Note – contains some spoilers
I think it is fair to say Beth Harmon took the world by surprise. Figuratively, literally, in the 1960s and in 2020, but she did it.
While I absolutely would love to discuss the thought-out plot, accurate context and the feminist message, I will leave that to you to think about after binge-watching the miniseries, like I did. I will, however, share my thoughts on the cinematography.
Throughout all seven episodes, there is a specific colour scheme for every scene, emphasising different atmospheres, or different ideas. In fact, colour plays a significant role in the concept as a whole – from the pieces she plays, to the situations she finds herself in.
I think the first time these choices became noticeable was in episode two, when Beth’s new house was revealed. There is an overwhelming proportion of turquoise tones – an interesting parallel with Alma’s relationship with the tranquilisers, and Beth’s past and future experience with them. Alma’s character is trapped inside her home by her own husband as a housewife, and even her surroundings are oppress her in the same way.
There is an overwhelming proportion of turquoise tones
Then, Elizabeth’s clothes. There is a gradual, but definite shift in her style as she grows, and it achieves more than a regular coming-of-age film. I found that showed most in the contrast between the earthy, brown tones at the beginning (humbling, simple, practical) and the whites and blacks (dignified, reflective, confident), which subtly underlined the voltas in her worldview. For instance, episode five – the round of speed chess with Benny. He is the only player she could not yet beat, and their initial tension was highlighted by his black jumper versus her white shirt. Still, subtly, the beginning of their friendship was suggested with the black hems.
Another fitting example would be the final game. She plays white. She wins. Her white coat not only pays homage to the country she is in (it snows in Russia. A lot), but separates her from the reporters, the onlookers and the other players. She appears brighter as her life reaches its next white strip.
This is another prominent theme. Strips. Squares of contrasting emotion – a chessboard. Addiction – black. Success – white. This was illustrated through shadows, notably so in episode three (22:45), when the now-teenage protagonist stole alcohol and drank it for the first time in her bedroom. This pivotal scene ended with her visualised chess pieces on the ceiling, moving to cast a dark shadow over her face. To me, it really symbolised the way chess – her obsession – contaminated her with its power and possibility. She was addicted to alcohol and pills in the same way she was addicted to winning.
This self-confidence she developed as her skill became more and more apparent provides a dramatic frame to the significant event in episode four (36:00). This scene, I thought, built-up the tension very well. First shot was filmed in subdued lighting, and nothing seems to be wrong. She continues her soliloquy, as the atmosphere becomes more sinister, than simply quiet. Her undressing makes her vulnerable, she exposes herself precisely because of the comfort she feels around her adoptive mother. The continuous camera pan revealing the bed stretches out the time before it becomes apparent she has lost another parent.
This experience (understandably) results in Beth’s spiral of self-destruction. Her makeup plays an interesting role during this segment (episode six), as it marks her increasing subconscious hopelessness, and distancing from the outside. This takes place inside the living room – she remains in that confined place. The camera gets increasingly less stable, and the music gets louder, as she loses control. When she does next go outside, her increasingly sharp eyeliner has transformed into bold black lines, which overwhelm her eyes, and emphasises the “bags” under them. Her ways of coping with pain become apparent and expose a struggling, orphaned girl, under the façade of a successful, independent champion – a true example of fantastic character development.
Her increasingly sharp eyeliner has transformed into bold black lines
Overall, the success of the miniseries is a brilliant combination of the acting, the visuals, and the creative decisions. It is not extremely complicated; but, perhaps, that is what makes it quite so effective. Its minimalism allows for all the aspects of ‘The Queen’s Gambit’ as a piece of film to enrich and enhance each other, and keeps the audience engaged throughout all seven episodes.
I hope you can now explore the storyline’s sophistication for yourself, through the actors’ choices, the explored ideas and, especially, through the stunning cinematography.
