FILM REVIEW || Director Alfonso Cuarón | Writer Steve Kloves (based on the novel by J.K. Rowling) | Cinematographer Michael Seresin | Starring Daniel Radcliffe, Emma Watson, Rupert Grint, Gary Oldman, Michael Gambon | Length 136 minutes | Seen at home (DVD), London, Sunday 22 December 2013 || My Rating very good
I’d been told in advance that the third film is where the series gets good, and indeed the attachment of director Alfonso Cuarón should surely have been a good hint of this — even if I still at heart feel that this year’s Gravity was overpraised, it’s undoubtedly a visual tour de force, though even of his contemporary work, I recall enjoying his Great Expectations (1998) a great deal upon its cinematic release, primarily for its stylish visuals (if not its Gwyneth Paltrow turn). Something of the same trick has been conjured up here. In just about every respect, this is a far stronger film than the previous two, and it’s the first I can even imagine wanting to revisit.
I don’t want to get carried away with praise for Cuarón’s visual sense, as some of the credit must go to the trio of actors at the film’s heart. More time has passed between this film and the previous one, as between that and the first, and the three actors are both visibly more mature and just better at acting. There’s less childish screechiness and more nuance, and finally Emma Watson’s swotty know-it-all persona seems grounded in a genuine sense of self-confidence and learning, and she is thus rewarded with a more significant role than she had in the previous film. Nuance is something that can also be observed in the guest roles, and in fact Gary Oldman’s escaped criminal Sirius Black (the Azkaban prisoner of the title) and David Thewlis’s teacher Remus Lupin both effectively play on an expectation of one-dimensionality that comes from earlier guest acting turns (from say Branagh and Isaacs, both of whom were enjoyable but hardly suggested any depth of character), and lead to genuinely memorable surprise twists to their characters.
The script too seems tighter and more controlled, relying less on its characters rehashing events in exaggerated exclamations (except perhaps in one late scene when Harry exclaims “You were right Hermione!” and then describes exactly what we’ve just seen, though perhaps that was a self-aware joke at this very propensity in the first two films). Important plot devices are effectively foreshadowed without too much clunky exposition, and the physics of the film seems more believable (albeit yes, it’s still predicated on magic, after all). That said, there’s still plenty of plot — almost too much at times — which leads to occasional stretches where it’s easy to lose track of exactly what’s going on, such as when one of those aforementioned character twists takes place and suddenly you’re wondering who this Peter chap is after all. Undoubtedly a lot of this must make far more sense to readers of the books.
But as I suggested earlier, ultimately it’s the film’s visual sense which has most improved, and for this it must surely be the director who can take the credit. The first two films made far too much use of very ostentatious crane shots, all swooping and gliding in dramatic show-offy ways, and although the camera here is hardly at any point still, it nevertheless feels more organic to the action. There are some really very well-handled transitions, such as one glorious shot following Harry’s pet owl that takes us swiftly from summer into winter, though that’s just one example. Elsewhere the set design has an inventiveness that recalls similarly fantastic films by Cuarón’s Mexican compatriot Guillermo del Toro, like the Monstrous Book of Monsters, itself a monster, or the wraith-like demons who stalk the castle grounds (these Dementors also allow for some tentative social critique, providing a strange little hint into the existence of an autocratic police state, as despite their professed task of hunting down the criminal Sirius, the students are warned that the Dementors can still pose a danger even to those who are not lawbreakers). Finally, there’s even some genuine levity amongst the darkly-tinged drama, such as the jaunty Knight Bus ride, the broad comedy of Emma Thompson’s Divination teacher, or the sight of Alan Rickman dressed as a fashionable old lady.
This, then, is a film that brings the Potter world alive in a way that finally makes some cinematic sense. The series is opened out with a sense of wonder that hints at a darker, more adult world to come, appropriate to its ageing (though still adolescent) stars. It’s also the first of the films to make me genuinely want to know more of the story and the characters, and that’s not something I’d have considered saying ten years ago.
Next: Harry Potter and the Goblet of Fire (2005)