We want to hear from you! ‘The Queen’s Gambit’ Review: Coming of Age, One Move at a Time. The period is the late 1960s and the vibe is Holly Golightly groovy wild child. So it doesn’t feel entirely coincidental that this version of the story operates at a measured pace. The Queen’s Gambit: Female chess champ hopes Netflix hit will inspire more women Just like Beth Harmon, flame-haired Jennifer Shahade has been checkmating her way to … There are hints of a romance between Beth and handsome rival player Townes (Jacob Fortune-Lloyd), but then he vanishes for a long stretch before being treated as an important part of the story’s endgame. Beth stumbles on the game when she’s sent on an errand to the basement lair of the orphanage’s forbidding custodian, Mr. Shaibel (a canny, finely etched performance by Bill Camp). Mostly, though, he’s been a terrific writer of genre films like Out of Sight, Minority Report, and Logan. The Queen’s Gambit 1080p Full HD izle, The Queen’s Gambit Full izle, The Queen’s Gambit Türkçe Altyazılı izle They include the performances of Camp, Heller, Brodie-Sangster and Taylor-Joy, who doesn’t go deep inside Beth — that would be a different show — but finds the intelligence and the humanity that lie just beneath her tics and frostiness. As with Godless, a lot of this story’s flaws and superficiality only become obvious because of how long it lingers, while the parts that are excellent (Taylor-Joy’s performance, the technical mastery) wouldn’t be diminished in a more abridged version of the tale. Pandolfini, of course, was only hired to offer advice on the chess matches themselves for the book and the show. In the great 1993 chess movie Searching for Bobby Fischer, elementary-school-age prodigy Josh finds himself caught between two mentors: Bruce Pandolfini, an aloof master of the game who favors a slow and risk-averse approach to the board, and Vinnie, who hustles tourists in the park and is always encouraging Josh to play as swiftly and boldly as he can. And the end result is similar: an aesthetically beautiful project with several superb performances, all in service to a story that starts to feel padded long before the end comes. There’s a degree to which the orphanage scenes are designed to be slow, the better to illustrate how Beth is withering away there from the narcotics and the cool discipline of administrator Helen Deardorff (Christiane Seidel, one of several Godless alums sprinkled through cast and crew). Frank pulls off his combination of themes with a lot of old-Hollywood-style skill, but in the mix, neither the sports nor the personal-demons story line hits the levels of visceral excitement or emotional payoff that you might want. If it doesn’t win you over, “Gambit” will at least play you to a draw. In “The Queen’s Gambit” on Netflix, Anya Taylor-Joy stars as a chess prodigy fueled by copious amounts of alcohol and downers. Taylor-Joy soon takes over as Beth, and while she’s not especially convincing as a 15-year-old — much less one whom the orphanage passes off as even younger to attract adoptive mother Alma Wheatley (played by A Beautiful Day in the Neighborhood director Marielle Heller) — she proves a spectacular camera subject for Frank and director of photography ​Steven Meizler​. (He fulfilled a similar role for the 1983 Walter Tevis novel upon which the Netflix show is based.) This, though, is a fakeout: the now-exhausted in media res opening TV writers use when they don’t have confidence that the actual beginnings of their stories are exciting enough. A young woman wakes up in a disordered Paris hotel room and washes down some pills with minibar booze while racing to dress for a Very Important Game of Chess. Netflix. It’s not hard to put that out of your head and enjoy the show’s immediate pleasures, though. But “Gambit,” whose seven episodes premiere on Friday, pulls that particular rug out from under us right away. The early episodes meticulously chronicle Beth learning the game and then establishing herself on the local chess scene. And we’re shown why she needs a refuge, beginning with flashbacks to life with her brilliant, troubled biological mother (Chloe Pirrie) and continuing through her teen years with her alcoholic, depressed adoptive mom (an excellent Marielle Heller, who directed the female coming-of-age film “The Diary of a Teenage Girl"). The production has a canny combination of retro Rat Pack style, in its décors and music choices, with a creamy texture, in its performances and cinematography, that is reminiscent of another Netflix period piece, “The Crown.” (This connection is reinforced by the abundance of British actors playing the American roles, including Taylor-Joy and, as three mentors and competitors for Beth’s affection, Thomas Brodie-Sangster, Jacob Fortune-Lloyd and Harry Melling.). It’s also quite palpably a feature film idea that Frank expanded because he could, and not because the story was best served at that size(*). The Queen's Gambit é uma minissérie de drama e amadurecimento americana de 2020 baseada no romance de Walter Tevis de 1983 com o mesmo nome. Complaints about the pacing are better placed at the feet of Scott Frank, who directed every episode and adapted Tevis’ book with Allan Scott, and who has become one of our preeminent champions of the idea that television should simply be constructed as “movies, but longer.”. Frank actually worked in television early in his career; one of his first credits was a Season One episode of The Wonder Years. The real Bruce Pandolfini was one of the technical advisors for The Queen’s Gambit, a new miniseries about a female chess genius coming of age against the backdrop of the Cold War. The Queen’s Gambit is set across the U.S. in the 1960s — from a mid-century home in Kentucky to a glitzy Las Vegas hotel. Frank and his collaborators (including editor ​Michelle Tesoro) find interesting ways to construct the tournament scenes — one uses the chess board itself to frame simultaneous matches, for instance — but they run out of new ideas before they get to the last big game.

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