This was a first-rare series, not least as I think it might mark the return of Tim Burton to his best, rather than the rather tired repeating of visual tropes and motifs that has, I think, marked his recent films. Style and content were in perfect accord. One of the best aspects is that the characters all are based on are essentially one-dimensional (unsurprising as they were originally cartoons), particularly in their TV iterations – and where much was played for sentimental laughs which is not the spirit of the original. The 1991 film The Addams Family did a first-rate job of transferring their essential story to the big screen, helped by several iconic performances, notably Christina Ricci and, above all, Anjelica Houston whose performance meant/means that anyone else taking on that role is going to be in her shadow. The follow-up (Addams Family Values) while with some good elements, made the mistake, as often happens with sequels or the excessive continuation of series, of trying to expand the original characters premise or bring in outside characters/situations/locations that simply dilute the power and effectiveness of the original.
However, here, while the focus was on one character, there was a first-rate and very believable gradual development of Wednesday’s character and her relationships (as far as she can ever have any) with other characters. But this was done very slowly and subtly and so very effectively.
The black humour of the original was marvelously done, both verbally and visually along with some amusing nods to current concerns (the gender-neutral toilets).as well as occasional nods towards Burton’s other work such as a Nightmare before Christmas figure in the background of one scene. There was a very good balance kept between the smart, the knowing, and the genuinely scary. The dramatic momentum was well maintained with the first two episodes clearly establishing characters and situations. Only after this was established did the main plot features kick in. The music played a very important too, with a clear influence, I felt, from Bernard Herrman – although this is difficult to avoid!). There were some moments of great spectacle, such as the Raven ‘N Dance (with marvelous, apparently authentic, Goth dancing). And the descriptive subtitles of the music were particularly enjoyable like ‘quirkily dreamy’ and many others.
The cast was excellent – loved Gwendoline Christie as Principal Weems and using Christina Ricci in the role they did was marvelous. Wednesday’s parents were good; Catherine Zeta Jones was a slightly dramatically paler version of Angelica Houston – which is perfectly fair. When a role has been definitively interpreted, that is probably the best way to go.
Some minor elements did not work – notably the labored punning use of the word woe in every. single. episode. title; yes, we get the reference ‘Wednesday’s child is full of woe’…but overall, there was admirable control shown. I admired the restraint in not clearly showing the monsters towards the end, particularly the Hyde, which made the tension and seriousness of the situation that much more effective.
Wednesdays very gradual emotional unthawing (well, to a minor degree) was very well done. I just hope that in the continuation of the series (Netflix permitting) his does not become too marked or a central feature as then the series could lurch into much more conventional teen drama mode.
A first-rate series in all respects.