July 14, 2011
Action, Fantasy, Film
Alan Rickman, Alexandre Desplat, Daniel Radcliffe, David Thewlis, David Yates, Deathly Hallows, Emma Thompson, Emma Watson, Evanna Lynch, Film, film music, Harry Potter, Harry Potter and the Deathly Hallows, Hedwig's Theme, Helena Bonham-Carter, Hogwarts, J.K. Rowling, Jim Broadbent, John Hurt, John Williams, Julie Walters, Maggie Smith, Matthew Lewis, Michael Gambon, movies, Nicholas Hooper, Part 2, picture, poster, Ralph Fiennes, review, Robbie Coltrane, Rupert Grint, score, soundtrack, Steve Kloves
To talk about the end of an era is probably an understatement. The extent to which J.K. Rowling’s books and their subsequent adaptions for the silver screen have impacted teenage culture is a phenomenon quite beyond compare. For the countless fans who have grown up with their beloved characters, this final half of a chapter marks the end of a decade of midnight queueing, hopes, fears and expectations as all the emotional ballast of seven predecessors sets down on Part 2’s shoulders. For those loyally devoted and indeed for the filmmakers and our trio of protagonists it will be a bittersweet ending as they come to terms with the fact that it really does all end here as the teaser posters touted. To live up to such hype is no easy task for any filmmaker but as before, director David Yates and his crew of muggles have diligently captured the magic of the series that only the books themselves can top.
After the rather slowly paced “Part 1,” this hits the ground running and very rarely lets up throughout as out hero and his friends hunt for the final horcruxes and do battle with the dark lord and his minions. After a dangerous journey to the high-security wizard bank Gringotts, Harry (Daniel Radcliffe), Ron (Rupert Grint) and Hermione (Emma Watson) make it to Hogwarts. Their presence cannot go unnoticed however and soon You Know Who (Ralph Fiennes) and Co are on their way to attack the castle and settle things once and for all. There follows a desperate race against time as all the remaining wizards try to keep the forces of evil at bay while trying to find and destroy those bits of Voldemort’s soul with which he cannot be truly killed. It’s an action-spectacle of the highest order, that maintains a breakneck pace and almost non-stop carnage. And heavy stuff it is too: Hogwarts is being blasted to rubble, the Quidditch pitch burns, so much that we and the characters have come to love is under serious threat here. With such few moments of respite, the racing story draws on the viewer as each and every character reaches his or her own personal climax within the sprawling and incredibly dense plot.
Yates and Steve Kloves’ screenplay manage to walk that fine line of balancing very moving and personal moments amidst the action and this will ultimately prove the real payoff for fans. With such an enormous supporting cast that includes Maggie Smith (sorely missed in previous episodes), Michael Gambon, Robbie Coltrane, John Hurt, Julie Walters, Jim Broadbent, Emma Thompson, David Thewlis and so many more besides, it’s good news that room has been found and the need for closure recognised even for minor characters. Matthew Lewis as Neville and Evanna Lynch as Luna too, both long regarded as some of the finer casting choices among the “child” actors, get to shine in their roles. Perhaps most satisfying of all is the detour that’s taken (at a climatic point nonetheless) to finally reveal the motivation behind Alan Rickman’s shady and complicated Snape. It’s a very fitting send-off and it’s worth seeing the film purely for this as it perfectly embodies the sense of magic, wonder and drama present in the books as a whole. Meanwhile, Daniel Radcliffe manages to hold it all together even though his personal tale threatens to be overshadowed by the sheer scale of things. Hie performance is perfectly judged and never gives in to sentimentality. A few tears may well flow.
The film is not perfect by any means though the few flaws are much more easily forgivable that in the previous film. For instance, intimate knowledge of the plot is a prerequisite and non-fans will have their work cut out for them in trying to follow who, what and when. Despite being only half a book, Rowling has so much ground to cover that incredulously the film seems rushed at times. The lengthy battle between Harry and Voldemort is a prime suspect here, one that could have been more cleverly devised and could have peeled the villain’s “pure evil” aspect back to reveal his insecurity and motives for being evil in the first place. Furthermore, Yates is unsure as how to handle the resolution of the present-day story, first needing to explain an important plot point gets in the way of what it all means for the protagonists’ journeys. Were it not for the excellent epilogue, the emotional climax could even have been described as underwhelming. However, fans can be forgiven for passing over these minor detriments and in reality, they do not hurt the film in any great capacity.
Also returning for this final chapter is French composer Alexandre Desplat. His score for “Part 1” was polarising, some fans praising his orchestral diversity and style while others bemoaned his failure to establish a musical coherency for the franchise as a whole. His music for “Part 2” lives in a similar situation with very solid action music and reprisal of his own themes from the first part. These aspects are presented on the soundtrack album but in the film go somewhat unnoticed. This is because in several key scenes, by choice of either Desplat or the filmmakers, music by John Williams (and at one point Nicholas Hooper) composed for the first two films is simply inserted by copy and paste. The reasoning for this is debatable but the suspicion arises that Desplat’s score, while full of finesse, could not pack the emotional punch Yates was looking for and the album presentation of new music would support that argument. Unfortunately for Desplat, Williams’ music is far superior and as viewers leave the theatre “Hedwig’s Theme” is what they will remember. It’s disappointing that Desplat could not incorporate the existing themes with his own and make for a rounded and ultimately more satisfying listening experience. As it stands, the album is very enjoyable but hearing it in the film makes us nostalgic for what could have been if the great maestro John Williams had returned to score the final chapter.
“Deathly Hallows” 2.0 is everything the fan-base could have hoped for, delivering a worthy conclusion to one of the decade’s most defining franchises. Sadly, it is the end of an era and it’s time to say good bye.
Score on Album
I hope you all enjoy going to see Harry Potter in the theatres. Why not share this review with your friends in advance on Facebook and Twitter? Thank you all for reading. Now, accio DVD boxset!
November 20, 2010
Adventure, Fantasy, Film
Alan Rickman, Alexandre Desplat, Bill Nighy, Bonnie Wright, Brendan Gleeson, Daniel Radcliffe, David Yates, Emma Watson, Film, film music, Harry Potter, Harry Potter and the Deathly Hallows, Imelda Staunton, J.K. Rowling, Jason Isaacs, John Williams, Julie Walters, Michael Gambon, movies, New Moon, Nicholas Hooper, Part 2, Part1, Patrick Doyle Hedwig's Theme, picture, Ralph Fiennes, review, Rhys Ifans, Robbie Coltrane, Rupert Grint, score, soundtrack, Steve Kloves, The Deathly Hallows, The Hobbit, The Philosopher's Stone, Timothy Spall, Twilight, Warner Bros.
So it all comes down to this: the beginning of the end. And in order to adapt the finale in more depth than the previous escapades, Warner Bros. decided to split “The Deathly Hallows” into two parts. It’s the beginning of a trend perhaps (“The Hobbit” and the “Twilight” series have followed in the footsteps) with the purpose, some would argue, to milk moviegoers as much as possible. Be that as it may, watching this “Part 1” what becomes quickly apparent is that director David Yates and screenwriter Steve Kloves have indeed been able to include many more of fan’s favourite moments that might otherwise have ended up on the cutting room floor. Much of the novel’s first half is recreated quite faithfully, making this (with the exception of “The Philosopher’s Stone”) the film that sticks most closely to the source material.
Forget any notion of “this one is darker” or “Voldemort is getting stronger”. As Bill Nighy’s opening monologue explains we have moved from tensions lying dormant just beneath the surface to all-out war: The forces of evil as led by Lord Voldemort are rapidly tightening their grip on the wizarding and muggle worlds, taking over the Ministry and, in a final-solution like operation begin screening halfbloods, mudbloods and just about every blood in between. Somewhere in this carnage our hero Harry Potter (Daniel Radcliffe) aided by his friends Ron and Hermione (Rupert Grint and Emma Watson) must complete the task entrusted to them by the late Albus Dumbledore (Michael Gambon), that is to locate and destroy the remaining horcruxes, pieces of the dark lord’s soul with which he can never truly die. However tales of a mysterious fairytale leads to the “Deathly Hallows”, three powerful magical objects that may also help to destroy He-Who-Shall-Not-Be-Named. Also, there’s no chance of returning to Hogwarts which has been completely infiltrated so “Part 1” becomes a road-movie of sorts, the trio travelling extensively across Britain as they try to remain undetected. This means that the film dispenses with many of the elements so familiar: the castle, the teachers, classes and (most) of the yo-yoing hormones. As always there’s an awesome supporting cast (perhaps one of the greatest British ensembles ever): Robbie Coltrane, Brendan Gleeson, Alan Rickman, Ralph Fiennes, Rhys Ifans, Julie Walters, Bonnie Wright, Jason Isaacs, Timothy Spall and Imelda Staunton.
In parts the road-movie concept works very well. Yates is at this stage very adept at handling the magic and directs some truly great scenes at the beginning of the picture. Hermione’s farewell to her parents with a memory-wipe-charm is probably the best and something we never see in the book. Harry’s farewell to Privet Drive and the visit to his parents’ grave similarly set new heights for the series. In general the first act sets things up nicely, rolling at breakneck speed, filled with great action in the sky-battle, humour and at the same time finding the space for truly touching emotion and a sense of tragedy or impending doom. The trip to the Ministry to retrieve the locket from a certain Dolores Umbridge is also realised with a great eye for detail and is very entertaining. After the wedding escape though, things become a little hazy in the plot department. Unlike the novel where J.K. Rowling’s canvas to illustrate the to-ing and fro-ing is almost endless, the film struggles here. There’s a lot of woodland scenes which completely drain the energy, pace and urgency that graced the opening. In general there just seems to be nothing happening.
As such the film is also devoid of a truly satisfying climax. This is understandable in a way when one considers that the real drama and epic finale are still to come in “Part 2” but not really an excuse to neglect audience interest in the first part. It seems Yates is unsure how to proceed with the ever increasing sense of pessimism in the face of the overwhelming odds. To compensate for this downward momentum the filmmakers try to lighten things a little bit but this is something that comes across as trying too hard. The scene with Harry and Hermione dancing looks like it accidentally ended up in the wrong film. Most likely, when we’re able to view “The Deathly Hallows” in its complete form, the faults of part one will seem less significant but on its own, you will leave the theatre having seen some great material but dissatisfied nonetheless.
Following a lot of negative comments of his two Potter scores Nicholas Hooper did not return to write the music for “The Deathly Hallows”. In his stead rising talent, french composer Alexandre Desplat took the reins to carry the franchise further. Fans of the composer will find much to enjoy in his score and the soundtrack contains some really fantastic action material, the track “Sky Battle” is of particular note. Those expecting any sort of thematic consistency with the earlier films may be disappointed however as Desplat disregards all of the Williams, Doyle and Hooper material – with the exception of minimal statements of Hedwig’s Theme at the beginning. Neither does Desplat introduce a significant new theme as a replacement such as the elegant “New Moon” theme he wrote for the “Twilight” series. It’s a shame because this could well have been his magnum opus. Still, for most of us, this score will contain more than enough great music to chew on. And at this point it looks increasingly likely that Desplat will return to score “Part 2” so we can expect plenty more of the same.
“Harry Potter and the Deathly Hallows: Part 1” (bit of a mouthful, eh?) has an awful lot going for it. Fans of the franchise will find much to like about it. For everyone else it depends on whether or not you are willing to withhold your judgement until we see “Part 2” in July. It’s not the best “Harry Potter” of them all but should set up the really epic finale perfectly.
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