10 years ago, when Harry Potter and the Sorcerer's Stone made it to the theaters, I was only 13 years old. I wouldn't call it a far-cry to state that I have actually grown up alongside this franchise and that for me, like the cast members in the films, it has been some sort of coming of age journey. I have always found the books and films emotionally resonant. The most likely reason is that despite her inability to develop and mature in her writing style (the books were always written with children's books prose), the stories and content of her works have matured throughout, making them easy to connect with for a budding adult. The filmmakers, starting with Alfonso Cuaron, caught on to this and adding this intensity and maturing to each film, built and crafted a finer work each time. And now, as the posters (plastered everywhere in what is the most impressive marketing campaign I have witnessed recent times) state: "It all ends." And it couldn't have done so in a more satisfying, emotionally resonant film.
Harry Potter and the Deathly Hallows Part 1 was remarkable for its decision to tame the pace and focus on building tension: between characters, between ambiance, between circumstances, and in the tone and style itself. Many claimed it to be slow and trying, but I found it to be a massive exhale from what has come to be expected from the traditional Hollywood blockbuster. Many felt that the decision to break up the final book was a sneaky scheme to inject more money into the studio's accounts and after the first film's lukewarm reception, the questioning did not cease. Well, after watching Part 2, it becomes quite clear why it was necessary. Yes, the film feels like a second part (again, which Harry Potter film can truly claim to stand on its own?) but having the book broken up into two features turned out to be a truly savvy idea. At 2 hours, not only does the film present tremendous action set pieces that marvel from start to finish (the ride through the bank and ensuing flight on a dragon, the epic battle of Hogwarts), but the film is also allowed to slow down and find more of those quiet moments that have truly made this film franchise soar and resonate with audiences for an entire decade.
In series filled with a plethora of riveting moments, this film only adds to that tremendous library. Harry's realization of his destiny, the ensuing scene where he meets his long-lost loved ones, Neville's realization of who he is, Harry and Ginny's brisk, but sweet moment amid the battle, the resolution of the tension between Ron and Hermoine in the Chamber of Secrets, and most importantly, the fulfillment of Snape's character arc. This is quite possibly one of the most emotionally charged sequences in the entire saga and it is beautifully devastating in its portrayal.
The cast is the best it has ever been in this series. Radcliffe leads the charge with his most subtle and emotional breakthrough thus far. Watson and Grint's chemistry pays off in a huge way. Maggie Smith comes back for what amounts to a brief speaking role, but she makes the most of her time with a delightfully sweet gesture after she calls up an army of stone soldiers. Matthew Lewis gives a heroic portrayal of the former coward in one of the best feel-good moments in an otherwise bleak film. But the scene stealers here are Ralph Fiennes (who finally gets more than 10 minutes of screen time) and Alan Rickman as the tragic hero of the film. Fiennes is the embodiment of the snake-like Satan, full with the danger and malice, but also the charm and elegance. Rickman, who is always implacable, shows increasing vulnerability that only makes his final revelation all the more satisfying.
From a technical perspective, this film is as complete as it can get. Eduardo Serra's cinematography, while not as powerful this time around is still remarkable in its ability to create atmosphere. Make no mistake, this is the darkest Potter film yet and the cinematography's bleak desaturated look only emphasizes this. When color is brought back into the picture for brief moments in the film, the effect is quite extraordinary. Aleander Desplat once again proves why he is one of the great composers of this era. He evokes a score that amplifies the emotional content of the film, but without ever intruding upon it. In a classy gesture, Desplat sets aside his own music late in the film to bring back an unforgettable moment from John William's scores and brings the entire series full circle. It was a chilling, unforgettable moment. The CGI artists have created some of the most incredible effects in recent memory and while they are ever present throughout the film, they never get in the way of the emotional content of the story or seem to be the main attraction (most blockbuster can't claim the same, no examples necessary).
The true hero of this film is ultimately David Yates, who after 4 films has established his comfort and intimacy with the material. He may have had his pacing issues early on with the first few films, but these two last two films have shown an ability to not only balance that pace, but to provide the necessary payoff that this series desperately needed. It was on Yates to maintain a level of quality that Cuaron and Newell, and possibly even Columbus had created and Yates not only maintained it, but in many ways improved on it. It is truly rare to see a series that is based on sequels take so many steps forward in maturity and depth (just see Star Wars), and much less with so many differing creative forces. But with Harry Potter, Hollywood has potentially found its milestone.
From a technical perspective, this film is as complete as it can get. Eduardo Serra's cinematography, while not as powerful this time around is still remarkable in its ability to create atmosphere. Make no mistake, this is the darkest Potter film yet and the cinematography's bleak desaturated look only emphasizes this. When color is brought back into the picture for brief moments in the film, the effect is quite extraordinary. Aleander Desplat once again proves why he is one of the great composers of this era. He evokes a score that amplifies the emotional content of the film, but without ever intruding upon it. In a classy gesture, Desplat sets aside his own music late in the film to bring back an unforgettable moment from John William's scores and brings the entire series full circle. It was a chilling, unforgettable moment. The CGI artists have created some of the most incredible effects in recent memory and while they are ever present throughout the film, they never get in the way of the emotional content of the story or seem to be the main attraction (most blockbuster can't claim the same, no examples necessary).
The true hero of this film is ultimately David Yates, who after 4 films has established his comfort and intimacy with the material. He may have had his pacing issues early on with the first few films, but these two last two films have shown an ability to not only balance that pace, but to provide the necessary payoff that this series desperately needed. It was on Yates to maintain a level of quality that Cuaron and Newell, and possibly even Columbus had created and Yates not only maintained it, but in many ways improved on it. It is truly rare to see a series that is based on sequels take so many steps forward in maturity and depth (just see Star Wars), and much less with so many differing creative forces. But with Harry Potter, Hollywood has potentially found its milestone.
The film does make a great deal of changes from the book which is likely to incite the wrath of many devotees. While I was a bit bothered by some, I will say that certain changes certainly appeal more to the cinematic medium. The final encounter between Harry and Voldemort is one good example. Instead of a shouting match as envisioned by J.K. Rowling in the novel, Yates and company present us with a full-fledged battle between Harry and Voldemort as the rest of the wizards attempt to destroy Nagini, his snake. This adds a greater deal of energy and suspense from a visual standpoint than Rowling's original iteration, but by the same token does take away some of the epic nature of seeing Harry rise to the occasion and hurl venom at Voldemort in front of all the people that love and support him. To call the final encounter between the two anti-climatic may be a bit drastic, but it certainly lacks some of that emotional intensity from the book. Harry and Ginny rarely get to see each other much in this film and that left me a bit unsatisfied, though I will say that the few fleeting moments they share together are amongst the sweetest in the series and film. Dumbledore's character gets the shortchange as well, though with less resonant consequences in the grand scheme of the films. The rest can be said for any of the other alterations.
The epilogue has always been controversial. The makeup is suspect here (though incredible in the rest of the film), but the ending presents us with an enduring message not only from the filmmakers but from Rowling and the characters of the films and books. Having Harry and company grow up one last time is a reminder of how far we've come in these past 10 years, but that it is truly time to move on. And it couldn't have been easier to say goodbye. After 8 films of high quality, the epic saga comes to a close on a bittersweet, but fittingly magical conclusion. Deathly Hallows is far and away the best film in the series.
By David Salazar
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