A Series of Unfortunate Reviews: “The Reptile Room”

If you have come to this review hoping to see that my opinion of Netflix’ series has improved dramatically with The Reptile Room, then it is my solemn duty to tell you…

…CONGRATULATIONS, YOU’RE IN THE RIGHT PLACE!!!

(Beware the spoilers for Episodes 3 & 4.)

Wow.  WOW.  I loved both parts of “The Reptile Room” so very much!

Neil Patrick Harris’ performance as Count Olaf improved.  He strikes a better balance between menacing and humorous.  When he arrived at Uncle Monty’s house, confronted the Baudelaires, and wound up chasing them through the house with his knife, I could actually feel myself tensing up.  I’ve read the book, I knew he wasn’t going to kill them, and yet I found myself thinking, “Oh no, I really hope he doesn’t figure out the trick of how to get into the Reptile Room!  Get out of there, Baudelaires!  Get some place safe!”

I knew they’d be okay.  I knew that if the show just followed the book, nothing would happen until Uncle Monty returned home.  And yet, as Olaf banged on the door to the Reptile Room, I kept thinking, “He’s going to figure it out and turn the knob any second now!  He’s going to figure it out!

Although it’s not accurate to the book, I loved Jim Carrey’s performance as “Stephano,” so I didn’t Harris could possibly top it.  I don’t know if he topped it, but he did at least match Carrey with his equally hilarious accent.  That in itself is a feat.

Then there’s Uncle Monty.  Aasif Mandvi gives such a perfect performance and I love what Daniel Handler and the other writers did with Monty’s character.  I liked him well enough in the book.  He’s one of the only decent guardians that the Baudelaires ever meet.  In the show, however, he gets to be even more intelligent, courageous, and kind-hearted than before.  He knows that Stephano is evil from the get-go and does what he can to help the children feel safe.  He obviously loves the Baudelaires and completely understands why they don’t trust him at first.  He also gets to take down the two white-faced women when they try to kidnap him at the theater, and then stops Stephano from kidnapping the Baudelaires just in time.

Speaking of the Baudelaires, I like how they don’t completely warm up to Monty at first.  They’re still recovering from their horrific experiences at Count Olaf’s.  So when Mr. Poe sends them to live with a complete stranger again, it makes sense that they’d question once again why they’ve never heard of their parents’ friend, Dr. Montgomery.  He responds with a very sweet little speech about reptiles: that there are plenty of dangerous ones out there, but that you can learn to spot the signs that tell you which ones are friendly.

It really says something about an adaptation of a tragedy when you know exactly what’s going to happen, but you still find yourself wishing that maybe, just maybe, this time it’ll end happily.  Granted, Lemony spends the entire time reminding us that Uncle Monty will die.  I responded in a very appropriate manner:

(Gif taken from GIPHY)

Unlike the Bad Beginning episodes, I liked the additional ties to V.F.D. placed within the story.  Here, they do make a sincere attempt to help Monty and the Baudelaires by warning them about danger.  It’s just that Monty misinterprets just how dangerous “Stephano” is.  The scene where he uses the code to find the message in the subtitles for Zombies in the Snow is a lot of fun.  (S0 is Zombies in the Snow– now THAT is what I’m looking for when I want to see Stylistic Suck.)

In “Part 2,” there are a few more significant deviances from the book, but they don’t really hurt the story.  First, the Baudelaires quickly pick up on the fact that “Nurse Lucafont” and the “investigators” that come to the Reptile Room are actually Olaf’s troupe.  They just can’t prove it to Mr. Poe (of course).  There’s a seriously funny exchange between Mr. Poe and Klaus over why they couldn’t possibly be people in disguise.

Second, well, the entire troupe comes to Uncle Monty’s house under the pretense of investigating his death, instead of the hook-handed man by himself.  Again, I don’t mind, because they’re funny.  They continue to act not quite as evil as they act in the books.  I laughed watching them get absorbed in Violet’s summation of how “Stephano” killed Uncle Monty.  They know exactly who did it and why, but they’re still so intrigued by her deductions.

Third, because the entire troupe’s there, Olaf doesn’t panic when Mr. Poe realizes his true identity.  Why would he?  His troupe easily outnumbers Poe and the Baudelaires.  But then the reptiles come to the rescue of the children.  This is great partly because it’s heartwarming and partly because Handler took care of a plot hole before it became an issue.  That doesn’t always happen in adaptations.  It doesn’t even always happen in this adaptation.

Finally, there’s the role of the Incredibly Deadly Viper.  This one’s pretty interesting because the movie made the exact same story change.  In the book, Dr. Lucafont tells everyone that he found traces of the Mamba du Mal’s venom in Uncle Monty.  The children have to prove that Olaf injected the venom into Monty because the snake has different ways of killing its victims.  In the movie and the show, everyone except the Baudelaires believe that the Incredibly Deadly Viper killed Monty.  It’s the children’s job to prove that the Viper is friendly.  Although, in the movie, that’s all they had to do.  The show tries to add content from the book by also showing Violet searching Olaf’s suitcase for what did kill Monty- venom from the Mamba du Mal.

And last but not least, I think these episodes did a better job with Mr. Poe’s characterization.  I found him to be a little too clueless and insensitive in Bad Beginning.  Although he doesn’t see anything suspicious about Stephano or the “investigators” in the Reptile Room episodes, he’s a lot more skeptical of their findings.  That’s not too far from the book, where he actually apologized to the Baudelaires for not believing them about Olaf.  Yes, he’s mostly unhelpful throughout the series, but he does have his moments, such as some scenes in The Wide Window.  It’ll be interesting to see how those episodes play out.

Speaking of which, tune in next time for my thoughts on the episodes about The Wide Window…

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A Series of Unfortunate Reviews: “The Bad Beginning”

If you have come to this blog in the hopes of reading reviews that absolutely eviscerate the film version of A Series of Unfortunate Events and heap endless praise upon the new Netflix series because it is superior to the film in every way, then you have come to the wrong place and should stop reading immediately.

I regret to inform you that this next series of reviews contains dreadful things, including a discussion of the merits and drawbacks of the film and the show, critiques of the actors’ performances, and terrible attempts by the author to imitate Lemony Snicket’s writing style.

For you see, I personally found the movie to be “a decent adaptation,” a phrase which here means, “Jim Carrey was a decent Count Olaf, okay?”

Welcome to my next series of posts: reviewing several adaptations of A Series of Unfortunate Events, including the movie, the Netflix series, and the video game!  (Yes, there was a video game.  It was based on the movie.  I owned the GameCube version.)  Although Lemony Snicket would find this hard to believe, I think this is going to be much more pleasant than Dracula Month because I enjoyed these adaptations by and large.

I’ll be starting with the Netflix series, breaking it down by book.  The first two episodes of Season One adapt the plot of The Bad Beginning.  It’s decent, yet it does have some flaws.

Patrick Warburton really nails the character of Lemony Snicket with his somber, dry delivery of the many over-the-top tragic event that happen to the Baudelaires.  That said, there’s a big difference between the show version and the book version (which I didn’t notice until my friend, Alie pointed it out to me.  Thanks, Alie!).  We never see his face in the books or the movie; all pictures of Snicket show him in the shadows or with his back turned.  Not so with Netflix; he’s front and center throughout the show.  Does it matter?  Eh, it might have been better if we didn’t see him, but it’s not a decision that kills the show for me.

The Baudelaires themselves do a good job too.  My only issue is with Sunny.  I know that’s a little ridiculous since babies can’t really act, but she didn’t seem as expressive as Kara and Shelby Hoffman, who both played Sunny in the film.  She’s also voiced by Tara Strong in the show.  While I like Tara Strong and I got used to things after a while, I thought something felt off when I heard Sunny’s baby gibberish.  When I learned afterwards that an adult actress had made those noises, it explained everything.

In the books, there’s almost nothing funny about Count Olaf’s troupe.  (I say “almost” because they do have moments of dark humor, just like every other aspect of the books.)  Whereas in the show, they provide comic relief about 98% of the time that they’re on screen.  It actually works in their case because their lines are really funny.  It’s also an enormous improvement over their appearance in the movie.  See, in the movie, all they really get to do is show up, look menacing, and provide backup for Count Olaf, a phrase which here means “do absolutely nothing until Olaf needs an extra person to accomplish something.”

They have so much more personality in the show.  When they appear, you know exactly who they are; it doesn’t take a couple of seconds to think, “Oh.  Right.  He/She works for Olaf.”  They’re not just present during the dinner scene; they’re also seen throughout the second episode helping Olaf prepare for The Marvelous Marriage, fool Mr. Poe, and prevent the Baudelaires or V.F.D. from stopping their boss.  They always have a funny comment about the situation that helps them stay memorable.

Yet when the time comes for the hook-handed man to deliver a chilling threat to the Baudelaires, Usman Ally’s performance is scary in a believable way.  He’s fantastic at going back and forth between humorous and menacing.

Neil Patrick Harris’ performance, on the other hand, feels a little less believable in The Bad Beginning.  He also makes the constant switch between entertaining and scary, just not as successfully.  Maybe it’s because he’s the main villain, so there’s more pressure on him to be more of a threat.  He keeps having silly moments like the scene where Klaus reveals his evil plan and has to stop to inform the Count what “literally” and “figuratively” mean.

I guess this isn’t wrong, per se, because he does devolve more and more into comic relief later in the series.  It’s established that he’s not as well-read as the Baudelaires.  However, there’s a powerful moment in Chapter 9 when Olaf threatens to kill Sunny if Violet refuses to marry him:

Violet stared at him.  She had an odd feeling in her stomach, as if she were the one being thrown from a great height.  The really frightening thing about Olaf, she realized, was that he was very smart after all.  He wasn’t merely an unsavory drunken brute, but an unsavory, clever, drunken brute (pp. 113-114).

Although the show follows the plot of the book fairly well, I didn’t get that feeling about Olaf in the first two episodes.  It felt more like he came close to succeeding because of luck than cleverness.  He almost gets away with it because Mr. Poe and Justice Strauss don’t do enough to help the Baudelaires, not because he’s good at what he does.  Granted, the unhelpful nature of the other adults is a reoccurring theme in the books, so that’s not totally inaccurate either.

In the Netflix series, the biggest change to the story is the early inclusion of V.F.D.  There’s no explicit mention of V.F.D. in The Bad Beginning episodes, but we see volunteers working undercover to stop Olaf.  The book didn’t have so much as a hint of a secret organization, except for their symbol tattooed to Olaf’s ankle.  I don’t mind the idea that much.  This should allow the TV writers to keep a consistent tone in the television series instead of making a shift after The Austere Academy.  

Unfortunately, it wasn’t executed well in the first two episodes.  In “Part 2,” we meet a volunteer named Jacqueline who works as Mr. Poe’s secretary.  She tries to stop Olaf from adopting the children, gets captured by the troupe, escapes with some help from fellow volunteer Gustav, and then…not much else.  They attend The Marvelous Marriage to keep an eye on Olaf, but this has no impact on the plot.  The Baudelaires still have to rescue themselves and Olaf still escapes.  Although they do inform the Baudelaires that they’re supposed to go live with Uncle Monty instead of Olaf, that’s something Mr. Poe could have told them.  I want to like Jacqueline and it was nice to actually see Gustav, but there’s just no point to them being there.  It made the scene a bit awkward, at least for me.

Finally, there’s a positive change that must be noted: the increased diversity in the cast, especially compared to the movie.  The Poe family, the hook-handed man, Uncle Monty, and Aunt Josephine are all played by people of color.  There’s also a visible amount of people of color in the backgrounds, particularly in the audience for The Marvelous Marriage.  That’s awesome and I hope it continues into the next season.

So, while definitely not perfect, the first two episodes of the Netflix series made an okay first impression with me.  But as we Snicket fans all know, first impressions can be entirely incorrect.

Will the subsequent episodes change my opinion of the series overall?

“You haven’t the faintest idea…”

Dracula: The Series

The very first scene of the very first episode shows Professor Abraham Van Helsing breaking into Dracula’s tomb with a partner.  Then he murders his partner and uses the man’s blood to revive Count Dracula, saying, “The blood is the life.  You must be so thirsty.”

(Gif taken from GIPHY)

In case you haven’t read the book or any of my other Dracula posts, here’s a synopsis of the book, by Bram Stoker.  A vampire named Count Dracula decides to move from Transylvania to London so that he can drink the blood of the millions of unsuspecting people.  Jonathan, a solicitor who just passed his exam, comes to help him with the move, and gradually figures out that he’s dealing with a vampire.  Dracula imprisons him and then goes to London, where he attacks a woman named Lucy who happens to be best friends with Jonathan’s fiancé, Mina.  One thing leads to another and a group of people connected to Lucy come together to hunt the vampire before he kills again.

The plot of the TV series goes like this: Dracula moves to London with his manservant, R.M. Renfield, posing as an American businessman named Alexander Grayson.  To the rest of British society, he’s an egotistical genius trying to make electric light a viable source of energy.  Little do they know that he’s actually a vampire who wants to use his resources to bring down the group that turned him into a monster in the first place: the Order of the Dragon.  Meanwhile, Dracula meets a woman named Mina who is studying to be a doctor and realizes that she looks and sounds exactly like a reincarnation of his dead wife.  Although he doesn’t want to put her in danger and she’s engaged to Jonathan, they fall in love.

Can this truly be considered an adaptation of Bram Stoker’s novel when it’s got almost nothing in common with the source material?  They both take place in London and they both involve characters named Count Dracula, Jonathan Harker, Mina Murray, Van Helsing, Lucy, and Renfield.  They both contain the lines, “The blood is the life!” and “Welcome to my house! Come freely.  Go safely.  And leave something of the happiness that you bring.” (Ooo, one of my favorite lines!  I’m not joking- despite everything else that they threw out, the writers included one of my favorite lines from the book!)

That’s it.

Can you imagine Warner Bros. trying to do something like this with Harry Potter?  They’d never get away with it.

I planned to go on a full-scale, “Bat Credit Card” level rant about this show, but now I’m both burnt out by Dracula Month and feeling guilty about hating something that so many people worked hard on for so long.  If you’re not a passionate fan of the book, you may simply enjoy it on its own terms, as a television show.  I just can’t enjoy it because I love Stoker’s character so much, and they got so warped and twisted in the following ways:

  • Van Helsing and Dracula are allies.  They’re not friends, but again, Van Helsing is the one who brings the Count back to life and endangers countless people for a revenge plot against the Order that murdered his family.  All of the obvious issues aside, book!Van Helsing didn’t have any kids.  He alluded that he was married to a woman who was mentally ill, but doesn’t give her name or anything else about her.
  • Lucy is a manipulative, selfish jerk.  She’s also in love with Mina.  So she gets Jonathan to cheat on Mina with her in the hopes of breaking up their engagement.  I hate these types of story arcs almost as much as I hate the trope where someone tries to blackmail the murderer in a mystery.  Amazingly, this plan doesn’t work!  Mina finds out and she never wants to see Lucy again!
  • Renfield doesn’t appear to have any mental illness.  He’s basically Dracula’s right-hand man.  While I do like his character in the context of the show, it’s a shame that this changed because the book version of Renfield was so much more complex and interesting.
  • Arthur, Seward, and Quincey don’t appear at all.  Lucy flirts with a guy named Alistair, but we never find out much about him.  To be fair, Coppola’s version showed that having all three suitors won’t necessarily improve the film if they aren’t given enough to distinguish themselves.  But in a TV series, the writers would have had more time to flesh them out, so it’s a shame that they got left out.
  • Dracula comes across as a progressive who values Mina’s independence and intelligence.  Jonathan doesn’t appreciate her enough. Their wedding almost gets called off when she overhears him bragging to his friends about how he plans to turn her into a good little housewife and end her medical career after they get married.  He does feel bad about it afterwards, but UGH.
  • Van Helsing finally gets his revenge by kidnapping the children of one of his enemies and then turning them into vampires.  He whistles happily to himself as he prepares to send a ransom note to the grieving parents.
  • Mina is in love with Dracula and the reincarnation of his dead wife.  The book did not mention a dead wife (except the three undead brides, who don’t appear in the show), and Mina wasn’t a reincarnation of anyone related to Dracula.

My friend Alie suggested that we refer to this Van Helsing as “What the Hel-Sing” instead. I’ve continued the trend with “Non-athan Harker” and “Renfake.” If anyone’s got clever versions of Mina and Lucy’s names, I’m all ears. Dracula can just keep being Alexander Grayson.

I will say this: I found that I can sort-of tolerate the Dracula/Mina romance in the TV show more than I can in the Langella and Oldman versions. That’s because “Alexander Grayson” doesn’t resemble Count Dracula at all, aside from being a vampire who has no problems with killing people to get what he wants. He doesn’t turn Lucy into a vampire until the penultimate episode, and only after finding out that she broke Mina’s heart. He even decides to sacrifice his own desires to help Mina and Jonathan patch up their relationship earlier in the season. There’s no scene where he drags Mina off into a corner. He’s always polite to her and she responds with enthusiasm. They just aren’t the Dracula and Mina from Stoker’s novel.

There’s also a major new character introduced to the story, Lady Jayne.  She’s a member of the Order of the Dragon who is hunting Dracula.  She doesn’t know that Dracula is actually the man that she loves, Alexander Grayson.  It’s nice to see another female character, but she reflects how much the plot changed from book to TV.  I can’t really evaluate how well she fits in Stoker’s universe because it’s not Stoker’s universe.  At least she’s not a badly-written character or anything.

The sets look very nice, it’s well-acted, and the music’s fine.  But it’s a horrible adaptation of the book.  The writers might as well have changed all of the characters’ names and nobody would’ve guessed that it had anything to do with Count Dracula or Bram Stoker.