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Archives for : David Yates

Harry Potter and the Deathly Hallows: Part 2

July 17, 2011

Director: David Yates

Starring: Daniel Radcliffe, Alan Rickman, Ralph Fiennes

Release Date: July 15, 2011

One Last Wave of the Wand

harry-potter-and-the-deathly-hallows-part-2-epic-poster_487x720Ten years after its debut, the Harry Potter film franchise has drawn to a close.  The dedicated fan-based generated by the book series of the same name has been subject to a fairly consistent variety of offerings, but never (in my estimation, at least) has any one of the pictures ventured into the realm of being truly “bad.”  Thankfully, the same can be said for Harry Potter and the Deathly Hallows: Part 2.  Is it epic?  Not at all.  But it is a slam-bang finale that—for the most part—satisfies.

Picking up where Deathly Hallows: Part 1 concluded, the final act of the film has a much more action-oriented focus.  The story, of course, continues to revolve around mystical items called “horcruxes,” the persistent evil of Lord Voldemort, and the whimsical stuff that otherwise defines the alternate world in which Hogwarts exists.  The final “revelations” are not entirely predictable, but anyone moderately familiar with Potter lore should have a solid idea as to where the whole thing is going to end up.  In a sense, that’s one of the things that’s made the Harry Potter story so successful: it’s a clear-cut case of good vs. evil, and, given the ridiculously muddled narrative webs that many tales are caught up in these days, that’s an extreme rarity.  I mean, really: in the final moments, when Harry and Voldemort are wand-dueling and red and green sparks are flying, one can’t help but think of other similar confrontations (think Luke Skywalker vs Darth Vader, Frodo vs. Gollem, ad infinitum).  At its core, then, the movie is fueled by a basic—though extraordinarily powerful—mythos that’s hard to ignore.

The movie isn’t perfect by any stretch of the imagination, though.

In fact, it suffers from a similar syndrome that just about all stories with an abundance of fantastical elements seem to think is absolutely necessary: namely, a crazy amount of overblown battle sequences.  Don’t get me wrong: I enjoy this sort of thing every once in a while.  I do, however, think that the story has to merit the inclusion of such a large-scale confrontation, though.  Here, when goody-two-shoes-professors and minions-of-the-Dark-Lord face off amid the ruins of the once proud School of Witchcraft and Wizardry, there’s a sense that things are a bit… well… forced.  It’s as if the filmmakers came to the realization that they were at the end, and that this was the appropriate time to plug-in sweeping armies, etc.  It also seems as if the long-awaited showdown between Harry and Voldemort was much too tame.  It’s got its moments, but when the inevitable comes to pass, I found myself whispering, “Really?  That’s it?”

I know what you’re thinking: well, it was better in the book.  That may be true.  But this isn’t the book: it’s the movie.  And after investing countless hours in this cosmic collision that should be the end-all, be-all of the Potter universe, the unfathomably large audience that’s waited patiently for this final installment deserves something much more grandiose.

I say all of this with love.  I really did have fun watching the movie.  It’s just that that special “something” that makes up a classic seems to be just out of arm’s-reach.  When taken as a whole, though, there’s no denying the power of the spectacle of one of the better movie series to come along in quite some time.

redstar21redstar21redstar21redstarhalfout of 5

–Chris Flowers

Harry Potter and the Deathly Hallows: Part 1

November 26, 2010

Director: David Yates

Starring: Daniel Radcliffe, Emma Watson, Rupert Grint

Release Date: November 19, 2010

It Doesn’t Exactly Cast a Spell

“Harry!  Hermione!  Ron!”

I joked with some friends on the way to the theater that the preceding utterances would likely sum up the bulk of the dialogue in Harry Potter and the Deathly Hallows: Part 1harrypotterandthedeathlyhallows1You see, with the exception of Harry Potter and the Half-Blood Prince, the feature films that have sought to transform J.K. Rowling’s vision of witchcraft and wizardry into a viable cinematic franchise have been—in my estimation—dry, predictable, and not all that engaging.  Here, where we experience “the beginning of the end,” it’s clear that director David Yates was able to harness some of the energy and urgency that fueled his previous offering.  “Some,” of course, is the key word.  Though the movie is book-ended by some admirably crafted action sequences that effectively immerse us in the far-flung world of wands, potions and evil lords, the middle sags, as Langston Hughes would say, “like a heavy load.”

Our protagonists’ interactions have become increasingly complex as they’ve aged, and that’s pushed to the next level in Deathly Hallows.  No longer are Harry and company holding hands and exchanging superficial banter with those of the opposite sex: here, we see our hero exude confidence (and, perhaps, maturity) as he goes straight for a kiss right from the get-go.  In fact, sexual tension courses through nearly every scene of the production.  There’s even an odd occurrence where we witness the feigned lustful encounter of some familiar characters via a mysterious vapor.

Given their age, this isn’t all that surprising, and it ultimately adds some believability to the maturation unfolding before us.  On the flip side, this also means that we’re exposed to a number of drawn-out sequences that seem more like forced characterization rather than anything truly genuine.

And this is where the problems begin for Deathly Hallows.  After a grand opening, we’re forced to endure an hour (or so) of watching moody teenagers meander through the wilderness.  They’re searching for horcruxes—these objects are the key to defeating Voldemort (I think)—and the location and purpose of each one is shrouded in mystery (surprise!).

Naturally, it takes a lot of interviewing and pondering for the necessary revelations to take place, but they eventually do, and we’re treated to a third act that’s vastly more entertaining than anything that comes before.

A few other notes: hints of Lord of the Rings abound, especially when a horcrux on a chain acts as a burden for each of our protagonists.  Just as we’ve seen with the “one ring” in Middle Earth, this item brings out the worst in its bearer.  And, as one of my students noted in a recent essay submission, there are some blatant comparisons made between Lord Voldemort to Adolf Hitler (and subsequently Nazi Germany).  I don’t necessarily mind this, but anyone familiar with popular culture or world history might find the preaching of Rowling a little heavy-handed.

As stated in my review of Half-Blood Prince, I have not read any of the novels.  I’m told that much of what we see in Deathly Hallows is important to further fleshing out our heroic trio, and I’m willing to chalk up what I can only describe as “tedium” to screenwriter Steve Kloves desire to remain faithful to the source material.

But the question remains: for this to be the start of a slam-bang finish, couldn’t something have been done to make it a little more… I don’t know… magical?

redstar2redstar2redstar2 out of 5

–Chris Flowers

Check out a trailer for Harry Potter and the Deathly Hallows: Part 1:

Harry Potter and the Half-Blood Prince

July 16, 2009

 

Director: David Yates

 

Starring: Daniel Radcliffe, Emma Watson492135.1010.A

 

Release Date: July 15, 2009

 

Over the years, I’ve found that the Harry Potter films have been consistently competent, but they seem to repeat themselves with fairly redundant storylines.  As I’ve often disclosed to my wife, the movies are comprised of one basic formula: there’s a mystery at Hogwarts, and it’s up to Mr. Potter and company to discover the truth and prevent any wrongdoing.

 

Cue Harry Potter and the Half-Blood Prince.  This is a fresh, gutsy new chapter in the franchise that actually develops and matures the characters and plot in significant ways.

 

This Potter film is foreboding even from the title screen, and the dark tone is pervasive throughout.  Thankfully, director David Yates has been able to successfully transition his young cast into a role we’ve all experienced—that of the uncertain teenager.  There are times when the excessively sappy “snogging” (Rowling—or maybe British?—lingo for “kissing,” though it certainly could indicate something much more “adult”) between Ron and an obsessed admirer gets a little old, but on the whole Half-Blood Prince skillfully balances the true life malaise of post-adolescence with the growing threat of Voldemort and his followers.  I found myself yawning during the previous Potter flicks, but there was a real sense of danger in Half-Blood Prince.  There’s an especially creepy scene in a cave that might be a little much for kids, but it proves that these movies are capable of maturing and saying a little something about the harsh realities of becoming an adult; namely, taking on responsibility that we may not always like.  There may be some thinly layered subtext about teenage drug use as well, as the prominent classroom lessons of the film are squarely centered on potion-mixing and its results.

 

Perhaps the best thing about Half-Blood Prince is that when it ends on a startling somber, meditative note, viewers have a clear sense that there is something truly important and worthwhile on the horizon.  Whereas I didn’t really care about what came next in regards to the other Potter sequels, this one leaves you wondering (if you’re like me and haven’t read the books, that is) how this is all going to play out.  There’s some real urgency here, and that’s more than I can say about this movie’s predecessors.

 

The acting is solid all around, with Emma Watson delivering the most believable “troubled teen” performance.  Jim Broadbent is a good addition to any movie, and the rest of the cast takes on their respective roles with the gusto necessary to help solidify the dark tone that helps Half-Blood Prince stand out as an entry in the series that’s certainly worthwhile.

 

In spite of all this, Half-Blood Prince sometimes feels as if it’s straining to be an epic a-la Lord of the Rings, complete with Dumbledore in a Gandalf pose, waving his wand as it rains fire upon foes, spewing the usual all-knowing, cool-as-a-cucumber lines, and emphasizing the worldwide importance of the various tasks at hands.  There are a couple of completely unnecessary scenes that result in whimsy that feels slightly out of place (given the tone), such as the hammy eulogy of a giant, dead spider.

 

These complaints are minor, though.  Despite how you feel about the books, this is certainly the best Harry Potter film yet.  For once, I’m actually excited about what the future of this series has in store for us.

 

redstar1redstar1redstar1redstar1 out of 5

 

 

 

–Chris Flowers

 

Rated PG for scary images, some violence, language and mild sensuality.