One of my
fondest memories as a child is watching the film adaptation of The Addams
Family and its sequel. I consider both movies hysterically funny as well as
among the best examples of a film adaptation of a classic TV series. (Of that
era, the only movie that matches it in my opinion, was The Fugitive.) It
was triumph in every way, from its brilliant direction and designs, it’s
exceptional musical score and its incredible performances. And it will also go
down history for being the breakout performance of Christina Ricci as
Wednesday.
Ricci has
been one of my favorite actresses ever since I was introduced her in that film.
Even at thirteen, she had the ability to steal every scene she was in. Her
perfect deadpan delivery made every line hysterical: (My favorite exchange is
when a Girl Scout offers to buy lemonade for her, asks if her lemonade is made
of real lemons and says she will if she’ll buy a box of her Girl Scout Cookies.
“Are they made from real Girl Scouts?”) Ricci has spent the last thirty years
as one of the few child actresses to make a perfect leap to adulthood with no
true sign of any trauma as a result. (The characters she plays, on the other
hand…)
It was in
part due to my incredible fondness of Ricci’s work that I was reluctant to initially
watch Netflix’s Wednesday. I wasn’t worried about The Addams Family getting
the same treatment as Riverdale as Netflix’s version of Sabrina; doing
a grim reboot of The Addams Family seemed as impossible as a satire of a
Wayans Brothers parody. And honestly, adaptations
of old TV franchises and comic books almost never seem to see the light of day
at awards show, so I figured best to put it on the back burner when I got free
time. (Ha, ha.) Then Jenna Ortega and the series itself began to get
nominations from other awards shows: Ortega has to date been nominated for Best
Actress in a Comedy in the Golden Globes, Critics Choice and SAG awards and the
show itself has been nominated for Best Comedy by the first two. I realized I
had to start getting caught up.
First of
all, I will be upfront. Ortega is perfect in the title role. She has all of the
mannerisms that every Wednesday has down: perfect deadpan delivery of every
line, and all of her lines are straight out of what we know she would say. (“My
last therapist had a nervous breakdown,” she tells her new one.) Ortega is a
marvel to watch every time she’s onscreen, and she’s on it almost all the time,
she can generate laughs every time she says a line, even when she’s giving
voiceover narration. Most of the cast I’ve seen is equally good: Catherine
Zeta-Jones and Luis Guzman are superb as Morticia and Gomez, Riki Lindhome is
absolutely sublime as Wednesday’s new therapist and of course, Ricci herself as
the dorm mom at Wednesday’s new boarding school. The show is directed by Tim
Burton, who you honestly wonder why he never directed the Addams Family movies.
And Danny Elfman himself is providing the score.
All and all,
Wednesday has all the makings of a masterpiece. But I can’t quite put my
– well, Thing – as to what is missing from this series and why sometimes I have
trouble just going with it.
Having seen
the first two episodes, perhaps my problem came more with the Pilot than
anything else. Watching the teaser I was
in utter rapture: Wednesday admiring the sadism of high school, removing Pugsley
from the locker and telling him crying makes him look weak, releasing piranhas
into pool to Edith Piaf, saying “No one gets to torture my brother but me” I
thought: “Splendid!” And then much of the Pilot seemed directed towards being
something very close to the worst kind of things for a show involving the Addams
Family: being traditional.
I don’t
object in principle to Wednesday not wanting to follow the path of her parents
and instantly trying to escape from her mother’s boarding school. Admittedly, I’d think that kind of rebellion would be
dating the quarterback and becoming a cheerleader, but that’s the wrong kind of
torture for Wednesday. The idea of a boarding school for outcasts is a funny
idea in principle, as well as Wednesday’s roommate being the most cheerful
werewolf imaginable – that’s a special kind of hell for her. I love the idea
that she still uses a typewriter to work on her novel, and that she hates
social media because it involves technology, not because she hates the effect
it has on people. (Was one of the co-founders of Facebook and Addams? No, that’s
just too cruel even for them.) I like the idea of a boarding school among
outcasts having a caste system, vampires, werewolves, telepaths and the far too
underused sirens, as well as the fact that having supernatural powers actually
amplifies teenage hormones (Buffy made that joke very clear) Gwendoline Christie
is delightful as the headmistress, who happened to be Morticia’s roommate when
she was a student and Lindhome, who has a wonderful habit of playing
relentlessly cheerful character is great as Wednesday’s new therapist. Most of
the young actors are also superb: Joy Sunday is wonderful as Bianca, the siren whose
more or less the queen bee of the school, Emma Meyers as the way-too-cheerful
werewolf and I hope to see more of Eugene, the sole member of the beekeeping
club, who already stole every scene he was in.
I guess my
largest problem with the pilot was that the show tried to hard to fit Wednesday
into the conventional hero mold. Considering that the writers for the series created
Smallville, maybe this should have been a huge shock. The larger problem
is, of course, Wednesday Addams could never be mistaken for Clark Kent and
trying to fit her into the model of a conventional teenage hero of the series
is an idea that doesn’t inspire me. (And seriously, trying to give Wednesday a trauma
plot for her trademark
unemotional behavior? I’m pretty sure traumatic childhoods are encouraged
by Addams’ as a precious family heirloom.) There’s nothing fundamentally
wrong with trying turn Wednesday into a teen detective and mix it with the
supernatural; it just seems kind of you know -ordinary.
Many of my
concerns were assuaged having seen the second episode. The show seems to have
found more of a groove by putting a murder mystery at the center, which I did not
think would work very well in the Pilot. It helps a lot that, for all the outcasts
and bullies in the series, the writers have decided to make the heavy the town
sheriff, who wants to make sure the academy is closed down, but who is utterly
contemptible to his own teenage son (he
practically demands that Tyler tell him what’s going on in his therapy sessions
and seems relieved Tyler is talking about his late mother rather than ‘spreading
stories about his old man’.) You actually hope this guy gets eaten by
the monster that’s in the woods.
It also
helps that the series is now begin to utilize Thing who, just as in the films
and TV show, steals every scene they’re in. Wednesday clearly has a bizarre
relationship with it (are there any other kind) and its actually entertaining
to see Thing being used to a greater ability as a spy and how other people
react to it. (Enid’s conversation about bonding with Thing ‘over mani-pedis’
was a huge laugh.) Christina Ricci’s character is also enjoyable to watch. AT
first, you think like so much else in the series’, her presence is simply
another Easter egg, but as always with every character she’s ever played, there’s
more beneath the surface. She seems to be the only ‘normal’ person at Nevermore
(which in itself is an in-joke) and there’s something both sad and funny about
her in every scene. I have little doubt she’s hiding something beneath the surface
but in a show like this, it was actually be more surprising (and interesting)
if she was actually who she was at face value.
There are
clearly signs this series could step wrong at any moment, what with the murder
mysteries, the psychic flashes and the secret societies. This is, after all,
the trap that so many reboots such as Nancy Drew and Riverdale fell
prey to very quickly. But unlike those shows, the decision to use Ortega as a
voice-over narrator is the right decision because Wednesday is taking all the
overarching seriousness that these show’s take and undercutting with dry humor with
every other line. I was still struggling with the idea that this series could
contend for awards after the Pilot; the second episode convinced me that both
Ortega and the show deserve every nomination and award they will get in the
near future.
If I have
any doubts about Wednesday, it is the fact there are times it takes
itself too seriously when it comes to sticking to genre-tropes. Wednesday alone
should take everything seriously; the show should try much hard to stay funny
and light. There are more than enough scenes in the series to make me think it
will stay that course, but there are always warning signs. There is clearly enough good stuff in Wednesday
to make it be the next big thing for Netflix; perhaps even a worthy
successor to Stranger Things when its final season airs. The Addams Family has always been eccentric, grotesque and funny,
when it was at its most strange and everything else around reacted to it. Conventional
would be as dirty a word as ‘normal’ to the show. Those are, to coin a phrase,
the Family Values that I hope Wednesday sticks with.
My score;
4.25 stars.
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