It often takes me a long time to get around to watching series of any kind, generally not until long after anyone else is still talking about them. Having watched a few adaptations in the past couple years, of one degree of faithfulness or another, of Joseph Sheridan Le Fanu's novel, I'd been itching to watch this web series of which I'd heard so much at one time or another. I can only say that the wait was more than worth it, because 'Carmilla' is an absolute joy!
It definitely shines through that so much hard work went into making the series, and I can only salute all involved for their efforts that paid off so handsomely. Though it's surely not the only point of comparison (I'd be the last to know - again, hardly a fierce devourer of series), I recognize distinct kinship to the 2012-2013 modern 'Pride and prejudice' adaptation, 'The Lizzie Bennet Diaries.' Building the production on a shoestring budget meant a single camera, minimal equipment generally, and mostly fixed settings that changed only from one season to the next, and storytelling proceeded mostly by way of telling and not showing. It works very well, however, as creator Jordan Hall and occasional co-writers Tamara Moulin and Ellen Simpson show sharp intelligence and wit to let the characters and dialogue speak for themselves. That 'Carmilla' is a tad action-oriented at times, and increasingly so in the second and third seasons, rather reflects the genre underpinnings of the narrative, and also how this series is arguably slightly more sophisticated in some ways than comparable works of the Internet Age.
It can't overstated how critical Hall, Moulin, and Simpson's keen minds were to reimaging a story first published 140 years prior; so many details had to be changed to make the plot more concise, and sensible to modern viewers - which in this case also meant adding elements and shifting the focus, even as the bare essence of the leads' interactions remains the core. Moreover, twisting the construct such that the narrative and scene writing are even more reliant on characters and dialogue required some major ingenuity, not to mention the perfect cast. Casting director Marsha Chesley knocked one out of the park, though, because everyone assembled for the series is simply terrific in embodying their roles, and I could hardly imagine anyone else in their place. Each role is written with brilliant personality and gratifying complexity, and the ensemble bring them to life with spirited, capable, and earnest range, nuance, and physicality. Sharon Belle, K Alexander, Annie M. Briggs, Sophia Walker, Ian D. Clark, and others among the supporting cast are altogether splendid, each having an opportunity to shine at one point or another and aptly demonstrating their skills. Of course, more than anyone else, Elise Bauman and Natasha Negovanlis are stupendous as series leads Laura and Carmilla. The pair have wonderful chemistry together, and the strength of their charm and performances alone goes very far in carrying the day across all three seasons. True of everyone here, I hope that Bauman and Negovanlis in particular have many more and bigger things to come to them, because they deserve it.
The story itself is a smart blend of romance, mystery, supernatural horror, and adventure, all (more or less) within a college setting, with further genre elements dancing on the edges and touches of comedy for flavor. In all the years since Le Fanu's work was published the lesbian overtones of 'Carmilla' have been accentuated, and are centered here with Laura and Carmilla as the plot delves into territory recalling 'Buffy the vampire slayer.' With all this in mind, each episode is a mixture of substantial character moments, dialogue of varying intensity, and occasional instances of solid action as the saga demands; the writers do a fantastic job of keeping it fresh at all times. Through it all director Spencer Maybee illustrates a keen eye and superb mindfulness in orchestrating each shot and scene, and I can only be impressed with what was pulled together for a series of such limited means and specific intent. Even within such a scope, 'Carmilla' very ably evokes feelings of tension, suspense, or genuine chills - but is also in turn joyfully heartfelt, with clever humor and scenes of romance earning laughs and cheers, and significant emotional weight. And the contributions of those behind the scenes are just as dandy - immaculate hair and makeup work, eye-catching costume design, great filming locations and set decoration, marvelous editing, and seamless post-production visual effects.
If there are any weaknesses to detract from the viewing experience, they are ultimately quite minor relative to the fabulous quality herein. Some of the writing dallies too much with tropes or clichés, for example, and some inclusions strain suspension of disbelief. Some specific moments come off as stilted in their execution; I don't mean to cast blame on the cast or the director, but by some concatenation the timing just sometimes feels a little off. Yet, again, these pale in comparison to the tremendous entertainment value, and the series is highly enjoyable from start to finish - and importantly, the third season is an incredibly strong finish. By and large the writing is sharp and intelligent in updating Le Fanu's tale; Bauman and Negovanlis, and their co-stars, are exceptional; the craft of each episode from behind the camera exceeds what one may assume of such an endeavor. Strictly from a standpoint of personal preference I can understand that it won't appeal to everyone, especially where the format is concerned, yet overall I'd have no qualms suggesting this to all comers. If anything about the concept remotely sparks one's interest, I can only give 'Carmilla' my heartiest and most enthusiastic recommendation, and I wish we could have gotten more. Very, very well done!
