When author J. K. Rowling dropped off her last 700-page tome in the Harry Potter series, the world went into a state of mourning, right after ravishing every page of The Deathly Hallows. There would be no more literary adventures. You can expect that same sense of longing for the studio suits over at Warner Brothers considering the Harry Potter franchise has grossed over five billion worldwide. The bounty was about to be over, especially with one last book to adapt into an eventual overly long movie. Then the suits came across a genius strategy: split the last book into two separate movies. Filmed simultaneously over a year, Harry Potter and the Deathly Hallows will be released in two parts eight months apart. I understand that it’s hard to say goodbye to the boy wizard that charmed millions, and tow movies almost guarantee that nothing will be left out in the adaptation process. It also ensures that Warner Brothers will have two movies that make giant piles of money instead of one. Deathly Hallows: Part One plays its part setting up the finale, but judging from what we’re given, this series conclusion could have effortlessly been condensed to one overly long film instead of two.
Picking up shortly after the events of Half-Blood Prince, Harry (Daniel Radcliffe) and his best pals, Ron (Rupert Grint) and Hermione (Emma Watson), are on the run. Lord Voldermort (Ralph Fiennes) is determined to be the one to slay the boy wizard. Voldermort and his influence have taken over many facets of the magic world’s infrastructure, and they are all after Harry. Harry learned that his snake-faced nemesis has broken his soul into pieces and hidden them inside magical items known as horcruxes. Unless these horucruxes are destroyed, Voldermort will never be able to truly die. Harry and company has to hunt down those accursed horcruxes while being hounded by evil forces determined to kill them all.
For a solid hour I felt like I was watching the second best Harry Potter film; Alfonso Cuaran’s Prisoner of Azkaban still stands as the artistic highpoint. Watching the characters on the run and constantly in peril spurs your protective feelings. We’ve seen them grow up, vanquish evil and hormones, and now they seem to be in serious danger and you feel real tension. I stopped to realize how much I actually cared for these characters and how concerned I was. There is a somber sense of finality, and I enjoyed characters and events colliding back together for one big finish. It truly feels like everything is coming to a titanic close, and the film manages to be the most emotionally satisfying of the series. That’s likely because it’s building off six films of character growth and goodwill. But it’s also due to the fact that Deathly Hallows spends the most time examining the characters of Harry, Ron, and Hermione. The series has followed a very lockstep plot formula and now it’s been stripped away. The kids are removed from the school setting so we get to spend plenty of time alone with the trio. In fact, it’s a bit too much time. We spend an interminable amount of time with these kids lost in the woods, waiting for something important to happen. While we wait we have the trio address fears, anxieties, and emotional hang-ups, which turns Part One into the most insular, reflective movie in the entire series. While this makes the movie rich with feeling before we come to the finish line, it also makes the film somewhat boring because these kids aren’t that deep.
Luckily, Deathly Hallows Part One presents some of the more exciting action sequences and tense mood yet for a franchise mostly built upon investigation and Hardy Boys stuff (with extra magic!). The Harry Potter world has always been more interesting to me the darker it got, and now the series has now firmly converted to the dark side (as far as PG-13 fantasies go). The opening shows each of the three kids being left alone, including Hermione protecting her Muggle parents by wiping away their memory of their daughter. Tough stuff. Then we transition to a floating Hogwarts teacher held prisoner by Voldermort and his legion of Death Eater followers. She’s struck dead and we see a tear roll down her bloodied face right before Voldy’s pet snake eats her. Parents be warned, this is no longer kid’s stuff. Death comes to several supporting characters and there’s plenty of spooky stuff that adds up to a gloomy atmosphere. The infiltration of the Ministry of Magic is a thrilling sequence. Harry and pals disguise themselves as Ministry workers to locate a horcrux from Dolores Umbridge (I cheered at the sight of Imelda Staunton back in pink). The scene is tense and lays out the stakes and important characters to fear. It also produces some potent drama as Ron is disguised as a Ministry member whose innocent wife is being interrogated. The moment culminates in a genuinely exciting chase sequence that got me excited for what was ahead. What I failed to realize is that there was not much more ahead.
With all that extra attention spent on character, I can also say that Part One has some definite issues with its stagnating narrative. Having never read the books (get over it, Potter nation), I go in blind every time short for the mega-spoilers that I can’t help but learn thanks to all the Potter readers inhabiting my circle of friends and family. I can tell you if something doesn’t make sense because I don’t have the background knowledge of the books to fill me in. There was plenty in Deathly Hallows that made little sense. The adaptation introduces the titular deathly hallows, which ends up being another three super special magic items. There’s a nicely Gothic animated sequence to try and explain the three hallowed items, but it all adds up to a fairy tale that makes little traction. The narrative has already shaped up into a portentous scavenger hunt. Harry and friends are after the remaining horcruxes containing the soul of Mr. Snarly Face. The entire 145 minutes of Part One is spent destroying a single horcrux, leaving 3 or 4 remaining. Now they add three more magic items to find and it all compounds my feelings of fatigue. Did I mention they also have to find a magic sword? How many magical items are these kids going to be responsible to find and how many am I expected to care about?
I left the theater with many questions about what the hell the deathly hallows were, why they mattered, and all sorts of other storylines too. I could not follow all the new characters they threw so late into the game, especially some old wand maker and his connection to wand thievery. And when the hell did everyone gain the ability to teleport at will? Why don’t they teleport all the time then, especially out of danger or when they’re chased through the woods? My friend (an avid Potter reader) had to deal with a litany of stupid questions, likely treating me as a parent would a child asking about where the sun goes when it becomes night.
Also, the film is intended to be a prelude for an epic finale but it mishandles its own sense of climax at several turns. I’ll refrain from heavy spoilers, but one of the most interesting characters, played by an actor I adore, is killed off screen. Off freaking screen! Some other character comes back and says, “Oh yeah, he’s gone,” and then everyone looks glum and goes about their business. It happened so matter-of-factly and anticlimactically that I never made the connection. So later in the film when it’s confirmed that this character is in fact dead, I felt pretty thick. The last chapter of Harry Potter is destined to be a combined 5 hours, and you’re telling me they couldn’t fit in a fight scene that lets this character go out with style? I suppose somebody thought it was more dramatic to just mention a character death offhand. Following this logic, I can’t wait for the grandiose finale where Harry Potter just walks back into a room and says, “Oh, by the way, I just killed Voldermort. So who wants to get a bite to eat?” The emotional climax of the film involves the death of a supporting character I have yet to see onscreen for 8 years. How am I supposed to feel for a character that hasn’t been seen for so long? The ending is sad, sure, but it would have been more effective if: a) I knew what significance the character had in the narrative, and b) it didn’t look like Harry was clutching a rubber doll to his chest. We spend too much time with new characters that end up having minor worth or come across as one-offs. The movie would have benefited from some of the deathly exposition that clogged the first two film’s storylines. As the movie comes to a close it should be clearing things up instead of polluting the narrative with more names and faces.
Director David Yates has been captain of the Potter helm since 2007’s Order of the Phoenix, and he seems to have found a unifying visual balance for the series. The film’s tone has gotten heavier and having a singular director take the series to an end looks to be a godsend. Despite a lengthy slog in the middle, Yates keeps the pacing fairly tight and tense. The visuals and special effects are just as luminous as ever. The true treat for me is watching all these splendid British actors assembled: Alan Rickman, Ralph Fiennes, Imelda Staunton, Helena Bonham Carter, Timothy Spall, Jason Isaacs on Team Evil, and Brendan Gleeson, David Thewlis, Rhys Ifans, Julie Waters, Robbie Coltrane, Michael Gambon on Team Good. Then there are new additions like glass-jawed David O’Hara (Wanted) and the great Peter Mullan (Young Adam) making strong yet short appearances. I don’t really care why all these talented thespians are together but I’ll enjoy them all the same.
Harry Potter and the Deathly Hallows: Part One is the beginning of the end, literally a prelude for the finale coming to theaters in summer 2011. The film manages to be exciting and dramatic and equally boring and confusing, especially for someone who has willfully refused to read the books. Spending more time with the teen actors has its pluses and minuses, chief minus being that while they wait for stuff to happen so do we. The manufactured end point for the movie feels far from satisfying, but the film manages to effectively whet the appetite for the follow-up. As the Harry Potter series comes to a close it’s hard not to get nostalgic and apologetic, but I resist this urge. Looking back, many of the Potter films have been fine pieces of entertainment but also too long, misshapen, and too slavish to making a book on tape. Part One of Deathly Hallows still falls victim to some of these faults, but the accumulated goodwill of the series and actors makes a 145-minute prologue easily bearable.
Nate’s Grade: B