Score: 5 / 5
My favorite thing about David Yates is that, while his "big picture" goal for his Harry Potter films remains constant, each of his four installments has a distinctive aesthetic that broadens our view into the wizarding world. Yates views Deathly Hallows: Part 1, the thematically darkest film in the franchise, with an eye toward gritty violence. Between the sweeping panoramas and emotional conversations, we see a few shockingly visceral fights, including the Death Easter attack in the night sky and the Snatcher chase near the end. Filtered through stylized camerawork and higher contrast, these sequences (among others) feel grainy and tactile, almost like footage from an action or war film.
Our three leads successfully venture into new acting territory. Rupert Grint's sulking presence is his best in the series. Emma Watson and Daniel Radcliffe shine in their connected, emotionally rooted performances. We see few other faces for any length of time, but plenty in passing. King of these is Rhys Ifans as tragic and chilling Xenophilius Lovegood. Bill Nighy gives a face to Rufus Scrimgeour, and Andy Linden (whom I do not recall from other major works) gives us an 'orribly charming Mundungus Fletcher. Imelda Staunton, Jason Isaacs, Helena Bonham Carter, Tom Felton, John Hurt, Ralph Fiennes, and Toby Jones reprise their roles from earlier in the series to great, if brief, success. Finally, I want to point out the amazing Kate Fleetwood, who plays the almost inconsequential Mary Cattermole, because she's a great Lady Macbeth (2010) and even showed up in Les Miserables (2012).
The emotional opening sequence takes us from intrigued to sad to terrified, as we see new Minister of Magic Rufus Scrimgeour taking power, our heroes leaving their homes, and Voldemort plotting with his Death Eaters. This expertly crafted opening leads into one of the more exciting action sequences we've seen in the franchise. Before Harry and his friends attempt to fly to safety, they take a potion to appear like Harry, creating a chaotic diversion for the enemy. The Death Eaters attack in a particularly disturbing aerial battle and split up to target the seven Harrys. Hedwig's death in this scene is more satisfying than in the book, because her sacrifice serves as the signal of which Harry is real, rather than a specific spell he uses.
Unfortunately, a few moments are skated over or hurriedly introduced because we have not spent nearly enough time on them in previous films (which has been fine, up till now). Scrimgeour and Mundungus are tossed into the mix rather unceremoniously, but not gracelessly. Auntie Muriel (Matytelok Gibbs) and Elphias Doge (David Ryall) have an abbreviated but memorable conversation during the Weasley wedding (oh, and we can't forget Fleur's lovely dress). While Voldemort's search for the wand is handled well, we could have hoped for more of Dumbledore's backstory; unfortunately, Yates had to cut something, and this was about all he could spare. The lack of information on this front, however, certainly adds to the atmosphere of doubt and speculation. Finally, the shard of glass Harry looks at is oddly left unexplained; though we see its significance in the final film, it still feels awkward and unsatisfying.
Talky and taut, moody and broody, this film oozes paranoia and desolation. Yates's approach even feels like in an indy film several times, and he highlights the complicated, mostly wordless emotions of our leads as they migrate through isolated wilderness. But even more typical Potter moments eke out surprising edge-of-your-seat sensations, as in our heroes' nervously funny infiltration of the Ministry and the masterful venture into Godric's Hollow (a scene that I would have dragged out longer). My favorite scene, though, belongs to Hermione's Tale of the Three Brothers, with its beautiful animation; its colors, pacing, and design are perfect, and serve as the film's crux in fabulous style. The palpably dark climax in Malfoy Manor, Dobby's death, and Voldemort's seizing of the Elder Wand make for a solid, brutal sequence and spike up the energy leading into the final film.
IMDb: The Deathly Hallows: Part 1
Harry Potter and the Deathly Hallows: Part 2 (2011)
Score: 5 / 5
Though we see a lot of faces in this, few perform any noteworthy scenes, which is fine for this smash-bang finale. Oh, and the makeup in this film is particularly great. Emma Watson and Helena Bonham Carter team up for a very funny opening sequence of breaking into Gringotts. Warwick Davis plays a delightfully nasty Griphook, and John Hurt sets a dire tone for the film as Ollivander. Daniel Radcliffe, Alan Rickman, and Ralph Fiennes own the film, as they should, in utterly incredible performances. Rickman's stony features finally crack and his dramatic power is laid bare. Maggie Smith and Julie Walters head the fight for Hogwarts in energetic triumph, and Matthew Lewis leads Neville Longbottom to a rousing victory.
The slow, talky opening at Shell Cottage perfectly bridges from the previous film, and the Gringotts madness quickly picks up the pace. Alexandre Desplat continues his great score, and Steve Kloves (screenwriter for all previous films but Order of the Phoenix) gives us his best script and dialogue yet, considering a film so spread apart in terms of crucial and simultaneous plot points. We see familiar faces and walls -- like the Chamber of Secrets -- but we also see new ones in this final picture, such as the Gray Lady (Brave (2012) star Kelly Macdonald) and the Hogwarts boathouse. All are wonderfully realized and beautifully cinematic, with the possible exception of one: Ciarán Hinds, whom I love, plays a fine but brief Aberforth Dumbledore, whose part is woefully underwritten.
Snape's stylized denouement is brave and emotional; though it doesn't get as detailed as Rowling's description, Yates views it as how it feels, not necessarily what it says. Yates's eye for visuals commands ours in this epic ending, and every moment feels monumental and eternal because he understands the drama of the series so thoroughly. The entire battle of Hogwarts is great, but my favorite moment happens as Harry, Ron, and Hermione fight through the courtyard to get to the boathouse. It's one of the busiest sequences of the film, but it is also one of the most dramatic, as our heroes battle through hell to reach the devil.
Voldemort has more screen time in this film than the others, and Ralph Fiennes owns it. His icy facade degenerates into fiery cruelty as he is forced to face his own mortality. From his bloody massacre of the Gringotts employees to his death-disintegration, we see him painted as a corporeal body, paradoxically both increasingly human and decreasingly human. Keeping with this, Fiennes's movement work here rivals his own in Goblet of Fire. His dilemma makes this film, when we focus on his character, a horror film: Besides its tragic elements of blindness, oversight, and loss, we see his body breaking down, bleeding, and suffering much like ours. His desperate grasps at divinity also reveal themselves in his dialogue. My favorite line of his happens before he kills Snape, telling him, "You've been a good and faithful servant, Severus, but only I can live forever." In this cruel corruption of what all good Christians hope to someday hear (Matthew 25), Voldemort takes his servant's service, life, and hope while attempting to deify himself.
Harry, on the other hand, fulfills his obviously Christ-like role in the series by coming to terms with himself and understanding the sacrifice he must make. In one of (if not the) most emotional twist climaxes in film memory -- which doesn't even feel entirely novel -- Harry learns the secrets of his past and the secrets deep within him. Radcliffe controls the emotions of Harry incredibly well from this scene right through his death, his beautiful conversation with Dumbledore, and his victorious return to life. What else can we say about this film? Only that it may have deserved more awards, but probably couldn't have garnered much more praise.
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