“Of course it’s happening in your head; why should that make it less real?”

Harry Potter & the Deathly Hallows II: directed by David Yates; written by Steve Kloves
          
I imagine that writing a review of the latest Harry Potter is in the technical sense akin to intellectual masturbation – I’m probably the only one getting any gratification from it. This is probably why reviewing it is wrought with so much difficulty, approaching it without taking note of its zeitgeist aspects is impractical. I’d wager that any critic – pseudo or otherwise – went into the film suspecting what they were going to think of it, what grade they’d give it. After seven films there isn’t much that can drastically change about the series, the things that you loved have endured into the aspects you look for and the things that annoy you’ve learned to contend with – and ignore, if possible.

The marked difference between this instalment and its previous encounters is the time it covers. Save for a few minutes of what functions as a prologue, and a scene of memories the film covers a few hours which makes the film seem as if it’s hurtling towards its close and it turns into more of an exercise in all things visuals than anything significant story wise. Essentially, a final two Horcruxes must be found which requires breaking into the Gringotts vault and then Hogwarts. With the particulars of the story stripped to the bare essentials the visuals aspects become principal – a sort of the medium becoming the message sort of occurrence; and it looks fabulous. It’s a battle for the ages and the film looks better than any of the previous instalments.

I always wished that the Harry Potter films had stuck to a single director over the tenure of the entire series. This sort of fantastical fare is the type that places greater emphasis on style than substance and if one were to talk into account the hours devoted to these characters prior to this one, the film surprisingly lacks that emotional profundity that you’d hope for in a final instalment. It’s probably unfair to expect Yates to manage that when previous directors have brought their own flair to project, and it’s doubly unfair because this instalment is a film in itself and not just a glorified epilogue – which, in my defence, it seemed to be at times.

It’s where I have to divide my de facto appreciation from the series from the actual worth of the entry. I’m conscious that it’s not a wholly brilliant endeavour, even though in my mind it’s as good as I could hope for. I devoured, yes devoured, those novels from the moment they came out and I’ve been following the films since they came out so in my mind the situation is probably a whole lot more majestic than it would be for a non-believer. I can point out the shortcomings like an abysmal use of every single supporting character, but I can just as easily make experiences for them because more than any other of the films this is Radcliffe’s show. It seems like such a facetious thing to criticise Radcliffe's acting, especially now when he seems to be the indelible Potter. Acting wise, I'll always say he was at his strongest in Harry Potter and the Half Blood Prince. It's the single installment which depended expressly on the work put in by the child-cast, but here Dumbledore's Harry's is relegated to random moments, some which work more than others. The opening at Shell Cottage isn't as searing as you'd hope, but bigger things like Harry's final walk to Voldermort manage to come off splendidly. There's a moment where Ron and Harry's eyes interlock and you can grasp the importance of the moment. You really can't can't force that sort of rapport, even if Yates places little emphasis on it overall.

Still, I just as easily don’t place as much credit in the things that the film does right like the Pensive, for example because I expect no less. In the same way that I expect nothing less than great Britons to turn up and give great performances from the sidelines in the form of Maggie Smih, HBC and Kelly MacDonald (who is shockingly effective in only a few moments). It’s one of those damning effects of being inextricably linked to a film and its source. So, when that camera panned out and we got that shot of the trio looking out from the ruined castles it wasn’t so much a sigh heaved after a thrill, but a quiet contentment. And sure, in my head I pretended that those last four minutes didn’t happen, because that’s how I wanted to remember it. It was, after all, my party.
      
B/B-

Sunday Monday Openings: Harry Potter & the Sorcerer’s Stone

I haven’t seen the final instalment of the Harry Potter saga yet, but I can’t deny that I’m feeling a little misty about the end of the series. Oftentimes I find it difficult to encapsulate precisely why I go crazy with anticipation for the cinematic versions of the Potter series, I’ve wholeheartedly loved only one of the instalments (Harry Potter & the Prisoner of Azkaban) and I know the books so well I’m almost always miffed about something that isn’t translated well to the screen. Still, I’m a quasi-fanboy when it comes to the films. So, now’s as good a time as any to take a look at one of the opening...and what better than the first one?
                
The second instalment is my least favourite of the series, but I don’t know why people always harp on Columbus for the first film of the series. For me, it encapsulates all that juvenile enchantment that you’d hope for.

Isn’t that a bit of a defining shot? Any Potter aficionado knows what Privet Drive entails. I like that this scene isn’t as developed in the novel, it marks the fact that cinema and literature are different and opening in the past is a fine decision for the film.

The opening is much more dark and broody than I remembered.

And then that legendary figure appears.

I must admit that, watching this with my nephew last week I got a whole lot more teary than I anticipated (or cared to admit). I always do feel a little sad when I see anything with Richard Harris, though. I’ll always appreciate what Michael Gambon brought to the series (especially in the sixth instalment) but Richard Harris was just a perfect Dumbledore.

Keep an eye on that cat.

It’s been so long since I saw this film in particular that I didn’t even remember this particular sequence. It comes off as a bit silly considering Dumbledore could just give the street instant blackout, but who am I to question his grace? And, the music playing as it all ensues is lovely (I’ve always felt the series’ had a woefully underrated score).

And the cat begins to purr.

 

Professor Dumbledore: “I should have known that you would be here, McGonagall”

This transformation is my favourite part of the opening. It’s a bit overwrought but it’s so in keeping with the first book of the series, we’re now coming to terms with the magic and whatnot so the build-up works incredibly.

Perfect. It reminds me of later in the film when Ron and Harry are late to Transfiguration Classes and Professor McGonagall transforms before them, another great part of the film.

 

Professor McGonagall: “Good evening, Professor Dumbledore.”

And with that we have our first look at Maggie Smith. Regardless of other points of longevity, the Harry Potter series will go down in history for the expansive cast of actors. With the exception of Helen Mirren and Judi Dench, it’s as if any Briton who’s anybody has been in it. And, sure, Maggie can probably do all this in her sleep, but she's never NOT brilliant.

Professor McGonagall: “Are the rumours true, Albus?”

 

 Professor Dumbledore: “I’m afraid so; the good and the bad.”

Professor McGonagall: “And, the boy?”

Professor Dumbledore: “Hagrid is bringing him.”

Professor McGonagall: “Do you think it wise...to trust Hagrid with something as important as this?”

 

Professor Dumbledore: “Ah, professor. I would trust Hagrid with my life.”

I sort of love how unsubtle J.K. us with all the seeds planted in this first series. Dumbedlore's trust - check, Professor McGonagall's shrewdness - check, misguided hopes that Harry would be happy in Privet Drive - check...and so on. Fine, it's not grade A literature, and perhaps that's why the films aren't exactly grade A films, but they make me full of whimsy from time to time.

Columbus is a director who’s so in touch with childhood consciousness and everything about this seems devoted to evoking the child in us. That light coming towards us is very ET.

Enter Hagrid...

I never really give props to Robbie Coltrane, mostly because I’m neither here nor there on Hagrid as a character but he’s another example of how meticulously casted the entire series is.

 

Hagrid: “Professor Dumbledore, sir. Professor McGonagall.”

Professor Dumbledore: “No problems, I trust, Hagrid?”

 

 Hagrid: “No, sir. The little tyke fell asleep just as we were flying over Bristol.”

Hagrid: “I tried not to wake him.”

Hagrid: “There you go.”

That ever important bundle of joy.

 

Professor McGonagall: “Albus, do you really think it safe leaving him with these people? I’ve watched them all day. They’re the worse sort of Muggles imaginable.”

I love how Maggie says that line. And the Dursley's really are atrocious. Who can contest that fact?

 

Professor McGonagall: “They really are–”
Professor Dumbledore: “- the only family he has.”

Professor McGonagall: “This boy will be famous. There won’t be a child in our world who wouldn’t know his name”

 

Professor Dumbledore: “Exactly. He’s far better growing up from all of that.”

I do find that cut to Hagrid strange. I always remember Hagrid forging that deep bond with Harry until he was grown, so it does seem strange that he’s so broken up over giving him up to the Dursley’s. Of course, with all the things going on at the time – Lily and James’ death, especially – his sadness does make sense.

 

Professor Dumbledore: “..until he is ready.”

That second shot there is another nice moment in the opening.

Maggie does more with a second of screen time than some actors could do with an hour.

 

Just the expressions on Harris' face give you that feeling of wisdom, it's almost as if he doesn't have to act as Dumbedlore...he just has to exist.

Professor Dumbledore: “There, there Hagrid. It’s not really goodbye after all.”

With the end of the series upon that line takes on such a deeper profundity.

 

 

 

 

 

Professor Dumbledore: “Good luck, Harry Potter.”

 

 

  

This is incredibly random, but I wonder where that child is - he's probably about eleven/twelve now.

 

As much as I’ll admit the films are occasionally faulty, I love them dearly. And this is a great beginning to it.