Revisiting Harry Potter: A remarkable journey

Written by Mark Schumann, Father of Three
Thursday, 28 July 2011 10:47

Each week, the Reel Dad checks the nutritional value of a movie — new or classic — to help parents choose what to watch. This week our critic looks back at all eight of the Harry Potter films to celebrate the conclusion to this marvelous series.

As movie audiences bask in the magic of Harry Potter — with The Deadly Hallows, Part 2 breaking box office records — let’s consider how, on film, the series has matured over the years.

Unlike The Lord of the Rings trilogy — a single creative vision presented in three parts — Harry Potter progressed from faithfully adapting a literary work to creating a distinctive movie experience. As the series evolved, it stretched our expectations for what a novel-to-screen transfer can achieve, from recreating what’s on the page to rethinking its ultimate message.

Looking back, the opener, Harry Potter and the Sorcerer’s Stone (2001), works so hard to duplicate the novel that it fails to create its own life. While director Chris Columbus discovers perfect physical representations of Harry, Hermione and Ron, and uses every possible movie trick to bring their world to life, he lets the script become too wordy, the movie run too long, and the visuals get too static. While the commitment to authentic adaptation continues with Harry Potter and the Chamber of Secrets (2002), Columbus lets its darker tone inspire a sharper approach to the film’s visual look. Best of all, he moves the story quickly, without a lot of exposition. Perhaps he realizes, by this point, everyone knows Harry Potter.

With Harry Potter and the Prisoner of Azkaban (2004), the series discovers its cinema potential as famed director Alfonso Cuaron dares to rethink the material instead of merely adapting. He boldly shifts the look of the film to match the novel’s muted, darker tone. And because he streamlines the storytelling, he leaves time to get beneath the characters of Harry, Ron and Hermione for the first time. These characters continue to grow in Harry Potter and the Goblet of Fire (2005), the first of the films to get a PG-13 rating. Director Mike Newell avoids the tiring approach of the first two episodes while continuing the daring of the third as he manages to turn a 734-page book into a well-paced film.

With Harry Potter and the Order of the Phoenix (2007), the Potter experience solidifies its movie rhythm under the masterful touch of David Yates, who would continue as director for the remainder of the series. He instinctively knows this coming-of-age story needs to turn an artistic corner by creating a much darker film as Harry prepares to confront the evil that haunts his life. By focusing on the characters, instead of the specific action, Yates finds the right balance of following source material while realizing its cinema potential.

With Harry Potter and the Half-Blood Prince (2009), as the characters continue to deal with dark issues of mortality and loss, Yates’ confidence with the material shows. Again, he tightens the narrative, darkens the visuals, and reveals more depth of character. Yates next gives Harry Potter and the Deathly Hallows, Part 1 (2010) the loosest feel of all the films as Harry, Ron and Hermione depart the safety of Hogwarts to begin to battle the evil Lord Voldemort. No surprise, this creative high continues with Harry Potter and the Deathly Hallows, Part 2 (2011), a fitting finale to the series that, as well, represents its creative peak.

As you look back, and take a new look at the Harry Potter series, consider its progression as an artistic work. What began as the study of a young man’s adventures artistically became the story of his journey. And the films made quite a journey over the years, too.

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