Young Sherlock Holmes - Blu Ray Artwork

ON HIS FIRST CASE, A BRILLIANT SCHOOLBOY IS SWEPT INTO A PERILOUS ADVENTURE! What would have happened if Sherlock Holmes and Dr. Watson had met as schoolboys? Why, the solution is elementary - nothing but adventure! And that’s just what director Barry Levinson (Diner, Rain Man, Bandits)gives us in this special effects spectacular that sends the super-sleuth on his very first case!

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Distributed by Paramount Home Entertainment

When a plague of bizarre, puzzling murders grip London, young Holmes and his new found friend Watson find themselves unwittingly entangled in the dark mystery. So, ‘the fame is afoot!’ And the budding detective is off on an adventure to solve the most amazing case of his most extraordinary career!

Bobbie Wygant interview with Nicholas Rowe Late Late Show 1985 Segment Stop Motion Featurette Bruce Broughton Orchestra Trailer TV Spot

AND THE PYRAMID OF FEAR BD25 / 1080p HD / English 2.0 PCM - Laserdisc Audio / English 5.1 DD+ / French 2.0 AC3 Subtitles: English, French, German, Italian, Spanish

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AND THE PYRAMID OF FEAR

SPECIAL FEATURES Film 86 Location Report

www.paramount.com 5555 Melrose Ave, Los Angeles, CA 90038

1985 / COLOR / 109 MIN / PG-13

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AND THE PYRAMID OF FEAR A BARRY LEVINSON FILM

‘YOUNG SHERLOCK HOLMES’ FILM MARKS GROWTH SPURT FOR DIRECTOR LEVINSON

By Jeff Silverman CHICAGO TRIBUNE

DECEMBER 1, 1985

‘’I`ve only directed for a few years,’’ the director of the Steven Spielberg-presented ‘’Young Sherlock Holmes’’ is saying. ‘’I`m still like a baby in terms of being a director.’’

That may be, but in those few years at the helm, Barry Levinson has been able to cut his teeth on some pretty impressive projects. ‘’Diner,’’ his debut behind the camera, was one of the sleeper hits of 1982, a feelgood film about five guys growing up in Baltimore--as he did--at the end of the `50s. His next at bat, ‘’The Natural,’’ starring the Roberts Redford and Duvall, rapped out a lockerful of prestigious notices and more than $50 million in box-office receipts. ‘’In a sense,’’ he says, ‘’this is a growth period.’’

More precisely perhaps, another growth period for Barry Levinson.

At 43, the gray-haired Levinson may be a relatively new director intent on learning his craft, but he`s no stranger to Hollywood. As a writer, he earned a pair of Emmys for his work on ‘’The Carol Burnett Show’’ in the early `70s, then quickly moved himself into feature films, coscripting Mel Brooks` ‘’Silent Movie’’ and ‘’High Anxiety.’’

His next teaming, with actress-writer Valerie Curtin, produced a marriage (1979), a divorce (1982) and a quartet of movies: ‘’. . . And Justice for All,’’ starring Al Pacino, for which they received an Oscar nomination; ‘’Inside Moves,’’ a lovely evocation of friendship, starring John Savage; ‘’Best Friends,’’ a close-to-the-vest roman a clef with Burt Reynolds and Goldie Hawn as a pair of Hollywood screenwriters whose marriage wrecks their collaboration; ‘’Unfaithfully Yours,’’ an update of the Preston Sturges classic with Nastassja Kinski and Dudley Moore.

A successful run in a very fickle business, to be sure. But it was ‘’Diner,’’ Levinson`s first solo effort at the typewriter, that would transfer his status from hot writer to the airier echelon where a writer gets the

luxury of translating his own vision from stage to screen. ‘’I never thought about being a director,’’ he admits. But after a series of films in which he was forced to just sit back and see what others could --and would--do to his scripts, Levinson finally decided to make his own inside move.

We are sitting on the porch in front of one the adobelike buildings that makes up Spielberg`s Amblin Entertainment Co. complex on the Universal Studios lot. Above the entrance is a sign proclaiming, ‘’Movies While You Wait . . . And Wait . . . And Wait . . . And Wait.’’

Below it, Levinson, in a black crew-neck sweater and faded jeans, leans himself and his rocking chair forward to explain: ‘’It`s when I saw something I had written being produced, I started seeing it in another light. In the beginning, I just accepted it, but as time went on, I began to get a little more irritated about what others did to the work. Then I said, `Wait a minute. I`d like to try this.` ‘’ Though it took an Oscar-quality script--’’Diner’’ was nominated for best screenplay--to give him that opportunity, the two films he has directed since have sprung from others` typewriters. It`s all part of his master plan.

Young Sherlock? ‘’The idea,’’ says Levinson candidly, ‘’would have never entered my mind.’’

Once he opened the script by ‘’Gremlins’’ and ‘’Goonies’’ writer Christopher Columbus, however, Levinson knew he had his next movie. From a filmmaker`s eye, he liked the physical texture of the setting, Victorian London. And from a writer`s sensibility, he liked the premise behind the mystery-the first meeting and first adventure of sleuth-to-be Holmes and his faithful chronicler Watson. For a director learning his craft, it was a chance to work with a bagful of new effects and complicated opticals, a host of difficult camera angles and movements, and a story faster paced than the two he had previously been in charge of.

‘’Even if I never use some of these things again,’’ he says, ‘’at least I know how they work and what they can do. It`s part of the process, of a scope that keeps opening up.’’

Still, as much as any nifty effect or fancy camera work, it was the simplicity of the film`s concept that presented Levinson with one of the $16.2 million ‘’Young Sherlock`s’’ major hurdles. Through both Arthur Conan Doyle`s writings and a slew of previous celluloid incarnations--particularly the series starring Basil Rathbone--Holmes has become such a part of our consciousness that any new treatment of the character is forced to carry its share of excess baggage. ‘’I`m sure this movie will be criticized because we`re not precisely true to Sherlock Holmes and all that kind of nonsense,’’ says Levinson. ‘’But I don`t much care about that aspect. I thought that what we needed to be true to was the idea of a boy who has the credibility to grow up to be Sherlock Holmes, the imagined Holmes of literature or the Basil Rathbone we have associated in terms of film. We`re not rehashing old things. What we`re doing is much more extravagant and energized, something that will, in the end, dove- tail into the books, into the Sherlock Holmes we all know about. ‘’But here,’’ he continues, ‘’because he`s young, we don`t necessarily have to live up to the Sherlock Holmes that we know in terms of those pieces. That`s the Holmes that will happen then. We`re only dealing with now. Because of a lot of things that will happen in his life, he`s going to become that guy, but right now, he`s still more adventurous, more of a romantic. ‘’He`s got another kind of energy to work with.

He is youthful, more impetuous. He`s more apt to jump to conclusions. He doesn`t yet have that infinite deductive mind of the older, more mature Holmes.

Things are not as well thought out. Therefore, he can get himself into more trouble.’’

Which, of course, he does. Connecting the dots of three seemingly random apparent suicides, the young Holmes--played by newcomer Nicholas Rowe, the 19- year-old son of a member of Britain`s House of Commons--follows his aquiline nose, sniffing out a series of clues that lead him into the temple of a vengeful Egyptian cult. In the process, he gets tossed out of prep school, shares his first kiss, sheds his first and last tear, and picks up his pipe, his deerstalker, the phrase ‘’It`s elementary,’’ and, in 15-year-old Alan Cox as Watson, a friend and confidante for life.

The Spielberg connection to the film and its descent into a mystical shrine have already brought out the snickers of ‘’Sherlock Holmes and the Temple of Doom.’’ Levinson was prepared for that. ‘’Young Sherlock,’’ he explains, was written before ‘’Indiana Jones’’ appeared, and while there was some discussion with Spielberg about changing the temple sequence in ‘’Holmes,’’ Levinson, Columbus and Spielberg opted to keep it. ‘’You always know when you`re doing a movie with Steven that somebody will say it`s a Steven Spielberg thing, but is there only one movie that`s ever going to take place in a temple?’’ the director asks. ‘’What we wanted to do was make it different, unique in its own fashion, to have its own story points that are relevant to its own movie. ‘’We don`t have hearts being pulled out, and we`re not taking a roller-coaster ride, and there`s not these blasts of water shooting down, which are the things you basically remember from the `Indiana Jones` movie. So you say, `Well, look, we`re in a temple, and somebody`s gonna criticize you because you`re in a temple,` so you say, `Where else are you gonna be?` We`re gonna take the heat because it`s gonna come up, but this story is totally different, and the things that are taking place within the temple are, in fact, really different. And we did everything we could in terms of production design to make it look different, and I did everything I could in terms of the camera to shoot it to be different. So you put it to rest and get on with it.’’

Which Levinson is now set to do. Though he has no new project firmly set, he would still like to mount a project called ‘’Toys,’’ the one film he cowrote with Valerie Curtin that remains on the shelf. ‘’It`s too good an idea, too exciting,’’ he says, ‘’to ultimately be left alone. The biggest problem is we haven`t seen it before, and anything the studio people haven`t seen before they have a basic aversion to.’’

And he`s writing again, fiddling with another script of his own to direct, something for his self-designed learning process to begin paying dividends. ‘’There`s a lot that I want to take in,’’ says Levinson, ‘’a lot that I want to still learn about directing. I`m working with tools I haven`t worked with before, and perhaps when I can accomplish it, I`ll take it all and apply it to something I`ve written. With the additional tools, I`ll be able to shape things in a different fashion.’’

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Young Sherlock Holmes - Blu Ray Artwork https://www.imdb.com/title/tt0090357/reference Blu Ray - Region A/B/C Audio: English 2.0 PCM - Laserdisc Audio / English 5.1 DD+ / French 2.0 AC3 Subtitles: English, French, German, Italian, Spanish Main title: 1080p Supplementary material: 1080p / 480p

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