Sophie opens the game pod with the help of the staff, only to find that it is empty, and the mysterious program "Noah" reappears at this time, claiming to be the murderer of Taro Miyamoto, and Sophie is able to defeat him in the game, thus gaining the qualification to challenge him in reality.

Sophie instinctively realized that Holmes's disappearance had a great connection with the mysterious "Noah", and she firmly believed that she was not fighting alone, and that Holmes must be fighting side by side with her in an unknown place, so Sophie resolutely accepted the other party's challenge.

The old table clock in the living room struck three times, heralding the arrival of midnight, and Guy Ritchie sighed softly, and then reluctantly took his eyes off the script. He subconsciously brought the cigarette to his mouth, but found that the cigarette in his hand had already burned, and shook his head helplessly, and threw the cigarette butt into the ashtray.

Guy Ritchie closed the script and moved his body from side to side, sitting a little stiff. His eyes were averted, but his mind was still immersed in the story of the script. Chen Feng left two major suspense at the end of the plot: the whereabouts of Sherlock Holmes and the true identity of "Noah".

It has been rumored that Chen Feng gave up the minor in psychology because he lost interest in his coursework, but at this time, Guy Ritchie overturned this conclusion. After reading this script, who would dare to say that Chen Feng is not interested in psychology? All of Chen Feng's plots are set up closely related to the audience's psychology, and in the arrangement of suspense, he can continue to give the audience a strong psychological hint to watch it.

It is not easy for a reasoning-led film script to do this, especially in today's booming film industry. All kinds of best-selling novels have been adapted and put on the big screen, but reasoning has been received coldly by people, but the twin brother suspense novels of mystery novels have become the favored objects of film and television adaptations, and the most fundamental reason is related to the performance of movies.

Movies are generally considered to convey information to the audience through sight and sound, and the embarrassment of mystery fiction is that thinking, analyzing, and reasoning are all activities that occur at the human psychological level, and the psychological activities of the characters can be expressed in words, in contrast. The film's means of expression are inadequate when it comes to showing the complex psychological activities of the characters.

The most direct way to show the process of reasoning in the film is to show it through the language of the protagonist. But reasoning is a very complex process, and it cannot be explained clearly in one or two sentences. If a movie is watched, the audience only sees a non-stop mouth, such a film is doomed to failure.

The high-IQ movies that are very popular in the entertainment industry at the moment take a different approach. Use the details of the picture to hint at the logic of reasoning. This method is considered to be relatively successful in practice, but the shortcomings are also obvious, and it seems to be "laborious".

This is also a common problem of high-IQ movies nowadays, when the audience has to concentrate when watching the movie, it is likely that they will not be able to figure out who is who, or which is where, and when they are still thinking about who and who is going on in the last scene, then a new one is coming, in short, the director deliberately brings the audience to the whirlpool of brain teasers, so that the audience's brain cannot be idle for a moment, and the eyes must not blink. In case you come back from the toilet, it's over, and you probably won't be able to understand some places in the back.

The key to the success or failure of this kind of film is whether the plot can be engaging, so that the audience cannot understand and make the audience think about the two sides of the same coin, but the effect is completely different. The former is likely to be abandoned. The box office was dismal; And the latter is very likely to be regarded as a classic by the audience, and every detail will be discussed with relish. …,

Guy Ritchie's "New Sherlock Holmes" has achieved such an effect with the script alone, although the plot can still pick out the unsatisfactory points, but the creativity of both commercial nature has indeed achieved the ultimate in subversion.

But Guy Ritchie has to admit that such an extreme change is quite interesting. At least the audience will have a sense of novelty when watching the movie. This novelty must first come from the change in the temperament of the new version of Mr. Holmes. From the moment he saw the script, he couldn't help but look forward to it, and Guy Ritchie wanted to see how Chen Feng played this extreme "transformation".

In the familiar impression that Sherlock Holmes should be disdainful of exaggeration, in the nature of an observer, he should prefer to quietly "read" the people and events around him. Although Chen Feng's Sherlock Holmes is not so eyebrow-raising, the occasional sentence or two of cold humor is enough to laugh at the audience, and it is difficult for people to believe that such a character is the legendary "detective".

Although there are some spoofs in this subversion, if nothing else, in terms of character affinity, it is a lot stronger. It is precisely because the image of Sherlock Holmes is so deeply rooted in the hearts of the people that both in terms of words and the classic TV series made by the British in the past, they have done their best to create the appearance of a detective that meets everyone's imagination; The new version of the movie should follow the old path of "having both form and spirit", and it may not necessarily do better than its predecessors; Even if it is as good as its predecessors, it is just picking people's teeth, where is the creativity?

Chen Feng is definitely not a person who is willing to be out of the box: he has to make something different. In such a psyche, it is not at all surprising that he wrote such an alternative Sherlock Holmes. Anyway, for commercial films, stimulating curiosity is also one of the important tricks to attract money.

While transforming the classic characters, Chen Feng also changed the way he interpreted the story. As we all know, if Sherlock Holmes strips away the process of reasoning and analysis, it is really putting the cart before the horse.

Chen Feng has maintained enough sobriety on this issue, although he is bent on seeking novelty and curiosity in the plot, he even does not hesitate to add fashionable elements such as time travel and virtual games. But the focus of the whole plot is still on the reasoning of the case, at the beginning of assisting Sophie to solve the case was just a plate of hors d'oeuvres, and when the big dish of "Jack the Ripper" was served, the whole film was completely highlighted by reasoning.

Although he has a clear posture of carrying out the subversion to the end, in the face of classic stories and classic characters, Chen Feng is not too outrageous. In fact, after reading the script, Guy Ritchie still found a lot of classic Formosky tunes in the process of reminiscing.

Especially for the hobby of this strange detective, a lot of details are also given in the script. For example, his "otaku" trait, when he doesn't take on the case, he hides in the dark room to practice shooting and do experiments; For example, he is a "violin controller", and he drags a piano to play randomly when he has nothing to do; As for the "quirk" of indiscriminate use of cocaine to stimulate thinking, Chen Feng did not shy away from it because of the sensitivity of Western society to "drugs", and some of the unbelievable words and deeds of Sherlock Holmes in the plot are enough to imply that this guy is actually a drug addict. (Your support is my biggest motivation.) )