Reviews The Queens Gambit Anchored by a magnetic

The Queen's Gambit

The Queens Gambit  When you read the words “Netflix limited drama series about addiction, obsession, trauma, and chess,” the first adjective which springs to mind is probably not “thrilling.”

But here we are, and “The Queen’s Gambit,” Scott Frank’s adaptation of Walter Tevis’

coming-of-age novel of the same name, absolutely demands the use of “thrilling.”


Anchored by a magnetic lead performance and bolstered by world-class acting, marvelous

visual language, a teleplay that’s never less than gripping, and an admirable willingness to

embrace contradiction and ambiguity, it’s one of the year’s best series.

While not without flaws, it is, in short, a triumph.


And it is satisfying not just as a compelling period drama, a character study, and a feast

for the eyes. It’s also, at its heart, a sports movie wrapped up in the vestments of a prestige TV series.


Ask yourself this: When is the last time you fist-pumped the air over chess? Isn’t that something you deserve?


Odds are that Beth Harmon (the remarkable Anya Taylor-Joy) will earn quite a few fist-pumps as people discover Frank and co-creator Alan Scott’s excellent series.

We meet Beth as an eight-year-old (Isla Johnson) when she’s left impossibly unharmed—physically, at least—by the car crash that kills her mother. Her father’s not in the picture, so Beth finds herself at a Christian school for orphans.

While there, she develops three things: a friendship with Jolene (newcomer Moses Ingram, excellent), a passion for chess, and a physical and emotional dependence on the little green tranquilizers fed to the children until they’re outlawed by the state.

When she finally leaves the school, she’s got those last two things packed in her suitcase

alongside a bunch of chess books, a sizable ego, some unexplored trauma, and no small amount of self-loathing.


But it’s the game that drives her, sending her both to the heights of the competitive

chess world and, increasingly, to her hoard of pills and the oblivion offered by alcohol.


In short, Beth has a lot to handle. Luckily, Anya Taylor-Joy is more than up to the task. Playing

Beth from 15 onward, Taylor-Joy gives the kind of performance that only becomes more riveting

the longer you sit with it.

It’s a turn of both intoxicating glamour and precious little vanity, internal without ever being closed-off, heartbreakingly vulnerable and sharply funny, often at once.

Much of the story hinges on when and how Beth is alone—and sometimes

she’s most alone when surrounded by people—and Taylor-Joy’s performance is particularly

remarkable in these moments.


Scenes of Beth alone in her home, in a stranger’s apartment, on a plane, in her bed at

night—they all hum with the kind of energy that only arises when one is truly unobserved.

In this case, however, she’s creating that energy in a room full of cameras and crew members.

That kind of honesty and release is the stuff of acting legend, ดูหนังออนไลน์ like Eleanora Duse’s blush.

It’s yet another high watermark in a young career already full of them, and somehow

she’s never better than when Beth is sitting silently behind a chess board.


อีเมลของคุณจะไม่แสดงให้คนอื่นเห็น ช่องข้อมูลจำเป็นถูกทำเครื่องหมาย *