The Queens Gambit
When I watched The Queen’s Gambit, I felt inspired by the beauty of the show. A month after I first binged my way through it, I decided to channel this inspiration into some research. This document is an account of what I found through this research, alongside some of my own opinions about the show.
Anya Taylor-Joy is an extremely talented actor, but it was the use of wardrobe and setting that really caught my attention. Beth Harmon (played by Taylor-Joy) is a calm and detached character, and this is reflected in her expression. She feels most like herself on a chessboard. It is where her mind works best, and is a place of comfort. This is represented in the geometry and structured patterns in her personal style. This is shown in the first dress she falls for, or when she tears down the curtain in her house, to redecorate in her own style. It is small details like these that I adored about The Queen’s Gambit.
Composition
The Queen’s Gambit revolved around Beth Harmon, from a young age at Methuen House, to being adopted by Alma and moving to a suburban home, onwards through her developing chess career. Throughout this, the story is seen from her point of view. According to an article in Vulture, cinematographer Steven Meilzer showed her perspective by frequently using Beth’s head in the foreground, inspired by Jonathan Glazer’s 'Birth'. A shot was first shown with her head in the foreground, before closing up on her.
Objects and locations were also used as “emotional walls”. For example, Beth’s emotional wall was the staircase, while Alma’s was her piano. Early on in their relationship, they are shown with these very physical divides between them.
Chess
In the show the chess board plays a crucial role. It is the centre of Beth’s world. However, it is difficult to demonstrate the intensity of a chess game with this alone. The biopic ‘Pawn Sacrifice’ suggested that the chess board didn’t always have to be on show during a match. This resulted in much of the game being portrayed by the characters, in their facial expressions. This was assisted particularly well by the performance of Anya, and her expressive face, and the result are fierce at times.
Interiors
Home
There is a contrast between Beth and her adoptive mother, which is demonstrated clearly in their respective styles. Beth’s style is very modern and geometric. She utilises flat colour, and is fashion conscious, aware of what styles work. Her mother, Alma, however, prefers very kitsch, stuffy styles. The contrast is clear when Beth moves in, and looks at the many many animal pictures around the house. This is mirrored later, when she redecorates the place, and can be seen boxing these animal pictures up. Similarly Alma likes a bold and fluffy floral, as shown in the explosion of wallpaper and bedding in her room. Again, this is not to Beth’s taste, shown when she tears the lace above her bed, so as to see the plain ceiling, which is her canvas for the chessboard in her mind’s eye.
Insider explains that the extremity of mid-century modern patterns and fabrics in the Wheatley’s home is intended to show the troubles of Almas life, as if she is overcompensating in attempt to portray a sense of happiness. The production designer, Hanisch, explains that it was intended to portray a “facade of a happy home”, inspired by things she’s seen in catalogues. Beth's bedroom dotes a similar style, intended to create a visual barrier between the pair. It was described by Hanisch as the shows strongest use of set design for storytelling. It shows Alma’s desire for a young daughter, and was intended to show her attempt at creating a ‘girly’ room. The explosion of pastel pink, and the textures and patterns around her room were intended to create a sense of Beth being trapped: “she’s like a super smart animal caged inside a powdery marshmallow box”. What’s more is that her bright red hair clashes with the decor, much like her and Alma’s personalities.
The contrasts between Alma and Beths tastes are evident from the start, regarding both fashion and lifestyle, with Alma being disproving of Beth’s lack of interest in ‘normal’ social activities. However, this only makes their relationship ever more endearing. Despite the two coming from entirely different backgrounds and differing world views, they grow to be the most important person to one another.
In Beth’s remodelling of the house, she uses colours and styles similar to those used by Alma, but with more geometric patterns, and a minimalistic tone. The pastel blues and pinks, similar to those worn by Alma, create a soft backdrop, and are tied together by teal features. Furthermore, they conserve the mid-century modern style.
Methuen house
Before getting adopted, Beth grows up in the orphanage, Methuen House. The colour scheme at the orphanage revolved around a petrol blue, with these scenes filmed at a castle on the outskirts of Berlin. Insider explains how CGI was used in parts, to gain the desired feel, so that it had a less medieval style. This was shown clearly in the tower, which is changed to appear more alike the rest of the building’s facade.
Hotels
In Beth’s many travels, she moves from hotel room to hotel room, with each one capturing an essence of the city within which it was set. Since the filming was done largely in Berlin, Hanisch and Schaaf had to be more creative about showing the 60s on a global scale, through the lens. They opted to show the biggest cliche of each city. Hanisch described the deliberation behind this, explaining how the colour schemes of each one differed so as to create the contrast (4). The Las Vegas room, for example, uses turquoise and gold, with large patterns, such as the dice on the mirror, intended to feel “gaudy”. Comparatively, the Paris room was intended to “play as French and pompous as possible”. Lots of gold trimmings adorn the room, with much more detail and intention than in the Las Vegas room. This is paired with expensive looking patterns and textures.
There are special references to art throughout The Queen's Gambit, with even the paintings having thought behind them. Hidden in the luxurious hotel room in which Beth stays in Paris, is a painting of the female form, says The New Yorker. Hanisch explains that the paintings were intended to “give her to company of other strong women”. It is a comforting thought, that while Beth is in an extremely male environment, navigating her way through it largely on her own, that she has these empowering figures hidden on the walls, almost as if they are keeping her company.
Russia
At the end of the series Beth makes it to the tournament in Russia, where she plays the Grandmaster. In the scenes of these tournaments, Berlin’s City Hall was transformed into a Temple of Chess. The building itself consisted of 62 feet of floor to ceiling marble. According to Insider, the intention was to give the viewer a sense that they were watching a chess match through a chess match, with the onlookers on tiered seating, and a monochromatic pallet. With Beth at the centre of it all, it gives a sense that she is in total control.
Furthermore, The New Yorker explains how the importance of the hall in Moscow was to show the importance that chess held here. It positions Beth, not only at centre of this room, with the audience looking down at her, but also in the centre of the capital of Chess. Even the chess pieces were carefully selected to show the exclusivity of this tournament. Her red hair and striking complexion are particularly noticeable here, creating a huge contrast between her and every other player in the room. Successfully, this gives the impression that the eyes of the world are on her in that moment. This intimidation, and her response to it, demonstrates the extent of her growth as a character.
Clothes
Throughout The Queen’s Gambit, Beth’s wardrobe plays a crucial role in showing her personal growth. Right from the beginning, it represents her position and the control she has in her life. This is outlined well by the moment when she arrives at Methuen House and has to give up her dress, embroidered with her name, in exchange for a monotonous uniform. This strips her of her individuality, by literally removing her from her name.
A large aspect of her character is her battle for control. It is a large part of her attachment to chess, and within the constraints of the 8x8 grid she feels comfortable. As the series progresses her control resides in other things, such as alcohol, and particularly her wardrobe. As a child she is restricted to her uniform, and even in episode two she is dressed in ‘unfashionable’ dresses by Alma. This changes after her first tournament win, with her buying a plaid dress that takes her fancy, and from that moment on, she regains her identity with a style that defines her. As she improves at chess, her style becomes more her own. As if the more she plays, the more she gains her own identity and regains control. An article from Vogue points out that the fabrics Beth chooses are all very simple and geometric, with lots of linear patterns and checks. This was a deliberate decision to reflect the chess board. Every piece is beautiful and elegant, and put together with a thoughtful eye. While this demonstrates Beth’s interest in fashion, this thought is credited to Gabriele Binder, the show's costume designer.
The final scene shows Beth in total control. Having defeated the previous Grandmaster, she walks through a park in Moscow. She is wearing a tailored white outfit, including a long white coat and a white beret, an outfit that very clearly resembles the chess queen piece, intended to show her dominance and control over the world of chess.
People of significance:
Scott Frank, Director
Steven Meizler, Cinematographer
Uli Hanisch, Production designer
Sabine Shaaf, Set designer
Gabriele Binder, Costume designer
All images used are screenshots from The Queens Gambit, Netflix, and have been sourced online.