Chess Betting App
Chess Next Move program suggests you the best tactical chess move for any position. Drag and drop chess pieces to set up the board, press 'Play' and the engine suggests you the best position, then press 'Move' to occupy the position. Reset kings only rotate table. Unibet provides a selection of betting events for top chess competitions and tournaments for those who fancy a game of chess. So, if you like betting and chess, Unibet got you covered and you are indeed in the right place! Chess Betting Odds. Like any other sport competition and discipline, Unibet strives to provide the most competitive betting. You may not be able to bet on chess games with ALL the online bookies out there, but the best of those that do offer it will generally have a chess betting app or responsive online gambling site. Online Chess Betting Bookmakers running and accepting bets on chess games and tournaments are reasonably commonplace these days and, if anything, are likely to grow even further. As a sign of its growing authority, Unibet has signed World Chess Champion Magnus Carlsen to represent their chess offering.
Garry Kasparov, one of history’s greatest chess players, doesn’t think much of most onscreen chess scenes. “You can see that chess is being used unprofessionally,” Kasparov said, speaking on a fuzzy telephone line from Croatia. “Very often, the positions are not making much sense.”
Chess, a sport in which two people, usually men, sit opposite each other and barely speak or move, sometimes for hours, seems an unlikely screen star. But chess has fascinated film since the silent era, infiltrating thrillers, romances, comedies, biofilms, documentaries, classy literary adaptations and cartoons. Few other pastimes have inspired both Ingmar Bergman (“The Seventh Seal”) and Pixar (“Geri’s Game”). On television, chess has guest-starred on “Columbo,” “Star Trek,” even “Friends.”
Which makes “The Queen’s Gambit,” a seven-episode limited series that premieres on Netflix Oct. 23, both familiar and unusual. A glamorous and wrenching view of chess, set in the 1950s and ’60s, it centers on the fictional character Beth Harmon (first Isla Johnston, then Anya Taylor-Joy), a child prodigy who discovers the game in a Kentucky orphanage. Despite punishing addictions to alcohol and tranquilizers, Beth, clad in Gabriele Binder’s elegant period costumes, plays and trains obsessively, rising through the rankings until she faces the world’s best. Which makes her something like the thinking woman’s Rocky.
With its troubled protagonists and climactic matches, “The Queen’s Gambit” resembles other chess dramas. Its focus on a woman has precedent, chiefly Mira Nair’s “Queen of Katwe,” which Kasparov recommends. But when it comes to chess positions — the particular arrangement of pieces on the board — no other work rivals this one in terms of both number and painstaking accuracy.
“It is as close as possible to the authentic atmosphere of chess tournaments,” said Kasparov, who consulted on the series.
It’s also exceedingly faithful to its source material, a slender 1983 novel written by Walter Tevis, an author with a knack for books that Hollywood wanted: “The Hustler,” “The Color of Money,” “The Man Who Fell to Earth.” Tevis, a respectable club player, could delight even non-players with chess’s rhythms and language: the Sicilian Defense the Semi-Slav Variation, the Falkbeer Counter Gambit, the Ruy Lopez. The book borrows its name from an opening move in play since the 15th century.
In the early 1990s, the screenwriter Allan Scott (“Don’t Look Now”) acquired the rights to the novel and wrote a film script. The director Michael Apted expressed interest, as did Bernardo Bertolucci. Molly Ringwald was likely to star. In 2008, Heath Ledger, a chess enthusiast, signed on to direct, with Ellen Page as Beth.
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Then Ledger died of a prescription drug overdose before preproduction began. The project stalled.
“It was a very tough movie to get made,” William Horberg, a producer long involved with the property, said.
But it didn’t have to be a movie. A few years ago, the writer and director Scott Frank, who had read the book in the ’90s, took an interest. Having written and directed “Godless,” a feature script that evolved into an Emmy-winning limited series for Netflix, Frank thought that “The Queen’s Gambit” could be redeveloped in a similar fashion. Netflix agreed.
Which may have been a risk. The novel is brief. Dialogue is spare and the action beyond the gameboard minimal. But Frank, who created the series with Scott, wanted the space to fill in histories and themes that the novel elided.
“If you did it as a movie, it becomes a sports movie: ‘Is she going to beat the Russian guy?’” Frank said. “And that’s not what the book is about. For me, it’s about the pain and cost of being so gifted.”
He wrote six episodes, then realized he needed seven. Why? “Chess takes time,” he said.
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It certainly can. In 2018, the first game of the championship match at the world chess championship lasted as long as the series. (It ended in a draw.) So that became Scott’s challenge: how much chess to show, how much time to give it. Too much time spent on the games and you risked alienating non-players. Too little and you lost the sports underdog story that gives the series its shape. “The Queen’s Gambit” may be more than just a sports story — with extremely chic uniforms — but that remains its deep structure.
Before production began, Frank hosted what he called a “chess summit.” In Berlin, where Frank would shoot the series, he and the editor Michelle Tesoro met with chess experts to try and learn as much as they could about the look and feel and even the smell of chess tournaments. They quizzed experts on the style of the pieces, the thickness of the board, the arrangement of tables and audience.
The celebrated chess coach Bruce Pandolfini, who had advised Tevis on the novel, created a bible of games and positions for the series, signifying key moments in Harmon’s play. He tried for moves with symbolic heft, like an exchange of pawns or a queen sacrifice. Kasparov inspected these positions and also designed the moves for the most significant games.
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Kasparov also gave the production some tips about tournament play, even as he doubted that any series could reflect the real atmosphere of a chess competition with complete accuracy.
“But trust me,” he said. “This is as close as one can have it.”
Very few of the actors were chess enthusiasts. So Pandolfini coached them on how to look like players — how to hold the pieces, when to hit the chess clock. Even viewers who didn’t know chess might pick up on false gestures, Pandolfini reasoned.
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Actors had to learn move after move in sequence, so Pandolfini developed mnemonics and visual cues to help them. “When it came to the actual chess sequences, my background as a dancer really helped,” Taylor-Joy said. “It’s basically just choreography with your fingers.”
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Conveying Beth’s complicated inner life while sliding a queen’s pawn forward wasn’t a problem for her. “Her deep passion for chess is the passion that I have for my art,” Taylor-Joy said. “It felt easy to transfer the emotion.”