"The book is a film that takes place in the mind of the reader." ~ Paulo Coelho
Showing posts with label Blog Party. Show all posts
Showing posts with label Blog Party. Show all posts

Friday, August 29, 2025

The Legends of Western Cinema Week 2025 Tag // where I pretend that I watch enough westerns to know what I'm talking about

Howdy, "pardners"! 

Buckle up, as today is the last day of Legends of Western Cinema Week, hosted by Hamlette, Heidi, and Olivia! These gals have hosted this a score of times over the last few years and it's exciting to see their continued knowledge of the genre!


I'm dropping in to fill out the tag because it's been a couple years since I last did, and I figured that I'd probably seen more western movies to increase my participation. Turns out I have seen...1 more western. I am clearly not doing this genre justice. This is not entirely for a lack of trying because for our last family movie night, I came up with eight (8) options, all of which were westerns, and my dad didn't like any of them and instead came up with his own choice. According to my calculations, I've seen about 39, so that should be sufficient to answer these 10 questions!


Cliff -- a tense cliffhanger: 

It's been YEARS since I watched it, but I remember everything falling apart and then ending in Dances with Wolves (1990). Good times. Definitely didn't scar me. *eye twitch*



Gulch -- a cool ambush scene: 

The Magnificent Seven (1960) is all about staging an ambush to protect a small town from the local outlaw oppressors.



Canyon -- a big gunfight: 

I remember being impressed with the gunfight scene in The Man From Laramie (1955), but I remember nothing else about it. Besides that it was maybe a one-on-one, so one couldn't call it a BIG gunfight.

The biggest gunfight I can think of is in Butch Cassidy and the Sundance Kid (1972). They also talk about the skill because "I'm better when I move."



Mountains -- high stakes: 

Back to the Future Part III (1990). It's high stakes because due to time travel one possible future is known and the characters are trying to prevent that. So all Marty has to do is stay out of trouble...but that's not really his strong suit as he hates to back down from a fight. What with knowing his character tendencies from the last two movies as well as possible futures, the stakes are as high as you can get.



Valley -- a beautiful romance: 

While it's probably a basic answer, I'll say The Man From Snowy River (1982). I love Jim Craig so of course Jessica, the daughter of Jim's boss, also fancies him.



Desert -- a suspenseful plot: 

The original True Grit (1969) claims this spot. Rooster Cogburn, Ranger La Boeuf, and Mattie Ross are trying to catch the man who killed Mattie's father. They're hot on the trail yet there's suspense of whether they'll catch him or if this is a wasted journey. And not to mention that final scene which throws all the more complications into the suspense.



Forest -- themes about renewal: 

The Big Trees (1952)? This is maybe not quite a western and I didn't really like it, but hey, it's what I've got. The film features a lumber company that is cutting down the trees that California is famous for and it is about the conflict of the people who live there and love the trees. If I recall correctly, there's some rhetoric about using the lumber for new things vs. how the new things will have no purpose if the land is destroyed. I'm not a Kirk Douglas fan though I did find it hilarious that someone named Douglas---like Douglas firs---was in a movie about trees. And it goes with the prompt "Forest."



River -- traveling to a new home: 

This is kind of lacking on the traveling part, but Ransom Stoddard is trying to set up a new life and a law practice in The Man Who Shot Liberty Valance (1962) and we see him arrive to town because that's right when everything starts going wrong. Those bothersome stage robbers...



Plains -- characters who are farmers: 

In Home on the Range (2004), the cows are trying to save the Pearl's dairy farm "Patch of Heaven." This was one of my favorite movies when I was little. We had this little mobile player that you could put DVDs in and my sisters would get tired of watching Home on the Range so I'd just watch it by myself on that tiny screen.



Mesa -- an animal central to the story: 

While the last answer also fit this category, I'm going to put my most recently watched Western here: The Rare Breed (1966). It features a lot of ranching, most prominently the sale of the adorable Vindicator. While ranchers are plotting and making deals they start to wonder which is feistier: Vindicator, or the mother-daughter duo who owns him.



Those are my answers! Make sure to check out the master posts HERE, HERE, and HERE for the links to all the other tag answers, giveaways, games, and more!

Thanks to Hamlette, Heidi, and Olivia for hosting this again! I love the challenge to try to watch more westerns and I hope to have a few more under my belt by the next time this roles around.

Thanks to all of you for reading! Have you seen any of these movies? What are some western suggestions for me? Does anyone here love the suspense of True Grit? Is anyone surprised that I mentioned not one or two but THREE Jimmy Stewart movies? Is there anything that you're better at if you move? 

Happy trails!

Chloe the MovieCritic

Monday, August 25, 2025

Inklings // July and August 2025

Hello, friends!

This post has twice the fun for Heidi's monthly Inklings because I'm posting my answers to the prompts for both July and August. I'm late for July because I was gone for most of the month, but as the prompt is one of my absolute favorite things, of course I want to be able to ramble about it. 

How it works:

1. At any time during the month, on your own blog post a scene from a book or film that matches the prompt, including a link back to Heidi's blog in your post.

2. Make sure to come back and leave a link to your entry in the box on that month's post.

HERE are my previous entries; this is one of my favorite link-ups!


July 2025 prompt: 

A sword dueling scene in book or film

Link to the other July entries HERE.

Sword duels are essential to swashbuckling films and I love swashbuckling to my CORE. I would say it's my favorite genre but I don't think I've watched enough to count. But I definitely count The Son of Monte Cristo (1940), which has all kinds of delicious dueling.

There are a couple of scenes here to fulfill the dueling requirement, so I'll just choose the first one, which starts with some formalities.

"Who are you?"

*brandishes sword* "My friend here will introduce me!"

"Don't worry, my father was the best swordsman in France!"

The sword fight even gets some action on the stairs (with someone rolling down them in style!). I can't find images from it, so you'll have to go enjoy the scene yourself. Which is very easy to do as this movie is in the public domain!

I started rewatching The Son of Monte Cristo just to watch the swashbuckling bits while writing up this post, but now of course I'm going to watch the rest of it. This used to be my 4th favorite movie of all time and I would say that I could watch it on repeat and never get tired of it. While it's not in my tippy top favorites anymore, I still adore this movie despite the rest of my family thinking I'm crazy. It just scratches a particular itch that I have when it comes to stories.

Now that I've watched it again I'm going to have to say it's back up into my tippy top favorites. It's dorky but it's dorky in my kind of way.


August 2025 prompt: 

A bread-making scene in book or film

Link to the other August entries HERE.

My choice is from the film Support Your Local Sheriff (1969). Prudy is one of my favorite characters and I relate to her based on how many unexpected situations she finds herself in. One of which completes this prompt. 


Let's just say it's full contact baking.


Which leads to fire...


...and frustration because why do these things keep happening to her??


Which is usually how my cooking turns out, too. Just now I'm sporting a cut from doing the dishes, so you can imagine what happens when I get close to the stove.

Me answering this prompt in this way has a second motive because Support Your Local Sheriff is my favorite western and currently Heidi, Olivia, and Rachel (Hamlette) are currently hosting Legends of Western Cinema Week! Go to any of these posts to join the fun: Along the Brandywine, Meanwhile in Rivendell..., and Hamlette's Soliloquy



What are movies that scratch an itch for you? What's an ingredient (such as a sword fight) that makes you love a story? How are you when it comes to baking (i.e. how much flour ends up in your face and hair)?

Thanks for reading!

Chloe the MovieCritic

Sunday, June 8, 2025

Movie Review: The Breakfast Club (1985)

"Don't you forget about me..."

We all have probably heard that song. Maybe some of us know the references from watching other films such as Pitch Perfect (2012), but I'd never actually watched the 1985 cult classic The Breakfast Club.

I wasn't a complete stranger to it, though. Even without knowing names, from the first few minutes into the film I recognized "the guy in the trench coat."

Now I know the names of all the characters. I still don't understand why it's called The Breakfast Club, but I have more thoughts to contribute. With that, enjoy my spoiler-free review of John Hughes's hit film:

The Breakfast Club (1985):

Premise: Five kids are stuck in detention for all of a Saturday. They're all from different school cliques and at first have nothing nice to say to each other. As the tensions of being stuck in the same room with each other escalate, it makes them each question who they really are.

Genres: Coming-of-age, drama.

Length: approx. 97 minutes.

"I'm in a math club." Look at him count!

Age Range: This is rated R, so not advised for under 17 without an adult. It is a movie about teens for teens, but that does come with a little baggage. There is a lot of language including intense swearing and name calling. Teen smoking. Bullying both verbally and references to physical bullying with a discussion of hazing. There are quite a few inappropriate comments about people and their bodies as well an invasion of personal space. Dialogue with suggestive sexual undertones as well as several discussions of whether these teens have or have not done these things. Additionally there are darker subjects such as allusions to domestic violence and attempted suicide.

Crew: Directed and Written by: John Hughes. Produced by: John Hughes and Ned Tanen. Cinematography by: Thomas Del Ruth. Music by: Keith Forsey.

Starring: Anthony Michael Hall, Emilio Estevez, Molly Ringwald, Ally Sheedy, Judd Nelson, Paul Gleason, and John Kapelos.

While all of the five actors playing the roles of the high schoolers were known as part of the "Brat Pack"---the name for a group of young actors who tended to appear in the same films together, playing off of the idea of the 1960s Rat Pack---this movie also possibly sets the stage for casting non-teens to play teenagers. Of the five students, only Molly Ringwald was under 20.

General thoughts:

I am not known as a lover of 80s movies. In fact, I usually stay as far away from that decade as I can (though as I've seen a wider range of films I now consider the 70s to be the worst decades of movies made). With this knowledge of my least favorite decades, years ago my younger sister told me that I wouldn't like The Breakfast Club. I figured she was probably correct, but as it is on the 1001 Movies You Must See Before You Die list, I thought I should check it out. It was the 100th on that list for me to see, so approx. 1/10 of the way there I feel like I'm finally making progress!

Back to this film from 1985, was my sister correct in her prediction? 

"When you grow up your heart dies." Way to shoot an arrow to my heart.

I really like the premise of bringing people together from different groups and having them interact with people they would never choose to. I think that is a very human story and makes us rethink the walls we put up in our own life. At the same time, the execution of that idea is not my favorite here. Maybe that makes it time to admit that I was baffled through most of this film for the way the characters treat each other due to how I never went to a public school. Are high schoolers really this cruel to each other? Does an eight-hour session of detention on a Saturday really exist?

I see this as is a precursor to other stories such as The View From Saturday - by E.L. Konigsburg and Lemonade Mouth (2011), where kids from different school cliques join forces through detention or competition and realize that they are more than the barriers dividing them. The difference with The Breakfast Club (1985) is that all of the film takes place in one day. Brian asks the others what is going to happen to them on Monday, and while dialogue and actions tell some possibilities, we as the audience don't know. It's let up to our imagination. There was the possibility of a sequel for a long time, but that never got fully developed.

I'm left with a few questions. Why was Claire in detention? My web searches for the answer to this question is that it is because she skipped school, but I don't remember that being mentioned anywhere. Then again, while I did watch this movie within the last week, I watched it over a few days in 20 or 40 minute pieces, so I could've lost some of the continuity.

As far as other continuity, I like the way that it tried to show us eight hours in under 100 minutes, but there were a few times it felt a little off to me. There was a bit jump from learning about Bender's life to roaming the halls that did not flow and I would've like to see how Bender convinced the others to do that.

While I was not around in 1985, this film dates itself in a few ways. One being the ending, which is portrayed as being a good one, but I did not think it was the right one. While the characters developed and relationships grew, I don't think it had earned where it went. I did not understand the dynamics between a few of the characters, especially how one was nothing but cruel to another and never apologized yet we the audience are supposed to be rooting for the two of them to come to an understanding? I'm all for connection between these characters, but I think kindness is key to be displayed sometime throughout the eight hours and one day is not enough to grow close the in way the film forced them to be. 

Are they in school or jail? Is there a difference?

There was another reason that I did not love the ending. Ideally, part of characters finding the similarities between each other is where they come to realize that the differences are important, too. Here, it feels like the differences between "us weirdos" was kind of erased? For no real reason? I'm more than a little grumpy about this.

Another way that it is dated to the 80s is in terms of content, and in particular I felt it was typical that while three of the characters really pressed about details of their personal and intimate lives, the other two never were under this same pressure. That unfortunately played into stereotypes instead of challenging them. Not that needed to know, I just think it unfair of how these characters were treated as opposed to Andrew and Bender. 

"Didn't we already talk about this?" I was thinking the same thing.

With all of this, I didn't dislike it either. One of the dancing scenes made me ridiculously happy. The montage of what it was like being bored was peak comedy. While I didn't love some of the cinematographic choices for invading a person's personal space, for the most part the camera angles didn't strike me as being anything special. That is until a scene where Andrew is talking about his relationship with his dad. The camera moves around him, behind the heads of the other teens, ducking behind walls, but the focus is always on Andrew and doesn't change until he's done. It was a very effective way to capture his feelings with the breaks in the viewer seeing him almost working along with his breathing.

My absolute favorite part of the movie was a scene between Andrew and Allison where he asks her what's going on. There is such a softness and gentleness to this gesture and I loved the demonstration that persisting in asking a simple question means that someone is listening to you. 

I also am not ashamed to admit that I cried while watching this film. Not in the part that people usually do I suspect, but when my favorite character cried. How dare you hurt his poor feelings!

I'm glad I watched this movie. It had depth. It feels like an ode to the struggles some high schoolers face, and I appreciate that. So to reassure what the band Simple Minds is singing about, no, I won't be forgetting about it any time soon. With that, I think the message of this movie was accomplished.

"Don't you forget about me // Don't, don't, don't, don't // Don't you forget about me"



This is my entry in the blogathon hosted by Hamlette (of Hamlette's Soliloquy) and Quiggy (of Midnite Drive-In), which is the Back to 1985 Blogathon! Make sure to check out HERE and HERE for a roster of all of the entries celebrating the films of 1985.

Thanks to both Hamlette and Quiggy for hosting!

How accurate is this movie to your high school experience? What are other stories of people from different backgrounds getting together that you enjoy? Do you have a favorite character from this movie? Does anyone know why it's called The Breakfast Club? I understand the club part and when the title is said, but it seemed non sequitur to me. However, most of my own thoughts probably seem non sequitur to others, so maybe this movie and I are well matched!

Thanks for reading, friends! 

Chloe the MovieCritic

Monday, February 10, 2025

"I don't need your love, all I need is SIX" // 6 Technical Reasons I Love SIX

Hi, friends!

One of my biggest obsessions from last year was not covered in my posts about favorite books or favorite movies because it didn't fit in either of those categories. Instead, it's a musical.

I've previously talked about it in the form of gushing, but today I wanted to answer this question: why am I so in awe of this show? The whole reason I critique stories is to explore what makes a story speak to a person and how we can learn from past art to continue making amazing stories in the future. Therefore, this list is to observe how the technical and structural aspects of this musical help to make the powerful story shine all the brighter. 

Along the way enjoy some fantastic fan art I found on Pinterest.

Because this is a historically based story, then there aren't spoilers if you know English history. In this post I will be going over the way the songs are set up, not talking about the story itself so even if you haven't seen the musical yourself, if you read this post you will be free to enjoy the musical for yourself with surprises still intact!

If you haven't seen the show, here's the basic idea:

Premise:

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"The one who was dealt the worst hand will be leader of the band."

This short musical is in a pop concert setting where the six divas who were the wives of King Henry VIII have come to tell their tragic stories. The consolation prize? Whoever was most unjustly treated by Henry will get to lead the girl group. Ready, set, SING.

Songs: "Ex-Wives", "No Way", "Don't Lose Ur Head", "Heart of Stone", "Haus of Holbein", "Get Down", "All You Wanna Do", "I Don't Need Your Love", and "SIX" 

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 #1: Branding

This show knows what it is and perfectly communicates it to its audience. You might've heard of a dance-off, but this is a sing-off. The opening slogan gives each character an identity that they will be backing up for the rest of the show.

"Divorced, beheaded, died. Divorced, beheaded, survived."

Each of the queens get a different color for their outfits and their own style within the punk/rock + renaissance inspired costumes. Right when the movie Wicked came out I saw the Six promotional team playing with the idea of "pink and green going well together", which in this case, is Anne Bolyen and Katherine Howard, the two beheaded queens. Who knew it was going to work out so well.

Then, of course, is the musical influences themselves. Each character gets two pop stars who their songs and styles are based off of. This isn't a secret but fully part of the branding! And it WORKS. So well. This gives them the chance to play it up, too. For example, when Beyoncé's album "Cowboy Carter" came out I saw several pictures of Catherine of Aragon wearing a cowboy hat during the show, because Beyoncé and Shakira are her influences. It's an ode to those pop stars while also having the freedom to write a whole new remix, which is what this show is all about.

If anything is the epitome of my aesthetic it's this show.


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#2: Rhyme schemes

This show is a whole masterclass in how to use rhymes. Sometimes rhymes can feel confining and the word choices can fall flat because it doesn't add to the story at all. Here, however, the rhymes pack punches and contribute to the story. Part of this is because it is a story with limitations for what happened historically, and can't go just anywhere. But the writers were not daunted by this, but embraced it.

"My name is Catherine of Aragon // Was married twenty-four years, I'm a paragon // Of royalty, my loyalty is to the Vatican // So if you try to dump me // You won't try that again"

"Aragon" + "paragon"? "Vatican" + "that again"? GENIUS. Catherine of Aragon is just on fire because she also rhymes "funny" with "nunnery."

"Grew up in the French court // Oui, oui bonjour // Life was a chore..."

I know many people who have bragging rights to rapping Hamilton lyrics off the top of their head, but my goal is to be able to sing "Don't Lose Ur Head" because it is so snappy with the rhymes. When I saw it, I had also just figured out "prêt a mange" meant just in time for Anne to sing those words.

"Sittin’ here all alone, on a throne // In a palace that I happen to own // Bring me some pheasant, keep it on the bone"

Also, Anna of Cleves rhyming "castle" with "rascal" is iconic.

Part of how this works so well is that it's not just the last words of each line but many inner rhymes pilling up that as a listener you don't know what's hit you. Catherine Parr churns out a "true"/"you"/"new" rhyme while also filling in the difference with "toy"/"enjoy". 


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#3: Not saying things

I don't know if this is a good thing or a bad thing but I certainly am wowed by it. This is part of the set-up that happens so many times in the show I thought it was worth examining.

This show has some hard topics including illicit affairs and abuse and while it does want to tackle these subject, it also maintains the light-hearted nature of the show.


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I've been cackling ever since I found this.

It's not just me who has noticed this! My theology professor last semester used "All You Wanna Do" as an example of powerful double entendres. For that song specifically, while towards the end of the song there are some more direct lines about what is going on, a lot of the subtleties have been told through choreography.

But this goes beyond subject matter into the very words that are song. In "No Way" "SHHH" is rhymed with the same sound but meaning different things. Or words are stretched like K. Howard's "Outside of wed----lock up your husbands..."

"Don't Lose Ur Head" is the most that doesn't use this because it rhymes "excommunicated" with "X-rated" (though the show itself is only about PG-13). And "somebody hang you" with another insult.

But that's the thing, it's about showing who was the worst treated and some of them are more angry about it than others. I mean, their ways of expressing themselves are different.

Anna of Cleves is also not as censored because she doesn't have a reason to be because she's the queen of the castle. Unless it's rhyming "pic" but then K. Howard cuts her off with "prick".

It's very tongue-in-check and I'm impressed is all I can say.


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#4: Streamlined

There are no extra characters, not even Henry himself. Just the six queens. And that's all the show needs because they own the stage. Each of the characters are so unique and while they have similarities, they are themselves. For example, there are parallels between the two Beheaded queens (why they were beheaded) but they have different motivations.

Sometimes a musical's ensemble can aid to tell the story but sometimes for me it can feel too full of people and I want a closer look at each of the main characters without other distractions. 

Here, the main characters ARE the ensemble. They don't just sit around waiting for each queen to perform but helpfully back them up. But it also changes for each person's style! Anne Boleyn has lots of interaction with the other characters because she's a social butterfly ("Uh-oh." // "Here we go.") while Jane Seymour's song is more ballad-esque, so she gets her spotlight in a different way.

The characters who aren't telling their story do so much. Like the choreography I talked about in "All You Wanna Do." But they also add in stingers in other places. One-liners such as "Daughters are so easy to forget."

I love the layering in "I Don't Need Your Love." I can't talk about it or else I'll flip out, but it is GLORIOUS. It's six women singing the same words on again and again and it is so powerful in its simplicity.


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#5: Combining the eras

This show has such a unique blend of eras. While the set up is a very modern idea of a pop concert complete with flashing lights, it has roots in the historical period itself which is matched with the lyrics. This is again thanks to the wonders of rhyming and really shows through how it uses those as resources not limits.

There is a whole part with a dating app and profile pictures instead of portraits. Lots of modern slang and lingo in Anne Boleyn's song making it so fun and clever.

I think the best way for me to show this is just through the lyrics themselves:

"All you ever hear and read about // Is our ex and the way it ended // But a pair doesn't beat a royal flush // You're gonna find out how we got unfriended"

... 

"Every Tudor Rose has its thorns // And you're gonna hear 'em live in consort"

...

"Dancing to the beat till the break of day, once // We're done, we'll start again like it's the Renaissance"

...

"So you read a Bible verse that I'm cursed // 'Cause I was your brother's wife // You say it's a pity 'cause, quoting Leviticus // I'll end up kiddy-less all my life"

Guys, in my theology class last semester when we were going through Leviticus I got positively GIDDY when I came across the verse that this line is referring too. Sorry, just things that tickle a theology minor.

Anna of Cleves is unstoppable with combing jams on the lute, looking rad, Lutheranism, and reformation.

In addition to the back and forth from the past to the present through the lyrics, the music itself speaks to the different time periods. I'm no music expert but it sounds like there's some harpsichord? There's also cute and peppy strumming? I've lost the ability to talk and process it, so you should just listen to it yourself to know what I'm talking about.


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#6: Counting:

Technically this could be in branding but this is its own category because I'm a math major and numbers are my obsession. So this maybe partially explains why I love it so much.

"I think we can all agree I'm the 10 amongst these 3s."

Because the title is a number, numbers are a big part of this show. Especially in the song "Six" which counts but in a fun phonetic way, so the words themselves don't have to be numbers but just sound like numbers. That's artistry.

One song that I haven't talked about here yet is "Haus of Holbien" (which is so sarcastic and teasing). It fits this category because of the play on words, play on numbers, and play on language. Mixing German and math is very cool. This comes out in the form of rhyming "nine" with "nein" and "vier" with "fear."

Basically, you put numbers in things and I'm happy. So if the whole musical is named Six, I'm very very very happy.


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Those are all the technical/structural aspects that I've observed that are stunning to me. But as for the story itself it also has creativity, heart (both of stone and not), inspiration, power, and gives voices to those who don't have one. It is a tale of resistance and reshaping narratives and taking a vulnerable look at what life was like long ago. That's a whole post for another day.

To wrap up, this musical is snarky, a bit campy, playful, and totally my vibe.


This is my first entry into Hamlette's We Love Musicals Week! Thank you Hamlette for hosting and giving me an excuse to talk about this! 

She's got a tag and a giveaway and there are lot of other fun posts, so go check it out!


Thanks for reading! Does anyone else know this musical? A filmed stage version is coming out April 6th (get it? the sixth?) so I'm very excited to see that! What are some of the technical/structural aspects of stories that stick out to you? How do you feel about rhymes? 

Now that you've "Heard all about these rocking chicks" I hope you'll love "every song and each remix!"

Chloe the MovieCritic

Tuesday, February 20, 2024

Various Family Dynamics // Lemony Snicket’s centrality of siblings in stories

Hello readers! 

via GIPHY

It is the month of talking about what we love. That's what I do every month on this blog, but this has a special focus for talking about the people we love, not just stories. Therefore I'm going to talk about siblings.

As someone with siblings (note, plural), stories that represent that bond are important to me. And often it feels like character either don't have siblings or act around them in a way that is foreign to me. 

There is, however, a storyteller who absolutely nails talking about various family dynamics, especially siblings: Lemony Snicket.

His most famous work is A Series of Unfortunate Events, which doesn't sound promising for families. In fact, "It will wreck your evening, your whole life, and your day." On the surface it is a series about three orphans who are plagued by terrible events. But at its core, it is a series about trials and triumphs of three siblings trying to figure out the world.

I've come to view Lemony Snicket as writing some of the most realistic siblings I've ever read and related to. And I'm going to tell you why.


Note: This is about two series in the same universe for Lemony Snicket: A Series of Unfortunate Events and All the Wrong Questions. I'm going to talk about the relationships between the characters, but will avoid the plot details, so this is spoiler-free. I've written reviews for the first two books in A Series of Unfortunate Events, so you can read book 1 HERE and book 2 HERE.


Let's get started!

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First, I'm going to say that I didn't always think the best of Lemony Snicket's works. In fact, at first I thought "no siblings act like that". That was before I realized that he was portraying some ideal siblings and didn't recognize the special traits he gave each. But not all of this is joy (hello, none of it is joy. It's Lemony Snicket we're talking about). Snicket has a range that I'll talk about today and how that only strengthens the contrasting siblings. I'll give a few examples though I had to cut myself off from talking about EVERY sibling group because or else we'd be here all day.


A Favorite:

The Baudelaires: A Series of Unfortunate Events 


Key characteristic(s):
Defense of each other and using each other's strengths.

The three marvelous and brave children are Violet, Klaus, and Sunny. Each of the children is very defined by their skills (inventing, reading, or biting respectively) and the first thing that comes to my mind when I think of them is how they make the most of their bad situations by using their strengths. Klaus is always suggesting materials that Violet can use to invent things, Violet is always asking Klaus about subjects he might have researched, and the two of them are always making sure Sunny is comfortable and has something to bite. And not just, oh, amuse the baby. They truly include her. This support of each other speaks volumes because they don't look down at each other's interests, but rejoice in them being different and able to lend themselves to the situation from different perspectives.

'[Talking about a picked lock]  "Nice girls shouldn't know how to do that sort of thing"

"My sister is a nice girl and she knows how to do all sorts of things."'

- The Reptile Room 

Secondly, even though the whole world is against them, they have each other's backs. Besides already suffering from so many misfortunes, people always judge the Baudelaires for being orphans, for being intelligent, for anything. In the midst of condescension they always celebrate each other's victories and don't let each person be too hard on themselves.

They are also realistic and always make me laugh when one of the adults say "when I was your age" and they say, "but we're all different ages". That's how I always feel, too.

Even though there is such a big age gap, going back to Sunny, the way that Violet and Klaus understand her is so remarkable to me. They go to lengths to listen to her, even though she doesn't speak in real words. They always convey her feelings to the adults with "what my sister is trying to say...". These are brilliant children and part of that is that they treat each other like they are capable to do what needs to happen.

It's been awhile since I read the books ( I mean, 2021 wasn't THAT long ago. But still. My mind is full with too many things) so this might be wrong but I remember the end of The Reptile Room being all about the Baudelaires saying at least we've got each other in the middle of this miserable time. And that's the best things about siblings. So don't fight each other, support each other, and don't let go.

“I think we'll always miss our parents. But I think we can miss them without being miserable all the time. After all, they wouldn't want us to be miserable.” 

- The Reptile Room 

And in The Wide Window?? How they are rearranging their gifts to make everyone happy even though that leaves Klaus the least happy. They are selfless when it comes to each other. And I've written about how Klaus is my darling, but the other two equally are! Which is why, in The Miserable Mill, they knew something was wrong. Other siblings who didn't know each other so thoroughly would be thrown off, but they stepped outside of their comfort zones to help each other. They know their strengths and when to imitate each other.

Source
Fan art is my FAVORITE.



As Opposed to:

The Poes: A Series of Unfortunate Events 

Key characteristic: Selfishness.

Edgar and Albert are characters who only get a fraction of a chapter in the first ASoUE book, as opposed to siblings who get more "screen time", but I'm going to talk about them because they set an important standard to help us get to know the Baudelaires better.

In the midst of grief, the Baudelaires have to stay with the Poes. And Edgar and Albert are quite horrible. They complain about having to share with three children who lost everything in the world. I don't remember everything they say because it is not worth remembering, but it shows us a place of sneering and selfishness that contrasts the comfort the Baudelaires give each other.

via GIPHY



A Favorite:

The Quagmires: A Series of Unfortunate Events 

Source
Everything I said about fan art still holds up because this is glorious.

Key characteristic: Unbreakable bonds. 

I've seen things before that says there's a word for orphan, but no word for losing a child because there isn't a way to express that pain. Same for losing a sibling. The word that adults try to use is "twin", but that's completely wrong. Duncan and Isadora refuse to be called twins, and instead always refer to themselves as "triplets", because that's what they are, whether or not Quigley is there he won't be forgotten. This is a dark introduction to the Quagmires, but shows that they are not their name: they do not "give way underfoot" (the definition I looked up for "quagmire" in the New Oxford American Dictionary. I've lauded Lemony Snicket before about his naming skills.). Isadora and Duncan stand in Quigley's memory.

I love that Duncan and Isadora's strengths are so similar and yet so different. They both like to write, but Duncan is the journalist and Isadora is the poet. 

As rare as it is to see siblings in fiction, I feel like it is rarer still to see groups of siblings who are completely friends with each other. The Quagmires and Baudelaires carry how they interact with their own brother and sisters into their friendship with each other. It's beautiful in such an austere place.

The way they even sit to leave room for Quigley? *cries*

I keep accidentally calling Duncan "Dylan" due to him being played by Dylan Kingwell. I just need to say their name in the opposite order, Isadora and Duncan...



A Favorite:

The Snickets: A Series of Unfortunate Events and All the Wrong Questions

Key characteristic: Fighting for justice.

"...Snicket?" those of you who are unfamiliar with this series might say. "As in Lemony Snicket? The author?" Absolutely.

via GIPHY

This is what sets the tone for these books, Lemony's narration and hints at his life being connected to all of this.

If you read ASoUE and thought, "but I want to know more about Lemony!", then All the Wrong Questions is the series for you. He is literally the main character in addition to the narrator. Does this answer questions about his family and upbringing? Not really. But the hints make me scream and shriek and everything. One of my favorite parts is the code phrase: "Give my regards to Jacques." which Lemony explains to mean one thing...and then also what it says. 

I think there are only one or two times that we see two of the Snickets interact, there is still such a strong bond between these siblings. They all lead such busy lives in their fight for justice and truth and being well read. Being on the run does not give time for family, but they don't forget each other. One tells the tales of woe of the others. A moment in book 7 nearly made me cry the last time because it is one of those sibling connections where the two characters aren't on the page at the same time, but are unbreakably together all the same.

Even though AtWQ does its best to not answer questions, you get little glimpses into Lemony's life because he'll remember waiting at a bus stop and playing Beethoven with his brother. And yes, I agree with his sister, it's inane, but it's also SO STINKING FUN. I love the phone calls, that however short they are, it is Lemony reaching out for comfort. I just realized that I've always assumed that Lemony is the middle child for some reason, but now I'm starting to think that maybe he's the youngest? He might be too elusive to ever say.

“I looked out the window at the dark and racing scenery and I thought of the city, where the train would eventually arrive. I hadn’t seen the city since my apprenticeship began, and for a moment I felt so homesick I had to stop and lean my head against the glass. Dear Kit, I thought. And then I said it out loud.

'I wish you were here.'"

- Why Is This Night Different From All Other Nights? 



As Opposed to:

The Denouements: A Series of Unfortunate Events 


Key characteristic: Conflicting causes.

I LOVE the juxtaposition of the Denouements against the Snickets. The Snickets are all for fighting for the same cause no matter what the price and bearing that heavy burden together, while the Denouements are on different sides and use being identical to keep up the facade. Here it's something that is accepted and fought against at the same time, but you don't really see Frank and Ernest interacting, besides supposedly (aka seen through a telescope) arguing.

And that's reality. Sometimes you aren't on the same side as your siblings. "The schism has turned many siblings into enemies." Sometimes siblings can do terrible things, things that aren't noble. That doesn't mean that you don't love them, but love looks different.

A different set of siblings looks at loyalty despite morals, so Snicket covers a wide range for how families interact.

The whole question of "Are you Frank or Ernest?" is quite poignant.

I'm 100% sure in the show that the "give my regards to" line was inspired by All the Wrong Questions. And even though I hadn't read AtWQ at that point, I flipped out for completely different reasons. It was fabulous.



A Favorite:

The Bellerophons: All the Wrong Questions

Key characteristic: Teamwork

Because I couldn't just mention All the Wrong Questions once because I'm still not sure which series I like better.

The Bellerophons are the sole transportation in Stain'd-by-the-Sea, though neither of them are old enough to be driving a taxi. Their dad, the official driver, is incapable at the moment, so they use what they have: each other. I believe Squeak operates the gas and breaks while Pip steers. They will give you a ride for free if you give them a tip on what to read next. It's not an ideal childhood, working, but they do it with each other. They are champions of the world.

“It's hard when you're missing your family," Pip said, and started the motor. " You wake up every morning like someone took one of your legs.” 

- Shouldn't You Be in School? 




There are more siblings in Lemony Snicket's works, but this list is four of my favorites with two to contrast. My huge theory is that Zada and Zora in All the Wrong Questions are the two White-Faecd Women, but that's a conversation for another day. All together, Lemony Snicket writes about mourning and grief, but also how we shouldn't let go of our siblings because with them we can get through anything.


This is my entry for Hameltte's We Love Siblings Week! There are games and a giveaway and all kinds of fun things, so go check all the other posts out!



Do any of you have siblings? Does anyone else know Lemony Snicket? If you do, then I hope you enjoyed all the references I stuck in there because it was so fun to create! I haven't seen the movie version, only the series and read the books, so does anyone know if the movie represents siblings like this?

Which of the Baudelaires do you feel most like? Which Quagmire? In fact, which of any of these siblings are you most like? How do you act around your siblings?


Thanks for reading!

Chloe the MovieCritic
"If you want a happy ending, that depends, of course, where you stop your story." -Orson Welles