Liam Hoofe reviews the first season of Lemony Snicket’s A Series of Unfortunate Events…
‘Look away, look away’ warns the ominous, and irritatingly catchy opening theme song of Lemony Snicket’s A Series of Unfortunate Events. Those who’ve had the pleasure of reading Daniel Handler’s delightfully wicked series of books, which often start with similarly discouraging remarks, however, will know that this piece of advise is best ignored.
A Series of Unfortunate Events, as a series of books, had a huge influence on me as a young child. I remember turning each page in both horror and awe at the impressionable age of 10. The books introduced me to themes I was not likely to find explored in such macabre detail in the literature of C.S. Lewis, or J.K. Rowling, for example.
They were also written with a flair that really caught my young imagination. Lemony Snicket’s role in the books was the first time I’d ever encountered a questionable narrator as a narrative device, and the way the books played with the genre fascinated me. So, like many long time lovers of the books I awaited the Netflix adaptation of the novels with eager anticipation.
The first thing to be said about the TV series is that you do not have to have read the books to enjoy it, however as with most adaptations, there are plenty of rewarding references peppered through out for those who have. My initial response to the first few scenes, was, wow – they must have spent a lot of money on this. The set design is meticulous and is instantly comparable to the works of Wes Anderson. The introduction of Snicket at the very start as the ever present narrator, also provokes comparison to the famously quirky auteur’s work.
The show, like the books, is not afraid to fracture the narrative of the story to wonder off on a tangent, with Snicket often popping up to explain a phrase that has been used, or to offer some sort of foreshadowing, or use of a narrative technique. One big question I had whilst watching it, was who is this aimed at, but these interludes certainly could help bring in, and explain things to a younger audience.
Whilst the set design is immaculate, and the narrative inventiveness is refreshing, the show’s strongest asset is undoubtedly the casting. I must admit, I was extremely skeptical at the announcement of Neil Patrick Harris as Count Olaf, but he won me over almost infinitely. Olaf is a role that requires a performer, and someone who is not afraid to send themselves up, and Neil Patrick Harris proves to be the perfect choice. He also manages to switch between high camp and seriously sinister expertly, which is no mean feat.
Patrick Warburton is also perfectly cast as the omnipresent Lemony Snicket, recapturing the image of the character I had in my mind’s eye as a child. Likewise the three children are all picture perfect castings, with Malina Weissman’s Violet being a particular stand out.
The supporting cast also supply some brilliant turns as well. Alfre Woodard is great fun as the nervous Aunt Josephine, during The Wide Window episodes, and Joan Cusack adds some more quality as Justice Strauss in The Bad Beginning episodes.
The one issue the show may have, as the books did before it, is that it does at times become slightly repetitive. The second and third installments in particular. The show does its best to deal with this issue though as with the episodes often only lasting just over 40 minutes, this fatigue is rarely ever felt.
One more thing that deserves a mention is the brilliant score. From the opening credits to the closing ones, each episode is scored beautifully, fulling embracing the bonkers nature of each episode.
There is a lot to love about Lemony Snicket’s A Series of Unfortunate Events, and with only 8 episodes, with only two being over the 50 minute mark, this is one of the most digestable shows Netflix have ever produced. The closing moments are spectacular, with the show fully embracing its theatrical elements. So, buckle up and prepare yourself for an utterly bonkers ride.
Liam Hoofe
