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Holmes & Watson. Madrid Days (2012)

Sherlock Homes and Doctor Watson go to Madrid to look for Jack the Ripper.



(characters), (screenplay) | 3 more credits »
1 win & 1 nomination. See more awards »


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Cast overview, first billed only:
Sherlock Holmes
José Luis García Pérez ...
Josito Alcántara
Enrique Valcárcel
Manuel Tejada ...
Marqués de Simancas
Jorge Roelas ...
Luis Delgado
Andrea Tenuta ...
Mapi Sagaseta ...
Duquesa de Lima
Inocencio Arias ...
Ministro de fomento
Luis José Ventin ...
Wilson (as Luis Ventín)


After to have some dreams about a crimes with a similar pattern with the Jack the Ripper's crimes, Sherlock Holmes and Doctor Watson moves to Madrid to investigate the deaths of some women committed in the Ripper's style. In Spain, Watson meets with an old friend, Dr. Delgado, who introduces Holmes and Watson in the high society of the city, knowing important people like compositor Isaac Albéniz, writer Benito Pérez Galdos or the young journalist José (Josito) Alcántara, who follows the assassinations through his reports for La Gaceta, an important Madrid's paper news. Other people include Duquesa de Lima, her niece Elena (a Watson's love interest), and Marqués de Simancas, a businessman with connections with the Ministerio de Fomento (equivalent to Department of Housing and Urban Development) for some construction projects in the city. Meeting Inspector Válcarcel, Holmes, Watson and Alcántara looking for discover if Jack the Ripper is really the murderer. Written by Chockys

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Plot Keywords:

ripper | doctor | inspector | kill | murder | See All (24) »





Release Date:

7 September 2012 (Spain)  »

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Did You Know?


Alberto Ruiz Gallardón, then major of Madrid, plays his own great-uncle, composer Isaac Albéniz, at his own request: When director José Luis Garci approached the town hall of Madrid to get their consent to film there, he showed the script as a proof; after reading the script, the Major phoned Garci, asked if he had already casted Albéniz, and offered to play the role himself. See more »


Irene Adler: [after to see a copy of Fortunata y Jacinta in the Holmes room] From when you read Spanish literature?
Sherlock Holmes: I knew the author.
See more »

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User Reviews

Fight Clubs
16 February 2015 | by (Virginia Beach) – See all my reviews

Holmes, the literary creation, is important in the development of film, yet films that use his character do so without mining the cinematic possibilities. Now here is a film that does just that. It is by a famous Spanish literary figure, who has also made many films (alas, so far unknown to me). He hosted a TeeVee show on the history of film, emphasizing the literary vision.

This story has no action whatever; the murderer is not caught. Instead it is very conversational, a meditation on logic, love, progress and power. This is clearly made for Spanish intellectuals in the manner of Ruiz, with the observations nearly all rooted in very specific Spanish romantic notions that (he says) were lost when Spain became a modern country.

But special souls can still touch this, with the major arc being Sherlock's emotional awakening. Watson is still his biographer and presumably the author of what we see. He clearly is the avatar of the filmmaker and there are some hints that Holmes is his fictional alter ego. (Holmes is continually puzzled by how familiar everything seems.) In this version, Watson is handsome, master of 1,000 campaigns as he says. He is married to a woman so perfect, so sexy, alluring and constant that she could only exist in fiction.

Watson (and Holmes) go to Madrid, in part to investigate a terrible crime, but more important is Holmes' developing affair with Irene Adler, an opera singer with a different composition of enticements, more exotic and in control of her sex. Watson collaborates with the Spanish detective with the name (and character?) of the filmmaker's long time collaborator. Watson cannot seem to remember the name correctly.

While in Spain, Watson falls in love with another impossibly idealized beauty, and the romances of Holmes and Watson overlap in terms of urge. His passions seem boundless and Spain almost runs away with his soul, but he controls himself, solves the mystery and returns to his wife with a recipe for a dish that is described as if it created heaven. (His character, Holmes when *home* learns to channel his desires as well; Irene follows him back.)

All of this is remarkably well presented, a lot of deep conversation that in another construction would be remarkably uncinematic. But all that is just the detectives; we have a similarly diffuse criminal plot that surrounds them. This parallels the love story in how it is presented: lots of meetings, dinners and talk talk talk. But the talk (criminal and love) is almost never about mundane things, but about the pulls on society that parallel those of desire on individuals.

So we have many parallels here: parallel detectives (Holmes and Watson), parallel loves (home and adventure), parallel urges (love and power), even parallel reporters; Watson is accompanied by a Spanish reporter who has his own love. In the only symbolism that is heavy, she is bespectacled. And each of these parallels is generatively nested, as if you imagined the imaginary mind of Holmes would have constructed.

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