Production design in A Series of Unfortunate Events
Zachy F
In 1999 Daniel Handler began writing A Series of Unfortunate Events , in 2004 Brad Silberling directed a feature film adaptation of the first 3 books, and in 2017 the entire series was adapted into a full-length Netflix show. From its opening scene, the show plunges viewers into the corrupt, dark and melancholy world that the Baudelaire orphans inhabit. I have always been curious to delve further into how the show creates such intense atmospheres, and how the production design reflects characters with utter truth. In this essay, I focus on ‘The Ersatz Elevator: Part One’ in particular. Before I begin to investigate the design, I thought it was worth outlining the general story. The series begins with the Baudelaire orphans: Violet, Klaus and Sonny, finding out their parents died in a terrible fire. As a result, they are sent to a distant relative, Count Olaf, who is a psychotic criminal and will stop at nothing to seize the orphan’s inheritance. Throughout the series they are put into the custody of different guardians, continually stalked by Olaf in various disguises. The sixth book – respectively the eleventh and twelfth episodes of the series, is the clearest example of production design’s ability to emphasize character and atmosphere. These episodes follow the Baudelaires’ journey into the home of Jerome Squalor and Esme Gigi Geneieve Squalor, a couple who reside on 667 Dark Avenue, on the penthouse floor. The name Squalor suggests dirtiness and poverty; ironically, the couple embody glamour and wealth. Upon their arrival they come to understand Jerome is a warm, kind man, whilst Esme has only adopted them as it seems fashionable – ‘orphans are in at the moment’ (Handler, 2001). Obsession with fashion is at the heart of the episode, with further themes of isolation, class and materialism reflected in the production elements.
The penthouse apartment living room from ‘A Series of Unfortunate Events: The Ersatz Elevator’ ; dir . Barry Sonnenfeld
The set design by Bo Welch, who also directed these 2 episodes, is one of the most powerful of the entire show. The apartment is an exaggerated version of the Art Deco movement – originating in the 1920s
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