Based on the novel A Knife in the Fog by Bradley Harper, Leviathan brings a fictitious Sherlockian twist on the Ripper murders to life. Director James Mansell takes charge of this move from page to screen with a deft hand, treating us to some truly impeccable cinema.
Professor Joseph Bell (Matthew Lloyd Davies) and Arthur Conan Doyle (Rafe Bird) prepare to examine the body of the Ripper’s latest victim when they are suddenly imposed upon by a woman named Margaret Harkness (Lauren Cornelius). Miss Harkness is a journalist but has a level of insight into the situation for a number of reasons. Being accustomed to having to fight for her place in a room, she is on the defensive and knows how to assert herself in order to be taken seriously. Doyle especially finds himself being burned by Miss Harkness’ acid tongue in response to careless comments and what, over a hundred years later, might be called micro-aggressions.
A lot of Miss Harkness’ knowledge comes from her previous job as a nurse. Medically speaking, she is easily able to keep up with the observations of Doyle and Professor Bell, even offering some of her own theories and perspectives. As they become almost frenetic in their theorising, Miss Harkness brings a deeper level of empathy to the victim. She continuously reminds Doyle that this is a person, regardless of whether she existed on the fringe of society, drunk and enslaved to prostitution – an “unfortunate”, as Doyle puts it, or as a socialite in the upper echelons. The victim deserves the same respect regardless.
Ultimately, the three find common ground in wanting to bring a heinous villain to justice and protect women from suffering a fate similar to the lady on the table in front of them. Despite being very dialogue heavy, the film has you on the edge of your seat the entire time. This reflects the excellent quality of the writing and source material. The scene is set to bring about an air of threat and horror, but this is achieved without ever needing to show us the body of the victim. Leviathan keeps the terror at a psychological level and manages this incredibly effectively. There is no need to shock with visceral horror – we’re gripped by the presence of the three protagonists instead. All three give truly commendable performances, holding attention in their line delivery and subtle nuance of characterisation.
Leviathan is compact and effective short film. However, rather than leaving viewers sated, many will find themselves desperate to spend more time with these characters and continue with them on their journey. This is not at all a pitfall, but one of the highest accolades a short film can be bestowed. Director James Mansell, who happens to be the great-great-great grandson of the real life Professor Bell (the primary inspiration for Sherlock Holmes) has triumphed with this historically imbued masterpiece. The period set and costume design are impeccable, crafting an immersive mise-en-scene that places viewers right inside the cramped backroom as if they too are a spectator of the autopsy. As a lover of music, I feel the efforts of Mat Hamilton’s original score are especially responsible for upholding the atmosphere of Leviathan. The relentless strings mirror the sense of urgency in the room, building throughout and cresting in the final moments.
No part of this film would be misplaced in a theatrical release.