Harry potter deathly hallows part 1 book
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We’ll tell you no more about it for fear of spoiling it, but if you find yourself tempted to watch-gaze as the ending gradually draws near, it’s worth indulging the film just a little further. It’s unexpected, exquisitely executed, and by far the darkest thing in a film that already frequently snarls with menace. Yet suddenly, out of the blue, he pulls a stunning animated sequence out of his bag of tricks, that left our jaw dangling near the floor. Instead, it’s a simple, and long, traipse from A to B via C to get things done, and there’s little more to it than that for most of the film.ĭavid Yates, to be fair, does occasionally attempt to inject more life into the second half of his film, and he does so with varying levels of success. Harry Potter And The Deathly Hallows Part I is effectively a film about a journey for Ron, Harry and Hermione. That in itself isn’t a massive problem, but the pacing is terrible at times, and the three main characters really don’t evolve very much at all throughout it all.Īs such, the film drags substantially as it heads into its final third, and it’s there that it hits you.
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The narrative feels like an old-style computer adventure game, which hinges on discovering objects, solving puzzles, taking things to the right place to use them, and unlocking the next level. To be fair, it doesn’t help that the three simply aren’t given enough story to put across here.
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We can’t lose the feeling that he seems to be developing as an actor around a year behind where the Potter films generally need him to be, though, yet he’s closed the gap a lot here, and it’s to the benefit of the film. Radcliffe’s improved a lot here, too, and he’s given some really quite difficult work to do. It’s a little predictable now to come to the conclusion that it’s Watson who’s matured as the best acting talent of the three, but there’s proof of it all over Deathly Hallows Part I. And, to be frank, they cope with it to varying degrees. Instead, the story puts Daniel Radcliffe, Emma Watson and Rupert Grint in the unenviable position of having to carry the vast bulk of the film, with very little narrative meat to feast on by this stage. There’s no Hogwarts here, for instance, and many of the familiar side characters are shuffled away for a very large proportion of the film. Because once Ron, Hermione and Harry head off on their Horcrux hunt, the film takes the franchise away from the very elements that have always grounded it through the slower moments before. Yet it’s then that Harry Potter and the Deathly Hallows Part I starts to lose its momentum, and it never really gets it back. So we have wizarding chums Ron, Hermione and Harry put into place on the search for Horcruxes, with it also firmly established that Voldemort and the forces of darkness will stop at little to track them down.Īs an opening act, it’s hard to think how it could have delivered more.
Harry potter deathly hallows part 1 book movie#
Once he’s built up such a believable sense of foreboding, though, Yates then has to turn the movie over to the most familiar trio of teen movie characters on the planet. Make no mistake: that 12A rating is very well deserved. They promised this one would be dark and dangerous, and they really weren’t kidding. He borrows a little from Alfonso Cuaron’s Prisoner Of Azkaban movie, yet he’s wise to do so, melding one or two of the ideas from there with plenty of his own. There’s surely, too, a future horror film in Yates, given just how well he manages to jolt you out of your seat, and put across such a sinister tone.
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The opening transportation of Harry Potter to attempted safety, for instance, is genuinely thrilling, the kind of sequence that will leave many in the audience simply gasping for breath. That’s where you get the cavalcade of British thesps (Alan Rickman, as always, takes the honours for us, but you get, inevitably, a lot more Ralph Fiennes too, and the return of Imelda Staunton is a brief delight), along with the sinister build up of the Dark Lord Voldemort’s plan, the magnificent sequences inside the Ministry Of Magic, and a real sense of darkness and gloom. In fact, with one notable exception which we’ll come to shortly, all of the really good stuff is to be found in the first third of the movie. That said, there’s little arguing that it’s a film that shoots out the traps quite brilliantly. And secondly, it goes on for a good 20 minutes after your buttocks have waved the white flag. Firstly, it crams in as much narrative as it can, keen to leave as much of J K Rowling’s source material in place, before it skids to its half-time break. In the best and worst sense, few recent blockbuster films have managed to convey the sense of the passage of many months of time better than Harry Potter and the Deathly Hallows Part I.