Eerily Sarcastic That Exceeds Expectations

As much as this may seem surprising to many general viewing audiences, it’s more than likely that, in this day-and-age, you’ll be watching a T.V. series that is a direct spin-off from an already established film. Indeed, with a film industry that’s flooded with remakes, sequels and superhero films, of which dominant the cinematic/box-office space, the realm of T.V, particularly within the main streaming services, more than satisfies watching needs with concepts that see’s a particular story of film continued through an episodic structure. While it’s understandable for many to be sceptical by the fact that older and recognisable films are being adapted for the small-screen, since many features are such beloved and don’t need to either re-hashed or continued through a new-format, is the film-to-T.V. format so terrible? After all, it has to be said that it takes quite a substantial amount of time for a new and independent television series for audiences to be invested in. The very nature of the film-to-T.V. adaptation is a smart way of getting around this; being that if you’ve seen the already-told feature, then it’s more than likely you’ll relate with the show from episode one, scene one. In watching the entirety of Netflix’s new, sarcastically melancholic  and much anticipated series of Lemony Snicket’s A Series of Unfortunate Events, this happened to be the case. Despite it possessing many similarities to its 2004 filmic counterpart, in many of its crucial narrative tendencies and through the establishment of the mise-en-scene, Netflix’s re-telling of these wistful and dismal tales match accordingly with the dark, gothic and wonderfully weird tone of the original source material. 

After their parents and home are consumed by a blazing fire, the three Baudelaire orphans of Violet, Klaus and Sunny are placed into the care of their distant and fiendish relative of Cont Olaf, a deprived and unsuccessful actor who extremely determined to claim the Baudelaire fortune for himself. In facing not only the devilish wrath of Count Olaf’s attempts to seize their fortune but also other trials and tribulations that risk the very nature of their well-being, the Baudelaire children set-out to uncover the mystery behind a secret society from their parent’s past…

Of course, while the obvious starting discussing point in regards to reviewing Netflix’s new series and re-working of A Series Of Unfortunate Events would be to notify the significant differences and similarities to it’s main counterparts in Brad Silberling’s 2004 filmic adaptation and the main book material, of which we will get to, It’s imperative to firstly look at how the 8 episode series is structured, since their is a distinctive formula in which each of the few stories are told. As much as the 2004 adapted feature, featuring Jim Carrey as Count Olaf, subtly swayed it’s way into many of the book-lovers hearts with its intrinsic gothic visualisation and pivots its attention towards a motif, from the books, that flatters children’s innate sense that the world is not all perfect place as told in typical many different types of fairy-tales, one of the biggest challenges it upholded in its total run-time of 104 minutes was its telling of the story. With it covering the first three novels of The Bad Beginning, The Reptile Room and The Wide Window, the 2004 feature-film certainly rushed through the stories without really taking necessary time to divulge into the imperative cruxes of the Baudelaire’s adventure; leaving out more depth in terms of the parents weird mystery and the other requisite motifs from the books that were non-existent. In the case of this new-take of Lemony Snicket’s miserable yet comedic fables, which are structured within a frame 8 episodes (with 2 episodes focusing on a singular novel), there is not only a definite balanced approach when it comes to telling each of the scenarios that the Baudelaire orphans are situated in, but also a focused form that adequately concentrates on the mystery that is presented and played-out in the background of the series. Being that A Series of Unfortunate Events correctly chooses to apply more depth to each of the stories that we’re presented in, unlike the 2004 film, one of the simple constructs that the series implements in fleshing out the main source materials whimsical beguile and mysterious undertones, is the made-known presence of Lemony Snicket, performed confidently by Patrick Warburton. Indeed, while Jude Law portrayed the same role in the previous interation of the books in a subdued and eloquent manner that attributed to the films serious nature of the Baudelaire’s predicament, the addition of Warburton playing the role of Snicket, who consistently breaks the fourth-wall, helps to convey much of the wordplay humour used in the original text. The regular and welcoming interventions of Snicket throughout every episode, significantly contribute to the peculiar inklings that keep audiences glued to the series as well as creating a ‘story-book’ feel for the younger demographic to be engaged with.   

Alluding back to the introduction, there’s more reason in this day-and-age to see an already established and pop-culture film to be turned into a televised series designed to purposefully flesh-out a particular concept for audiences needs. By turning a film into a T.V. series, there’s more room for depth and intrigue to be bestowed that presents a new perspective of the narrative proceedings. In the case of this new iteration of A Series Of Unfortunate Events, while it is a re-telling of a few tales that were boldly told in the 2004 feature film of the same name and does share similar formal features to try and provide a familiarity for many viewers watching, it has to be said that this new series willingly applies constructs that provide not only new and recognisable visual aesthetics on these fairly lauded books, but also establishes the necessary depth that fans of the book will appreciate to see. The most distinguishing feature to potentially look at within all of the 8 episodes, which end towards the start of The Austere Academy (book 5), is the way in which each sequence is formatted through the eye of the camera and the mise-en scène. While no credit can be taken away from Silberling’s efforts of the filmic adaptation for its meticulous manner in presenting a very specific gothic feel through the sombre and echoing production design, the series instead opts for a rather ‘story-book’/ ironic backdrop that tailors towards the younger demographic. Combined with the production set-up of the various places, of the different households and ‘locations’ that the Baudelaire children find themselves in, there are many instances when it feels like the series was crafted by the likes of Wes Anderson; a contemporary auteur who specifically utilises a mixture of flat space camera movement along with symmetrical compositions and hand-made miniatures. The camera, in most instances, frames chosen events within square frames a gives this metaphorical feel of the Baudelaire’s being ‘self-contained’ through not only the predicament that they’re in, with Count Olaf chasing after their fortune, but also constricted within the staged-space. In a way. it does make you wonder what a ‘Unfortunate Events’ re-adapted film would look like if Wes Anderson was at the helm…

In speaking of the differences and similarities that both the series and film do & don’t share with one another, one of the main discussions that people will be comparing and contrasting with, is the performance that Neil Patrick Harris gives as Count Olaf and how subtly dissimilar it is to Jim Carrey’s memorable portrayal as the same character. To put it simply, it’s expected to notice that Harris’ re-enactment was never going to be as hilariously manic as what Jim Carrey did with the role back in 2004. Carrey, throughout his filmography, is a character-actor synonymous for his outlandish theatrics that dominate the viewing experience through body-humour. His over-the-top antics as Olaf were one of the key fundamentals why the film, even today, stands out as one of the more niche and admired book-to-film adaptations. With Harris’ performance, while it isn’t as outlandish as Carrey’s performance, there is a sense of control and creepy dynamism to the series’ rendition of the villainous role as Harris manages to balance the typical sardonic honesty, also seen within his role as Barney in How I Met Your Mother, with the wonderfully weird yet dimwitted facade that Olaf manages to bestow in trying to con the Baudelaire orphans. Speaking of, the child actors of Malina Weissman, Louis Haynes and Presley Smith, who all each portray the Baudelaire children of Violet, Klaus and Sunny, do a fair-enough job of portraying sophisticated children that have to be put up with adult-characters who genuinely know nothing of the world as they already do. Indeed, it’ll be intersting to see how next season proceedings change the likes of the Baudelaire trio; since the story advances to the point of them finding out about their parents’ mysterious ways and how they have to be put up with other devilishly sardonic figures other than Olaf. While the trio of children did also imbue an important motif of the book which deals with the natural and psychological change that a child goes through to the complex world of maturity, there were times when both Klaus and Violet would over-enunciate on a line of dialogue that felt out of place. Digressing forwards however, there really isn’t much to nitpick in a well-crafted children’s series such as this. 

While many, who are unaware of the multitude of these books, may perceive to notice how repetitive the story and each of the episodes progress, it’s a certainty that Netflix’s rendition of Lemony Snicket’s A Series Of Unfortunate Events will unravel into much more diverse story-telling and reveal more of the characters own backgrounds. This isn’t to say that this 1st season is terrible by the way. In fact, it’s a much improved interpretation of the lauded books that willingly delves into many of the original sources’ melancholic and satirical themes and doesn’t take the who context of the narrative too seriously, unlike the 2004 film-adaptation which strayed away a little from some of the books distinctive meanings. Alongside the Harry Potter films, this new Unfortunate Events series, and the next couple of seasons to come along with it, is very much appropriate for young and older audiences and manages to correctly balance the darker themes of grief, loss and disappointment with the dry absurdity….

With that, I think it’s time for me to end. As always everyone thank you for reading my latest review of A Series Of Unfortunate Events and I hope you’ve all enjoyed the read!! 😊. If anyone has an opinion on either my review or on the series itself, please feel free to drop a comment down below. Honestly, it may not be everyone’s cup of tea, but this new Netflix series is a thrill to those who have innocent eyes. Next week, I will be either be reviewing T2: Trainspotting, Split or Iron Man which will continue my review series of nearly all of the Marvel films that have come and gone!! 😏. Once again, thank you to everyone for reading this week’s Blog Post and I’ll see you all next week!! Have a nice weekend and Chinese New Year!! Adieu!! 😁😎👏✌🐓✨🎆🎉

★ ★ ★ ☆ ☆ – Alex Rabbitte