Jeremy Brett

Brett made his professional acting debut in rep at the Library Theatre in Manchester in 1954, and his London stage debut with the Old Vic company in Troilus and Cressida in 1956.[18] He made his first appearance in a major film with War and Peace (1956), which starred Audrey Hepburn.[19]

Hamlet (1960)

Also in 1956, he appeared on Broadway as the Duke of Aumerle in Richard II.[20] In 1959, Brett had a singing role as the romantic lead of Archie Forsyth in the West End musical Marigold. Also in 1959, he played the part of Hamlet; however, on reflection, in a BBC2 television documentary Playing the Dane, Brett later said that "I don't think I was very good as Hamlet. I think I was too young. I was too young intellectually. I was too young philosophically. I was Byronic. I was very handsome. I had qualities, but I'd much rather see other people's [version]. I wasn't convinced by me". The respected theatre critic Harold Hobson wrote of Brett's portrayal that "the incestuous bed was the centre of his performance". He played many classical roles on stage, including about a dozen Shakespearean parts at the Old Vic, in New York and four while Brett was a member of the National Theatre Company from 1967 to 1970.[21]

Young Jeremy Brett

From the early 1960s, Brett was often on British television. He starred in several serials, including as d'Artagnan in an adaptation of The Three Musketeers (1966). His highest profile film appearance was as Freddy Eynsford-Hill in My Fair Lady (1964), again with Audrey Hepburn. Although Brett sang well, as he later demonstrated when he played Danilo in a BBC Television broadcast of The Merry Widow (Christmas Day 1968), his singing in My Fair Lady was dubbed by Bill Shirley. Around this time, Brett was considered to replace Sean Connery as James Bond (007), but turned the part down, feeling that playing 007 would harm his career. George Lazenby was subsequently cast instead.[22]

Some of his appearances were in classical comedic roles, such as Captain Absolute in a television version of The Rivals (1970) and Bassanio in William Shakespeare's The Merchant of Venice (1970) in a National Theatre Company production directed by Jonathan Miller, which also featured Laurence Olivier (as Shylock) and Joan Plowright (as Portia). This was adapted for television in 1973 with the same three leads. Brett joked that, as an actor, he was rarely allowed into the 20th century and never into the present day. He did, though, appear in a few contemporary guest roles, in a couple of the ITC series such as The Baron (1967) and The Champions (1969), wherein he was cast as swarthy, smooth villains. Brett also appeared in The Incredible Hulk ("Of Guilt, Models and Murder", 1977) and starred as Maxim in the 1979 adaptation of Daphne du Maurier's Rebecca opposite Joanna David.

Jeremy Brett's final, posthumous film appearance was an uncredited bit part as the artist's father in Moll Flanders, a 1996 Hollywood feature film starring Robin Wright Penn in the title role. The film (not to be confused with the 1996 ITV adaptation starring Alex Kingston) was released nearly a year after Brett's death.[19]

Brett as Sherlock Holmes

Although Brett appeared in many different roles during his 40-year career, he is best remembered for his performance as Sherlock Holmes in The Adventures of Sherlock Holmes, a series of Granada Television films made between 1984 and 1994. These were adapted by John Hawkesworth and other writers from the original stories by Sir Arthur Conan Doyle. Even though he reportedly feared being typecast, Brett appeared in 41 episodes of the Granada series, alongside David Burke and, latterly, Edward Hardwicke as Doctor Watson. Jeremy Brett and Edward Hardwicke appeared on stage in 1988 and 1989 in The Secret of Sherlock Holmes directed by Patrick Garland.

After taking on the demanding role ("Holmes is the hardest part I have ever played—harder than Hamlet or Macbeth"[23]) Brett made few other acting appearances, and he is now widely considered to be the definitive Holmes of his era, just as Basil Rathbone was at the beginning of the 1940s and William Gillette during the first third of the 20th century. Brett had previously played Doctor Watson on stage opposite Charlton Heston as Holmes in the 1980 Los Angeles production of The Crucifer of Blood, making him one of only a small number of actors to play both Holmes and Watson professionally.[24][fn 1]

Brett had been approached in February 1982 by Granada Television to play Holmes. The idea was to make a totally authentic and faithful adaptation of the character's best cases. Eventually Brett accepted the role. He wanted to be the best Sherlock Holmes the world had ever seen.[33] He conducted extensive research on the great detective and Sir Arthur Conan Doyle himself, and was very attentive to discrepancies between the scripts he had been given and Conan Doyle's original stories.[34] One of Brett's dearest possessions on the set was his 77-page "Baker Street File" on everything from Holmes' mannerisms to his eating and drinking habits. Brett once explained that "some actors are becomers—they try to become their characters. When it works, the actor is like a sponge, squeezing himself dry to remove his own personality, then absorbing the character's like a liquid".[35]

Brett was obsessed with bringing more passion to the role of Holmes. He introduced Holmes's rather eccentric hand gestures and short violent laughter. He would hurl himself on the ground just to look for a footprint, "he would leap over the furniture or jump onto the parapet of a bridge with no regard for his personal safety."[36]

Holmes's obsessive and depressive personality fascinated and frightened Brett. In many ways Holmes's personality resembled the actor's own, with outbursts of passionate energy followed by periods of lethargy. It became difficult for him to let go of Holmes after work. He had always been told that the only way for an actor to stay sane was for him to leave his part behind at the end of the day, but Brett started dreaming about Holmes, and the dreams turned into nightmares.[37] Brett began to refer to Holmes as "You Know Who" or simply "HIM":

"Watson describes You Know Who as a mind without a heart, which is hard to play. Hard to become. So what I have done is invent an inner life".[38] Brett invented an imaginary life of Holmes to fill the hollowness of Holmes's "missing heart", his empty emotional life. He imagined: "... what You Know Who's nanny looked like. She was covered in starch. I don't think he saw his mother until he was about eight years old ..." etc.[38]

While the other actors disappeared to the canteen for lunch, Brett would sit alone on the set reading the script, looking at every nuance,[39] reading Holmes in the weekends and on his holidays.

"Some actors fear if they play Sherlock Holmes for a very long run the character will steal their soul, leave no corner for the original inhabitant", he once said,[40] but: "Holmes has become the dark side of the moon for me. He is moody and solitary and underneath I am really sociable and gregarious. It has all got too dangerous".[23]

A theatrical adaptation, The Secret of Sherlock Holmes, by Brett's friend playwright Jeremy Paul ran at Wyndham's Theatre in London's West End with Brett and Edward Hardwicke during 1988 and 1989; the production subsequently toured.[21]

Brett's performance is regarded by many critics to have been their favourite rendition of Sherlock Holmes.[41][42][43][44]

.