HP retrospective #3:

Harry Potter and the Prisoner of Azkaban

2004, 12, Directed by Alfonso Cuarón
Starring: Daniel Radcliffe, Rupert Grint, Emma Watson, Robbie Coltrane, Tom Felton, Pam Ferris, Michael Gambon, Gary Oldman, Alan Rickman, Maggie Smith, Timothy Spall, David Thewlis, Emma Thompson, Julie Walters

The evolution of the Harry Potter series is truly set in motion here as Mexican director Alfonso Cuarón – a choice that shocked the world but delighted JK Rowling – flips Columbus’ warm, bold openers on to its head as an increased amount of threat is aimed at Harry; this time, courtesy of Sirius Black, a prisoner freshly-escaped from Azkaban, the wizardry world’s prison for maniacs. Oh, and you guessed it – he’s after Harry. The best opening as far as the Dursley’s are concerned solidified even further by a vulgar Pam Ferris as (inflatable) Aunt Marge. This offbeat comedic moment completely establishes what Cuarón’s Potter is about, and this still stands up as the strangest entry. Maybe this is due to the visual difference on show here; aesthetically, this does not feel like ‘one for the kids’. The vivacious vibrancy offered in Philosopher’s Stone and Chamber of Secrets, which emanated a sort-of cosiness is replaced with a cold, isolated, pretty bleak landscape which complements the source material entirely. As soon as a Dementor creeps into the frame, you yearn to be sitting under the levitating candlesticks in the Hogwarts Great Hall. It is also refreshing that this new direction be asserted at such a pivotal point. By this I mean, at the point where the universe and regulars have all been introduced, leaving room for new characters integral to the long haul to take centre stage. These include the aptly-named Lupin, a fan favourite, and Sirius Black, the resident villain who actually turns out to be the nicest darn person in the whole thing. Emma Thompson’s Sybil Trelawney was one particular creation I was excited about seeing depicted in the adaptations, however she receives short thrift throughout the franchise, let alone in Prisoner of Azkaban. This is also the first appearance of Michael Gambon’s more haggard Dumbledore and through the later revelations revealed through backstory, some top-notch acting can be displayed from actors who were simply reduced to sneers previously, albeit very cool sneers (you know who you are, Snape).

Subplots are not focused on for too long and become genuinely emotive, especially when Hippogriff’s are concerned, with the somewhat confusing climax being dealt with in a concise and efficient manner. Saying this, things do get a bit shouty and the confusion of who can and cannot be trusted grows tiresome. By the time Lupin is making his transformation from human to werewolf on a Hogwarts landscape you never would have known existed had Chris Columbus not departed the directorial role (he is a producer), it will hit you like a spell that Harry Potter – from this stage onwards – is strongly attempting to break away from being ‘one for the kids’ and more for the kids who are now growing up. This will go down as the one where the franchise temporarily went arty.

And lets face it, a film starring Gary Oldman could never be bad...

 3.5/5

Best Moment: 

The Boggart in the Wardrobe: a creature that manifests itself as your biggest fear, but with one flick of a wand, that fear is defeated. Cue tarantulas on rollerskates, Snape as a well-to do woman and a Dementor. Lupin protects Harry with the shout of ‘Expectro Patronum!’

Defence Against the Dark Arts Teacher:

David Thewlis’ universally loved Remus Lupin – a comforting figure that could turn ferocious in the flash of a full moon.

Best Character:

Severus Snape; this is the film where Alan Rickman finally makes it known that he is not only going to do the best character in the whole thing justice, but stretch this out to territory even grander than expected through his multi-layered restrained emotion and action. Pure class

Best Line:

Professor Snape: Well, well Lupin. Out for a little walk... in the moonlight, are we?