The darkest and best chapter (so far) of a beloved saga

Rating: 8/10 (1 December 2010)

When people ask whether I like Harry Potter, I find myself in an awkward position. On one hand, ever since my mom first read me The Sorcerer's Stone when I was eight, I have been enchanted by the world J.K. Rowling brought to life, and for a time, I read the books voraciously, tearing through each one multiple times in a row. On the other hand, I found the final two books a severe letdown after hundreds of pages of rising anticipation, and the movies, while satisfactory, always seemed to be missing something. With the possible exception of the first film, they lacked that magical spark, that sense of wonder and mystery, that made the books so special.
Nonetheless, after seeing David Yates's adaptation of Harry Potter and the Deathly Hallows (Part 1), I was reminded of why I'd loved Harry Potter so much as a kid. Perhaps it was the knowledge that the end of the franchise is imminent, but for the first time in my history of watching Harry Potter movies, I was genuinely captivated. This entry had a vivacity and spirit that was absent from its predecessors, which were decent revisions of Rowling's books but not particularly great movies. Energetic and poignant, Deathly Hallows finally managed to surmount that trend.
From the very first scene, depicting a conference of sorts between the Death Eaters and Voldemort, it is obvious that this is not going to be a cheerful movie. While the previous few installments, beginning with the Goblet of Fire, have gradually grown darker and more serious, none of those can compare to the bleakness that pervades Deathly Hallows, both thematically and visually. Even during the day-time scenes, shades of black, gray and blue suffuse the screen, a world away from the radiant Diagon Alley and flamboyant Hogwarts uniforms in the first film, helping to accentuate the perpetually melancholy atmosphere. In fact, some parts of the film, especially one sequence involving a snake and flies, are downright creepy; during my screening, several of the younger audience members noticeably cringed with fright at some of the more spine-chilling moments. All this darkness is not superfluous. If it hadn't been before, it is now clear how much is at stake, and the shift of action away from Hogwarts provides not only a breath of fresh air, a welcome escape from the confines of the school, but it also compels audiences to fully realize the danger Voldemort poses to both the magical and Muggle worlds. The Death Eaters's regime as they take over the Ministry of Magic is startlingly reminiscent of Nazi Germany, evoking serious issues such as prejudice and genocide.
Even more than the visuals, though, the film's intense emotion is conveyed by its terrific, well-rounded cast. In the fashion of many epics, Harry Potter is truly an ensemble movie, perhaps confirmed by the fact that despite critical acclaim, the Academy has yet to give a single actor in the franchise a nomination, and the veteran performers, many of whom are celebrated British actors, fit in flawlessly, showing off their collective talent yet never upstaging their younger costars. It is a simultaneously fascinating and moving experience to watch Daniel Radcliffe, Rupert Grint and Emma Watson on screen, as you both marvel at how well they have matured and fondly recall the three youths we were first introduced to almost ten years ago. Because of their rich, unaffected performances, Harry, Hermione and Ron feel real and multidimensional, not much different from any teenager you'd see on the street, and their effortless chemistry strengthens the sense of camaraderie shared by the three adolescents, which in turn helps form a deep emotional connection with the audience. In part because of the stars' apparent lack of glamour or vanity, we care about the characters they portray.
Besides the cast, the most surprising element of this newest Harry Potter movie is David Yates's direction. Although he helmed the two previous installments, Yates never proved himself more competent and delightful than he does in the Deathly Hallows, handling the somber atmosphere and subject matter with finesse and managing to imbue the film with energy in even the darkest moments. Using the much-maligned yet undeniably effective "shaky-cam", a technique I don't remember being employed in any of the previous films, he keeps the many action sequences lively, if a tad chaotic; it is not difficult to imagine the movie working well in 3D, as the film-makers originally planned. Equally impressive is Yates's ability to intersperse moments of humor and joy throughout the movie without detracting from its serious themes. In fact, one of the most memorable scenes, at least for me, was one in which Harry attempts to console a despondent Hermione by dancing with her; devoid of any romantic tension, this bittersweet scene simmers with youthful innocence, a casual reminder to the audience that even though the fate of the world hangs on their shoulders, these people are still kids who yearn for ordinary lives. It is ultimately moments like that, little flashes of life and humanity, that make this a truly memorable journey.