HP retrospective #4:

Harry Potter and the Goblet of Fire

2005, 12, Directed by Mike Newell

Starring: Daniel Radcliffe, Rupert Grint, Emma Watson, Robbie Coltrane, Tom Felton, Ralph Fiennes, Michael Gambon, Brendan Gleeson, Jason Isaacs, Roger Lloyd Pack, Robert Pattinson, Clemence Poesy, Miranda Richardson, Alan Rickman, Maggie Smith, David Tennant, Frances de la Tour

David Heyman has openly expressed his dismay at some key moments from The Goblet of Fire novel finding room on the not-so lonely cutting room floor, however understands that for the films not to outstay their welcome, anything deemed unnecessary or integral to the overriding idea cannot find room in the film… and so the director tasked with the tough job of adapting arguably the best of JK Rowling’s modern classics is Brit Mike Newell. Like Cuarón before him, he set aside particular time at asserting his mark not only by omitting memorable moments but shortening them also by way of stylistic jump-cuts (admittedly impressing – look no further than the scene in which Harry snatches the egg in his first event of the Triwizard Tournament, when the shot cuts immediately to the egg in Harry’s grasp as he parades it in front of his Gryffindor peers in the common room). However, the Quidditch World Cup was always something fans, big or small, were excited to witness visually – so its absence is criminal and downright disappointing. Similarly, the complete removal of the Dursley’s causes the film to feel incomplete…

It seems Newell focused more on the route of establishing the overarching villains of the piece through the Death Eaters attack on the fans flocking to the World Cup (who include glistening-haired Lucius Malfoy and the snivelling Peter Pettigrew), thus setting up David Yates’ final films perfectly. This Newell does well, with the ending not only tantalising future instalments, but disturbs as Ralph Fiennes makes his first appearance as the Dark Lord… just stop to that that Voldemort and his army are a group of adult lunatics who kill mercilessly, not only people their own size but teenagers like Cedric Diggory (played here by a pre-Twilight Robert Pattinson). When Harry’s name is read out of the Goblet of Fire, everybody turns against him Too young to compete, Harry is adamant that someone else placed his name inside. Not only is Harry forced to battle Hungarian Horntail dragons, Merpeople and bewitched murky mazes, but his own best friends who turn against him amidst this revelation.Lucky he has new Defence Against the Dark Arts teacher Mad Eye Moody ‘assisting’ him along the way (the twist that throughout the duration of the film that he is actually Barty Crouch Jr swigging Polyjuice Potion the entire time is dealt with well).

As with Prisoner of Azkaban, number four feels like it occurs in a completely different sitting to Columbus’ films – Hogwarts feels more like an average school: Harry and Ron bicker, as they both attempt to woo some females, written work occurs as well as bullying, Hermione becomes hormonal over Ron not asking her to the Yule Ball… even everybody’s hair is longer. Not even magic can change those things, it seems. But as it stands, Goblet of Fire doesn’t even come close to exceeding the standard of the book, but does succeed in depicting Voldemort as an undeniably fearsome foe beyond being able to be reckoned with, which is the most important thing when all is said and done.

3/5

Best Moment:

Harry and Cedric run for the Triwizard cup and deciding to claim it simeultaneously, are transported to a graveyard where an Avada Kadavra dispatches Cedric and a drop of Harry’s blood is the final part of You-Know-Who’s rebirth. Chilling

Defence Against the Dark Arts Teacher:

Alastor ‘Mad Eye’ Moody – in his initial appearance here, he is locked in a charmed chest. Barty Crouch Jr parades around as him assisting the Death Eaters in pushing Harry to that graveyard. He does become a really likeable character though…

Best Character:
This time it jointly goes to Albus Dumbledore and Minerva McGonagall – one, because it would be unfair if they were not to feature her, but secondly because they play their roles so well they fit into everything so seamlessly.

Best Line:

Albus Dumbledore: Dark and difficult times lie ahead; soon we must all face the choice betweenw hat is right and what is easy



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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?

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HP retrospective #2:



Harry Potter and the Chamber of Secrets

2002, PG, Directed by Chris Columbus
Starring: Daniel Radcliffe, Rupert Grint, Emma Watson, Kenneth Branagh, Tom Felton, Richard Griffiths, Richard Harris, Jason Isaacs, Toby Jones, Alan Rickman, Fiona Shaw, Maggie Smith, Julie Walters, Mark Williams, Bonnie Wright

Perhaps the hardest book to adapt overall due to the burden of sugar-coating the dark tone in order to make the whole thing accessible to young fans acquired from number one. Similar to this, producer David Heyman and his crew had only just grasped a sense of the phenomenon Philosopher’s Stone became; encouraging, yet pressurising. And so the formula continues: Dursely interaction, Hogwarts Express, danger at Hogwarts manifests itself with Harry undoubtedly at its centre and of course, a heart- warming resolution. A flurry of new characters (Dobby, Lucius Malfoy, Moaning Myrtle) manages to assert Chamber of Secrets as fresh and expansive of JK Rowling’s universe – which of course it does successfully judging by the reaction to that death scene in the first part of the Deathly Hallows. But here, most screen-time is awarded to Shakespearean thesp Kenneth Branagh as the cocky, slimy ‘celebrity’ author Gilderoy Lockhart as Professor Quirrell’s successor to the increasingly more ironically titled subject, Defence Against the Dark Arts. He provides laugh and spits intentionally eye-rolling dialogue and annoys. A lot. But that is his purpose. When an eye rolls, it rolls along with the Gryffindor and Slytherin alike, whilst Julie Walters’ Mollie Weasley gushes at his every word. Talking of the Weasley’s, this is the Potter with that Ford Anglia flying car and our first glimpse of – perhaps visually the most intricately designed location in the entire film series – The Burrow, the Weasley family home.

The story itself is sparked when the Chamber of Secrets is opened inside of Hogwarts, sparking fear of You-Know-Who’s return. But when random students (and cat’s) are found paralysed in terror, talk turns to the closure of school for the year. I always remembered the climax of Chamber of Secrets to be a lot more chilling than it is now, which stands testament to the claim that Columbus offerings are aimed more at a younger age than any of his successors. However, the comedy is presented more often in these early films – with Rupert Grint taking most of the credit for that. Some important tidbits are touched upon here – which enhances Rowling’s continuity –including Harry speaking Parseltongue and the first Horcrux unknowingly being destroyed, as well as the first use of Polyjuice Potion and Floo Powder. It seems a shame that all of the great factors make such a long film, with Chamber of Secrets containing more than enough detail. At 161 minutes, it is officially the longest Harry Potter film there is.

Still, Tom Marvolo Riddle being an anagram for ‘I Am Lord Voldemort’ still holds up as being cool too..!

3/5

Best Moment:

The Quidditch match here ranks as one of the best. Fantastically realised from Columbus, it’s a shame it does not endure for longer at the expense of other expendable moments (Hermione’s feline error with the Polyjuice Potion).

Defence Against the Dark Arts Teacher:

Gilderoy Lockhart, author of a series of successful books that depicts his epic battles with magical, dark creatures – but in actual fact, a useless fad who ends up with memory loss. Left out of his brief appearance in Order of the Phoenix was probably for the best.

Best Character:

Colin Creevey has to be considered for being extremely annoying at one stage and then ridiculously sweet in the click of a camera. But this is the introduction of a much-loved character that steals the show in just a few scenes: Arthur Weasley.

Best Quote:

Arthur Weasley: Now Harry, you must know all about Muggles. Tell me, what exactly is the function of a rubber duck?

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HP retrospective #1:

On July 15th, Harry Potter and the Deathly Hallows: Part 2 is released nationwide, bringing to a close the biggest commercial franchise the world has ever seen, thanks to producer David Heyman. To mark the evolution of this groundbreaking series and its contribution to cinema, I will provide a daily retrospective of the past 7 films to grace the silver screen, culminating in a review of the final part. In case you haven't seen any of the films (where the hell have you been?), spoilers abound. Enjoy!

Harry Potter and the Philosopher's Stone

2001, PG, Directed by Chris Columbus
Starring: Daniel Radcliffe, Rupert Grint, Emma Watson, Robbie Coltrane, Warwick Davis, Tom Felton, Richard Griffiths, Richard Harris, Ian Hart, John Hurt, Matthew Lewis, Alan Rickman, Fiona Shaw, Maggie Smith, Julie Walters, Zoe Wanamaker

Our introduction to The Boy Who Lived establishes JK Rowling’s universe as one of wonderment, awe and a bandwagon you completely must jump on to in order to experience the phenomena surrounding officially the biggest franchise the world has ever seen. Upon hearing that iconic piece of music at the very start of where the magic began, Chris Columbus’ debut, from the pre-credits Privet Drive sequence right through to the Hogwarts Express departing the school of witchcraft and wizardry, massively succeeds in appealing to younger audiences as well as everybody else.

Not only is the scope gargantuan due to adept translation of page to screen, but largely thanks to the casting which is – for want of a better term – damn inspired. It is important to note the first of Richard Harris’ two appearances as the incredibly warm and dependable presence of Hogwarts headmaster Albus Dumbledore, before he sadly passed away in 2002 (a few weeks before the release of Chamber of Secrets). In fact, it is near impossible to imagine Michael Gambon’s Dumbledore present here, his characterisation that works so well Azkaban onwards having no place in Colombus’ Potterverse; tonally, Harris nails it. It is something of a surprise how little screen time franchise-stealer Alan Rickman has here as the snarling, scintillating Severus Snape. More is made of Maggie Smith’s fierce, yet loveable McGonagall. Acting heavyweights aside, this is the film that initially made mega superstars out of national treasures Rupert Grint, Emma Watson and the big man himself, Daniel Radcliffe – he IS Harry Potter. Stale at times with cringing delivery, it is important to remember that at 12 years old, not many other children could have embodied the character as well as Dan and shared the screen with such skilled stars. Only upon re-watch does it become alarmingly surreal how Radcliffe has grown from boy to man during the space of these films, all adding to the authenticity of proceedings.

Philosopher’s Stone is as watchable as it was a decade ago, with the effects and set-pieces holding up in what has become a 3-D obsessed time (lets face it, Quidditch is awesome whichever format it’s in), however more flaws become prevalent too. If they can ever be overlooked though, it is for the introduction to what is a long line of films. Today, the direction the books and films alike were headed is as clear as the Mirror of Erised and as a whole, the culmination was a lot darker than anything audiences envisaged at such an early stage. In terms of reminiscent value, this doesn’t get any stronger.

4/5

Best Moment:

There is plenty to choose from: Diagon Alley; the Sorting Hat; Ron's heroic game of Chess – but it has to be the first glimpse of Hogwarts; such an iconic location and will always be as jaw-dropping, shiver-inducing and plain exciting as the first time witnessed.

Defence Against the Dark Arts Teacher:

Turban wearing Pr-pr-professor Quirrell (Ian Hart). Works on a level of not being an obvious villain, and the reveal of Voldemort etched to the back of his head is visually disconcerting.

Best Character:

I’m going to attempt to stray from saying Snape each time, so first winner of this category for me is Ron Weasley. Comic timing has always come to Grint naturally. Narrowly losing out is Argus Filch, the series' most underrated character.

Best Quote:

Hermione Granger: Now, if you two don’t mind, I’m going to bed before either of you come up with another clever idea to get us killed – or worse, expelled
Ron Weasley: She needs to sort out her priorities

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Triangle

15, 2009, Directed by Christopher Smith
Starring: Melissa George, Liam Hemsworth, Michael Dorman, Rachel Carpani

Genres are blurred in what first appears to be an out-and-out horror flick in British director Christopher Smith’s third outing (after the passable, gruesome Creep and Severance), which sees Melissa George’s Jess leaving behind her autistic son to enjoy a boating trip with a group of friends. When disaster strikes at sea, they seek refuge in what appears to ba an abandoned ship – well, abandoned until they begin to be stalked by a shotgun-wielding maniac – but why does Jess feel that she has been on the ship before? It is important that you are not fooled by the seemingly throwaway plot, the offbeat feel is present from the offset which aids in enhancing the uneasiness throughout. When the film eventually kickstarts, you realise that all content is integral to set in motion the events that unfold; and from the moment our protagonist steps foot on deck – without giving anything away – that is when the sci-fi element is layered into proceedings (AKA time to crack out the pad and paper). Triangle is a film that requires multiple watches, yet unlike numerous films of the same breed, it rewards you on initial view also. Smith unravels his material like a pro, genuinely impressing and creating excitement about future prospects where there was none before. Overlooked upon release, this is intelligent and brave enough to be destined for cult status. Former Home and Away star Melissa George delivers in pretty much carrying the entire film in a way in which her character has severely differing motives at pivotal moments: no mean feat.

The problem with a film obsessed with such complexity however is that flaws are inevitable. There is an overbearing highlight on imagery which eventually desensitises when you should be creeped out. Combine this with the amount of questions left unanswered, and if you let it, this could aid in frustrating and alienating the viewer in equal measure. The ending does live up to the remainder of the film – yet alternatively, the previous content leaves it impossible not to be completely devoid of the feeling that things could have been wrapped up just that little bit tighter. As a horror, the film fails – as a science-fiction brain-busting feature that has been crafted with skilled complexity, Triangle works best. Not to everyone’s taste, granted, but the head-slapping twists in which the jigsaw pieces slot into place are what make the film completely watchable.

If Triangle is the shape of things to come for Christopher Smith, all eyes should be fixed upon what he does next.

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Hereafter

2010, 15, Directed by Clint Eastwood

Starring: Matt Damon, Cécile De France, Frankie McLaren, Thierry Neuvic

There is no doubt about the fact that Clint Eastwood is a living legend: offering up some of the most iconic performances and thrilling films in cinema history, it comes as something of an obvious surprise that Clint should venture into territory explored in his latest… the afterlife. His first film since personal passable bittersweet drama Gran Torino (in which he starred), Hereafter is a considered fitting pet project which makes it crystal that even after all these years, Dirty Harry himself is out to impress nobody but his own passion. Not that you should judge a film on past achievements though. Hereafter asserts itself pretty immediately in a large-scale, breathtaking yet devastating way that nobody can expect unless spoiled. We are soon introduced to three strands of plot each with three central characters from around the globe: Marie, a French journalist who encounters a near-death experience; George, an American with a ‘gift’; and Marcus, a young Londoner who has someone close to him pass away. It’s only a matter of time until their paths cross. Think a sombre Love, Actually.

The film has huge promise and does manage to sustain your attention through intrigue and low-key performances; these impress where the action sometimes confuses (mainly to do with Bryce Dallas Howard’s radiant Melanie), but Matt Damon overcomes the obstacle well by portraying his tortured George with the emotive feeling of a trapped soul longing for freedom from the ‘curse’ he possesses. The script lends focus to strong characterisation enhancing the performances and paving the way for future interactions. Alternatively, the problem with Peter Morgan’s script lay in the deprivation of substance when most needed, meaning that Hereafter manages to slip into melodrama. Similarly, when the film finally decides it wants to work its way towards a resolution, the anti-climatic way in which strands are intertwined are so brief that the endurance of the lengthy running time does not feel as worthwhile as you hope. The film may have huge promise, yes, but the film could also have been a whole lot more – especially in the hands of a legendary craftsman. Hereafter bravely asks the question ‘what happens when we pass away?’… It’s a shame that the viewer will be questioning Clint’s choice of film instead.

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Date Night

15, 2010, Directed by Shawn Levy
Starring: Steve Carrell, Tina Fey, Mark Wahlberg, Taraji P. Henson

Steve Carell, and Tina Fey: matchmade in comedy heaven, right? You would be hard pressed to think so once the credits of Date Night are rolling in front of you. No doubt they have their moments but said moments occur sparingly. The problem lies in the worn-thin plot which sees a happily married couple head out on their 'date night' - a much-needed break from their hectic daily schedules and parental routines. After being turned away from a plush restaurant, they craftily nab the Tripplehorn's reservation only to soon discover that the Tripplehorns possess something that some very nasty individuals want. Hence a night of chaos for the hapless couple, offering nothing new to the table of mistaken identity.

Date Night is a confused film; it seems that there are random strong elements for what could be a thriller at play, with a genuinely tense chase sequence convincing. All sense was ironically thrown out of the window after director Levy (Cheaper by the Dozen, Night at the Museum) landed on his feet with two US television comedy heavyweights (The Office and 30 Rock), as he attempted to integrate hilarity into proceedings. He is successful in parts (take a bow Marky Mark Wahlberg) but embarrassingly misses the mark in others (Ray Liotta, you used to be so cool...). There is some fun to be had with some unexpected cameos, but at the end of this night, you will most probably be staring at the screen with a furrowed brow, as opposed to a cheeky grin, confused as to how Levy missed such a golden oppourtunity.

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