Review:The Other Side/Christopher Roden
This review of the movie "The Other Side" was written by Christopher Roden and published in the The Parish Magazine (No. 7, october 1992).
This review discusses David Ashton's BBC2 play The Other Side, in which Conan Doyle confronts accusations about his father, his first wife, and Sherlock Holmes during a séance-like encounter. It judges the drama thoughtful and provocative, praising its research and Frank Finlay's sympathetic performance while warning that newcomers might come away with a misleading impression of Conan Doyle.
Review
- The Other Side
- Written by David Ashton
- BBC2 'Encounters'; First Broadcast: Saturday 29 August 1992
Reviewed by Christopher Roden
Cast
Sir Arthur Conan Doyle : Frank Finlay
Sherlock Holmes : Richard E. Grant
Madame Moshel : Catherine Harrison
It is London 1928, and this presentation begins on a foggy evening with Sir Arthur Conan Doyle arriving at the residence of the medium, Madame Moshel, whence he has travelled for a private sitting. The aged butler who greets him describes Madame Moshel as 'an extraordinary sensitive': 'her clairvoyance is astounding'. One may be permitted to wonder whether it is not strange that Conan Doyle, who knew the British psychic scene so well, had not encountered Madame Moshel on a previous occasion. But such fineries need not, one supposes, be of too much concern to television producers. The meeting between ACD and the medium is sufficiently convincing: asked whether he should be called 'Sir Arthur', ACD replies: 'I've had quite enough of that Mr Doyle is fine.' Madame Moshel explains that she has been troubled recently by a spirit breaking in on her thoughts; a spirit who continually speaks the two words 'Conan Doyle'. 'I know that you believe in the world of spirits,' she says, 'then please believe... believe in me...'. Conan Doyle's belief is to be stretched to its limits when Sherlock Holmes materialises. 'Don't you recognise an old friend when you see one?' quips Holmes. 'You do not exist,' barks an angry ACD in response; a response cut short as Holmes interjects: 'My existence is as real as your own ... The reason I've summoned you here is because I'm conducting a murder investigation: The Case of the Three Betrayals. You stand accused of the charge of murder by neglect and betrayal.'
These are strong accusations, made stronger when Holmes explains the charges in more detail; the first charge is that ACD betrayed his father and left him to die in an asylum; the second that ACD betrayed his first wife, Touie, by leaving her to die while his heart and mind were with Jean Leckie, the lady destined to become his second wife. The third charge may be taken less seriously by those of us interested in events in ACD's life but, from the point of view of Holmes the accuser, it is very relevant: that ACD betrayed Holmes and allowed him to die at the Reichenbach Falls in 1893.
All of the charges were well discussed and well elucidated but this is not the place to enter into a discussion concerning the veracity of the charges on behalf of Charles Altamont Doyle and Louise Conan Doyle. Much research has to be done before anyone can draw a satisfactory conclusion on those matters. The charges relating to Holmes are, of course, an irrelevance as Holmes was, very simply, a fictional character. Holmes' introduction into this play, however, is in the form of a belief: he is portrayed by a man who believes himself to be Holmes; a man who has slain his own father in defence of his sister whose face has been badly mutilated by her father's swordstick. By adopting the character of Holmes and ensnaring ACD, he is hoping for recognition: the recognition of the creator; in effect, the recognition that ACD was the father of Holmes. The materialisations have been a ruse and ACD, not surprisingly, is outraged and refuses to have anything to do with such nonsense. In the ensuing scuffle, 'Holmes' is knocked senseless.
In the quieter moments which follow, Madame Moshel explains to ACD that she does believe in the world of spirits; that she has always known that she had psychic abilities abilities which she now feels she has betrayed. The climax of the meeting occurs when she lapses into a trance and brings forth the spirit of ACD's mother. Confirmation of his faith softens Conan Doyle's attitude to the impostor who is Holmes and, in a sensitive gesture, he bestows a 'knighthood' upon him, thereby granting the recognition 'Holmes' so desires.
The plot of this play is triple-edged: it seriously questions ACD's morality; it mocks his spiritualist beliefs; finally, and somewhat surprisingly, it vindicates his spiritualist faith. David Ashton has researched his subject thoroughly and has presented a script which provokes much thought on the subjects raised. It is regrettable that viewers new to ACD, or unaware of the background to the problems discussed, might form completely the wrong impression of the man. However, it is encouraging to see the various problems discussed in so frank a manner.
Frank Finlay portrayed Conan Doyle in a meaningful and sympathetic manner; sadly his appearance did not fully match the vision we have of ACD: Finlay is too short to be fully convincing in the part and his silver locks are far too long. Richard E. Grant's performance seemed stilted and forced at times but, nevertheless, it was not difficult to visualise that he might, with some work on the character, make a perfectly acceptable Holmes: certainly his slim build suits the part. Catherine Harrison's small contribution was dramatically made.
The play closes with Conan Doyle regarding the medium's brass plate on the wall of her house. 'Madame MOSHEL,' murmurs ACD, 'H-O-L-M-E-S. Might have known he'd get the last word — he always does!'
- Article courtesy Christopher Roden, founder of The Arthur Conan Doyle Society (1989-2003).
