As such, McGuigan’s steady hand is very welcome, indeed. Granted, the quality of the written material enables him to do this, but he wisely figures that we’re interested in seeing the story being told, rather than any distracting gimmickry.
It’s at the point where Sherlock confronts his nemesis face to face that McGuigan’s camera moves the least. It’s to great effect, too.įurthermore, come the big climactic scene, he’s happy to ground his camera, eschewing close-ups in favour of having two actors talk to each other. Throughout A Study In Pink, his camerawork is unfussy, and he applies a filmic version of the laws of thirds to many of his frames. McGuigan, whose background is movies such as Gangster Number One and Lucky Number Slevin, is a brilliant, brilliant choice here. However, before I get to the character of Sherlock himself, it’d be wrong not to acknowledge just how the opening scenes also highlight very quickly just how tight Paul McGuigan’s direction is. It builds up the entrance of the character with real skill. The scene at the police press conference, with Holmes texting the assembled throng time after time, is very well done, and very funny too. It’s not long into A Study In Pink that Watson comes into contact with Sherlock Holmes for the first time, and Steven Moffat’s script teases the build-up to his appearance terrifically well.
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