Film Review: Harry Potter and the Deathly Hallows - Part I

Harry Potter was introduced to the Muggle world a decade ago by the one and only Jo Rowling, and a phenomenon began as a generation grewn up with The Boy Who Lived. As Harry Potter and the Deathly Hallows is released in theaters, with Part II coming out July 15, 2011, that chapter has finally come to a close; yes, I'm already sobbing at the prospect of finishing this long journey with characters I've had around since I was in third grade. It only seems appropriate that the film series has truly stepped up its game with the final entry in the penultimate film. The first half of Deathly Hallows is my favorite film of the cinematic adaptations (we'll see how Part II ranks this summer; I have outrageously high hopes after this installment), narrowly beating out Alfonso Cuarón wickedly dark Prisoner of Azkaban for the top spot. David Yates, who will live on as the master director of the series after overseeing the final four films, has finally struck a perfect balance of arthouse aesthetics, mature tone, magical wonderment, and blockbuster bombast.

Daniel Radcliffe, Emma Watson, and Rupert Grint return as Harry, Hermione, and Ron; instead of returning to Hogwarts, the trio are on the run to destroy the four remaining Horcruxes before taking on Lord Voldermort. The film ultimately rests on the shoulders of these three actors, an they give their best performances to date; Grint is especially surprising in his more emotive scenes, while Watson truly understands what's going on inside Hermione's head. Given the story's departure from confines of the wizarding school, Yates is able to craft more of his own vision. Beyond all else, this is undoubtedly the most gorgeously shot film of the series; cinematographer Eduardo Serra, new to the series and deserving of an Oscar nomination for his work here, captures breathtaking British landscapes, stunning sets pieces, and a deeply foreboding, dark tension. Alexandre Desplat, my favorite film composer, uplifts these moments by taking classic motifs from the previous films and creating a simple, sonically engaging soundtrack.

The decision to split Deathly Hallows into two films may have sounded like a transparent ploy by Warner Brothers to make as much money as possible, but Yates proves that the split was an artistic necessity. With more breathing room, Deathly Hallows follows the plot of the novel closer than any other entry. Yates also adds small moments that add beautiful to the tone of J.K. Rowling's work; specifically, a scene where Harry and Hermione dance during a particularly tense moment sums up the long, winding relationship of two best friends. It's a warm and nostalgic moment, one that reminded me how long these character have been in my life, and how much I will truly miss them come July. While the movie clocks in at two and a half hours, I never wanted Deathly Hallows to end.

Deathly Hallows is sprawling, epic, taut, full of surprises, biting funny, and endlessly rewarding as a cinematic event. Packed with sequences that are utterly terrifying sequences (the chilling opening scene; Godric's Hollow; a cold torture scene that once again demonstrates the flawless casting of Helena Bonham Carter), thrilling (the trio's infiltration of the Ministry of Magic with its new totalitarian imagery; a chase through the woods), and emotional resonant (Emma Watson is wonderful in a heartbreaking scene at the film's beginning; Toby Jones is exceptional as the voice of house-elf Dobby), the film always entertains; if you don't cry during the final ten minutes, you may need to double check that you have a pulse.

One of the film's best moments is a particularly imaginative depiction of the myth behind the Deathly Hallows. It shows that Yates has become completely comfortable with his handle on the series, and is finally willing to take big risks for a big payoff. With Hogwarts absent, Yates is able to truly focus in on the human relationships at play; the awe-struck sentiment that coursed through the first few films is long gone, replaced with a view of magic that is brutal and unflinching, a view that zooms in on the connective thread between those in search of hope. The dark Part I certainly feels like a prologue piece, with a slightly abrupt ending, to the giant finale to come, but it's a prologue that's firing on all cylinders. A-