Harry Potter and the Goblet of Fire
One thing you must understand about the “Harry Potter” series- either in print or onscreen- is that when you get to “Goblet of Fire,” we are only in the middle section of this epic fantasy (expect the seventh and final book in a few years). If this series were a trilogy (how many now aren’t?), we would be in the “Empire Strikes Back”/”Two Towers” of the story, the point where we’ve been introduced to the characters, and been on an adventure (or in this case, two, if you consider “Sorcerer’s Stone” and “Chamber of Secrets” as the first “film”) with them. Now, with last year’s “Prisoner of Azkaban”- my favorite of the series thus far- and “Goblet of Fire,” we bend Harry (Daniel Radcliffe, growing more mature and emotionally engaging before our very eyes), Ron (Rupert Grint, just as insecure as ever), and Hermione (Emma Watson, growing lovlier and more breathtaking with each year, as is her character) to see if they’ll break. I can’t wait for “Order of the Phoenix” in 2007.
Personally, in quality at least, “Goblet of Fire” is a step below “Azkaban.” For the first time, contemporary popular music has been introduced into the soundtrack (a dance mid-film has a rock band playing, which I get given the setting, but it threatens to take away the film’s timelessness by entering distinctly contemporary touches (though I’m sure given the filmmaker’s strict adherence to J.K. Rowling’s novels thus far, she wrote the scene as such)), and it does more of an injustice to the series than Patrick Doyle’s dramatically thrilling score (which is a better follow-up to John Williams’ musical wizardry on the first three films than we expect or deserve; that it doesn’t quite achieve the level of Williams’ work- particularly for “Azkaban”- says more about Williams- the greatest film composer in history- than it does Doyle). And like a fellow online critic, I feel- **Spoiler alert**- the true nature and suspicions of/about new Defense Against the Dark Arts teacher Mad Eye Moody (a brilliantly mad-eyed Brendon Gleeson) become less subtle as the film goes on, making the “surprise” at the end all-too-obvious when it comes.
Still, “Goblet of Fire”- which centers around Harry’s trials in the Tri-Wizard tournament (a sort-of wizard’s dicathalon with one member from each of three schools- though this year, two from Hogwarts- facing off against the likes of dragons, mer-people, and themselves)- is thrilling entertainment and continues the rich dramatic evolution that started in “Prisoner of Azkaban.” The longest of the four books adapted thus far, “Fire”- which has the best and most fluid visual effects work yet for a “Potter” film- presents further challenges to screenwriter Steve Kloves- who will be taking “Phoenix” off, but will return for “Harry Potter and the Half-Blood Prince”- to make a faithful adaptation but also one that won’t have them snoring halfway into it (there was talk of splitting it into two films, but that was wisely decided against). Therefore, some things had to go. Gone are the Dursley’s- Harry’s muggle aunt and uncle- and Hermione’s protests on the part of the House Elves, among other things. The changes will likely not please purists- what is wrong with you people by the way? (just kidding)- and though I think audiences could handle a 3-hour “Potter” film- it’s gotta happen sooner or later, right?, these 140-150 minute run times feel shorter and shorter with each passing film. Can you imagine what it’ll be like when the seventh film hits?
Credit the directors for making it work. Admittedly, the last two films have made Chris Columbus’ “Sorcerer’s Stone” and “Chamber of Secrets” look as lumbering and stiff as they were to most critics in 2001 and 2002, respectively, but they set a fine template for the adventures to come, and still carry as much entertainment value for me as they did back then. With last year’s “Prisoner of Azkaban,” though, Mexican director Alfonso Cauron took the story in a thrilling new direction stylistically- which became more evident and more engaging with multiple viewings this year on DVD- that reinvented that template for the remainder of the series. The tone is darker, more dangerous, with the kids hitting puberty with a vengeance and wrestling with morality in ways both more unexpected and profound. As mentioned earlier, it is now my favorite film of the series…
It was also a great setup for “Fire” director Mike Newell, the first Brit to direct the British series (sorry, it’s critical law to mention that when discussing “Fire”). And while his rep for diverse projects- from the breakout hit “Four Weddings and a Funeral” to the slyly underrated “Pushing Tin” to the unseen-by-me “Mona Lisa Smile” and “Enchanted April”- no doubt boasts well for the story’s many romantic, fantastic, and sometimes comic tones (as well as the fact that he gets the British schooling experience), one stands out as being more important, and it’s the one you’d least expect. The film is 1997’s “Donnie Brasco,” a great gangster drama based on a remarkable true story of an undercover FBI agent in the New York mob world with Al Pacino and Johnny Depp. That film dealt with intense moral ambiguities as the agent- played by Depp- became so engrained in the mafia life he was in danger of crossing the line; the reactions of his friends and family to his changing attitudes speak volumes more than any line of dialogue could. That is the place “Potter” is now in as a series, and Newell mines it for all its’ emotional possibilities. He structures “Fire” like a thriller, with palpable danger at just about every corner, and he ends it with an uneasiness that’s initially hard to take- after my first time seeing the film (I’ve seen it three times as of this writing), I got the distinct impression that this series was not going to end well (a part of me still feels that way)- but fitting given the dark events in the film’s final act- the first onscreen death of a good character (which provides legitimately powerful emotional moments, a rarity before in “Potter” films), and Lord Voldemort’s return to his semi-human form (Ralph Fiennes works diabolical acting magic behind the character’s snake-like makeup on his face). Plus, when seen again (and considered in reflection), the end does hold the same glimmer of hope other middle chapters- like “Empire” and “Towers”- had even when they shown events- like those stated above- that inspire our dispair.
To reveal how the plot gets to its’ finale would distract from the surprise of getting there yourself. Of course “Potter” readers know how it’ll happen; they’ve already had that surprise going in- for them, the pleasure is just seeing their beloved characters onscreen. And how wonderfully that happens in these movies. Alan Rickman’s Professor Snape continues to harbor a dark resentment towards Potter and his friends with his fiendish way of speaking that is delicious to watch. Maggie Smith continues to radiate subtle warmth and humanity as Professor McGonagall. Robbie Coltrane is an always-lovable oaf in giant Hagrid, and this time he has a romantic arc. Tom Felton is ever devious as Draco Malfoy, the pure blood wizard brat son of Lucius (Jason Issacs is an actor with purpetual sneer), who has some surprises of his own we discover in this film. Robert Pattinson is one of the new kids on the block as fellow Hogwarts contestant Cedric Diggory, who plays the most popular kid in school as a good guy, not an egotistic jerk, and inspires our goodwill during the movie. As visiting Tri-Wizard contestants Victor Krum and Fleur Delacour, Stanislav Ianevski and Clémence Poésy- respectively- find just the right notes to make an impression, and make a “Potter” novice hope for their return in later films. A brief return- in voice, if not necessarily body- by Gary Oldman’s Sirius Black is more than welcome after his wonderful work in “Azkaban.” Three cheers to the wickedly funny Miranda Richardson- who also costarred with Fiennes in Cronenberg’s “Spider”- as Rita Skeeter, a tabloid writer for the Daily Prophet always looking for a juicy story, even when the facts are fudged a little. And I love the mischievous glee Michael Gambon has brought to Dumbledore in replacing the late Richard Harris while maintaining the nobility Harris had in the first two films. I can’t wait to see what happens to these characters in the later stories. As for this one, it further establishes this series as one of the great franchises in movie history, and once again, “Potter” is one of the years most entertaining films. You can’t take your eyes off these movies.
