Anna Leszkiewicz, writing in
The finished product is far more faithful to the Snicket series, which is defined by Snicket’s dense voice. The books were thick with literary allusions (including but not limited to Dante, Shakespeare, Victor Hugo, Edgar Allan Poe, George Orwell and JD Salinger), and this series includes discussions of the themes and metaphors of Herman Melville, Haruki Murakami and F Scott Fitzgerald. But they are most frequently self-referential: Snicket constantly draws attention to his writing process.
Where the 2004 film merely nodded to Snicket’s presence with cameos from Jude Law, the Netflix programme fully engages with the postmodern ideas of metanarrative that make the original books so memorable. Patrick Warburton plays Lemony Snicket with a raised eyebrow, framing each episode with woeful warnings to switch off the TV, interjecting with plot spoilers and esoteric definitions. There is a whole sequence devoted to explaining, and then demonstrating, the concept of dramatic irony. Another scene sees Snicket step in to clarify that what we are watching is a flashback, “a word which here means ‘taken place during the events of the last episode, shortly after the Baudelaire fire, and during the Baudelaire children’s unfortunate stay with the Poe family’”.
There are hints at the concerns of “television executives”, and Snicket sometimes physically grabs the camera and pulls it away from horrifying events on screen. Aunt Josephine implores the children to close their eyes, “as if we’re watching some on-screen entertainment that’s too scary for our age!”, while Count Olaf has lines like “As an actor, I think live theatre is a much more powerful medium than, say, streaming television” and “In all honesty I prefer long-form television to the movies; it’s so much convenient to consume entertainment from the comforts of your own home.”
These nods to the Netflix format are simply much funnier than Jude Law bashing away at a typewriter, which is how the film tries to capture Snicket’s voice.