Doyles Sherlock
Holmes represents the classical stage of development, while BBCs television series Sherlock
and Guy Ritchies film Sherlock Holmes are both in the revisionist stage.
Despite the recent revisions to the classic conventions of the Holmes conventions, the
main goal of the stories remains the same. Literary scholar George N. Dove, author of The
Reader and the Detective Story, asserts that (literary detection) is fundamentally an intellectual
undertaking; it is recreational, intended primarily to relax; and it is a disciplined, delimited
literary form (2).
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Sherlock. created and written by Stephen Moffatt and Mark Gatiss, is based on the
original Conan Doyle stories, but the twist is that the setting is 21
st
century London. Guy Ritchie
directed two movies based on the classic conventions of Sherlock Holme called Sherlock
Holmes, and Sherlock Holmes: A Game of Shadows. I will focus on Sherlock Holmes: A Game of
Shadows as I analyze the relationship between Holmes and Watson. Even though the films and
shows are in the revisionist age, they still reflect some conventions of the original Holmes stories
and the purpose of the Holmes stories. The original Holmes stories were written to entertain, and
now these movies and shows entertain the twenty first century audience instead of the ninetieth
century audience.
An important reoccurring convention is Holmess and Watsons relationship with each
other. Literary scholar, Kirby Farrell, author of Heroism, Culture, and Dread in The Sign of
Four says, the two characters are facets of a single persona, the split-man (4). Kirby notes
on how the two characters need each other and one would not be able to function without the
other. In the original stories, Holmes and Watson have a very close friendship but in the
television series, Sherlock, the two characters bond is so strong some would argue that they are
potentially gay..In the Guy Ritchie version of the two characters have a strong masculine bond.
All three versions of Sherlock and Holmes are incredibly popular and this specific convention
has grown to be more explicit in the TV show Sherlock but not as explicit in the Doyle stories or
in the movie version of Sherlock and Watson.
In the Conan Doyle stories, the idea of any other sexuality for Watson and Holmes was
unimaginable. Conan Doyles stories were written for a 19
th
century audience. In the 21
st

century, people are more willing to accept and be open to the thought of Sherlock and Watson
being any type of sexuality. In the book, TV series, and movie, Watson becomes married to a
woman named Mary Margaret Morston; Despite being married, in the TV series, Watson is used
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as a gag joke about being gay Holmes on the other hand is socially awkward in all of the
Sherlock Holmes texts; allowing the BBC writers to emphasize the strength of Holmes and
Watons relationship. Holmes is awkward in social situations but he insists on enjoying the
company of his best friend John Watson. Holmes and Watsons friendship to each other is so
close that some authors point out that the two could be gay.
Lynnette Porter edited Sherlock Holmes in the 21
st
Century: Essays on New Adaptations,
which focuses on the revisionist conventions in Sherlock and Sherlock Holmes. Porter begins
chapter one with, The BBCs Sherlock (2010-present) makes no attempt to hide the potential
homoeroticism innate in the relationship between Holmes and Watson; gay references constitute
a running gag throughout the first and second seasons (13). Porter makes the point of the TV
shows constant gag joke about the two characters being homosexual, but Holmes is not gay and
despite playing around with the homoerotic relationship the two maintain, Holmes and Watson
are both hetrosexual.
Another example, in Season 1 Episode 2, Holmes and Watson are trying to find the
murderer at a Chinese circus. Holmes said he and Watson would go out that night but Watson
says he cant go because he has a date. Sherlock asks what a date is and Watson replies its when
two people who like each other go out. Holmes comments thats what he suggested but Watson
counters with a simple no. The dialogue between the two is a gag for comedic purposes but it
also displays how Holmes needs Watson to be with him wherever and whenever Holmes has a
case.
The scene focuses on Holmes and Watson and how Holmes tells Watson it is more
important for the two to investigate the area rather than Watson to have his date. Sherlock does
not think Watsons date is of any importance and in fact Holmes asks why Watson cannot just
leave Sarah to go on and help him in the scene. Holmes and Watson are talking on a staircase,
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which shows Holmes as above Watson because Holmes is on a higher step than Watson. The
character placement in this scene makes Holmes seem bigger in the frame than Watson.
Holmess appearance size compared to Watson exhibits to the audience how Holmes deems the
relationship he has with Watson. As the audience see Watson dragged behind Holmes, we get a
sense of Holmes self implied importance and leadership in the companionship. The audience
sees Holmes as bigger in this frame showing an our hero as the one we should be focusing on
instead of Watson. The scene is also set from a high angle, which looks down on the characters
but looks down even more on Watson than on Sherlock. The idea of this high angle causes
Holmes to look less vulnerable than Watson who in this frame we are hinted at that Holmes is
the lead in the relationship between the two. The camera angle reminds the audience that Watson
is dragged by Holmes to investigate a crime when Watson would rather spend time with Sarah,
his date. Sherlocks face has more shadow than light in the scene suggesting a mysterious aura
for Sherlocks sexuality. Johns face; however, is filled with light so we can easily see his face
and his expressions hinting at the assumption of knowing Watsons sexuality but not Sherlocks.
During the frame, the moment Watson says he wants to get with Sarah, the audience hears a
comedic drum beat as if the conclusion where Watson is in a relationship is humorous. Watsons
face becomes more brightly lit compared to before showing a comedic lighting instead of
suspense. There is no music in the background but the comedic drumbeat could symbolize the
gag of Watson having a close relationship with anyone other than Sherlock.
Lynnette Porter referenced Guy Ritchies Sherlock Holmes: A Game of Shadows, and
mentioned the masculine bromance relationship between Sherlock and Watson. Porter says, The
concept of the bromance understandably resonates with Sherlock Holmes and can even be
determined as drawing from the influence of Conan Doyles own Holmes and Watson, the
original odd couple alternately fighting for justice and Empire while together living outside the
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confines of ordinary existence (38). Porter reflects on the movie and how the concept of
bromance as a convention of the original Sherlock Holmes resonates in the movie.
In Guy Ritchies interpretation of Sherlock Holmes, Watson and Mary are attacked on the
train by a group of killers sent by Moriarty. In this scene we observe the lengths the two will go
through in order to rescue each other. The scene is filled with danger and suspense and indicates
the willingness to risk ones life for the other. Holmes disguisedas a woman passenger on the
train, sneaks on the train to save Watson. Usually, men would not dress in a dress and apply
make up in order to pass off a disguise on a train. Even men today would not wear a dress unless
necessary, but Holmes is willing to wear one in order to safe his best friends life. This scene
highlights their friendship because Holmes and Watson support each other during the fight and
trust each others skill and resourcefulness. It starts with dramatic music and the camera moves
quickly. The music adds suspense by quickening the pace but the context of the scene also adds
suspense. After avoiding gunshots, Holmes starts to scale the side of the moving train and
Watson without any protests, trusts Holmes and follows him on the side of the train. The camera
then goes to high angle with an omniscient point of view. In omniscient point of view we see a
group of characters and understand the feelings and emotions of both characters. This point of
view and camera angle allows the viewer to understand Watsons faith and trust in Holmes even
during extremely dangerous situations. After Watson and Sherlock arrive in another
compartment Holmes lies down on the floor. The camera angle is from above so we see both
characters lying next to each other. The lightning in this scene shows Watson and Holmess face
with equal amount of light and shadow adding a dangerous feel to the scene. We see the
characters on eye level. When we have two characters in eye level we understand that they are
both equal to each other. The bromance convention is still in place from the Conan Doyle stories
and Sherlock but in this movie, we see bromance between two equally exceptional men. In the
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movie, Watson is also a lot more masculine, strong, and witty than in the books or in the TV
series. The equal relationship in masculinity between the two emphasizes Watson as the perfect
English gentleman who is intelligent and efficient in combat. The two are see more as equals
than anything else in the movie so we come to understand their relationship as brothers. This
scene selection is a little confusing to me because it seems the focus of this scene is the fight and
the chase, not the bromance
As we compared the revisionist era of Holmes and Watson and the original Conan
Doyles Holmes and Watson relationship, we cannot argue the two characters are very close.
Both Conan Doyles stories and Guy Ritchies films are set in Victorian times and both
portrayed the relationship as a bromance than an actual romance. In the BBC television series,
the setting is in modern day London and the subtle hints at a homosexual relationship is more
prominent. The setting made a difference for how the writers interpreted the partnership between
the two main characters. It is likely the reason for the difference between the movies, TV series,
and the books is because the audience is catered toward a certain expectation of how the two
would be portrayed.








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Works Cited

Conan Doyle, Arthur. The Sign of the Four. Seattle: Amazon Digital Services, 2013.
Kindle eBook. Online.
Dove, George N. The Reader and the Detective Story. Bowling Green, OH: Bowling
Green State University Popular Press, 1997. Print.
Farrell, Kirby. Heroism, Culture, and Dread in The Sign of Four. Studies in the Novel 16:1
(1984): 32-51. JSTOR. Web. 01/15/2014.
Gatiss, Mark, Steven Moffat, and Stephen Thompson. "Sherlock: The Blind
Banker." Sherlock. BBC Wales. 1 Aug. 2010. Television.
Panek, Leroy. An Introduction to the Detective Story. Bowling Green, OH: Bowling Green
State University Popular Press, 1987. Print.
Porter, Lynnette R. "The Noble Bachelor and the Crooked Man." Sherlock Holmes for
the 21st Century: Essays on New Adaptations. Jefferson, NC: McFarland, 2012.
N. pag. Print.
Porter, Lynnette R. ""Bromance Is so Passe"" Sherlock Holmes for the 21st Century:
Essays on New Adaptations. Jefferson, NC: McFarland, 2012. N. pag. Print.
Sherlock Holmes: A Game of Shadows. Dir. Kieran Mulroney and Michele Mulroney.
Perf. Robert Downey Jr., Jude Law, Jared Harris, Rachel McAdams. 2011.