All Good Things, Must Come To An End

While it is already a long time since its origin, next year will mark 20 years when a story about a young boy-wizard, growing up and prevailing against darkness, took shape in the form of a book for many children and adults to be engrossed in. Indeed, J.K. Rowling’s much favoured ‘The Philosopher Stone’ book, published in 1997, sparked a generation of young-readers to be enthralled in a thrilling story that had mystery, adventure and ‘magic’. While it can’t be questioned to deny that Rowling provided me, and lots of other people similar-age, a literary upbringing that accomplished many things, the filmic legacy, which was brought about with Rowling selling the Potter rights to Warner Bros. in 1999, would prove to be just as popular and as imperative in parading the Harry Potter name. To put it simply, this praised and lauded film franchise is nothing like anything on one has ever seen before. Despite not comparing itself to other bigger film franchises in terms of the number of films, Harry Potter’s filmic journey is unique in contrast, since Warner Bros. have been delivering these magic tales in quick succession in a short amount of time. For a 10 year span consisting of 8 films, most of us have grown with these films that have progressively changed and present young/established British actors that have consistently performed to a high-standard. As a collective, we’ve watched these young performers grow into people and you don’t necessarily see that in any other franchise. What began as a simple, childlike inquiry into the nature of good versus evil, Yates’ 4th and last entry into the Potter world, The Deathly Hallows Part 2, ends with powerful performances, stunning visuals, at times, and bringing forth motifs of  not just ‘darkness within our selves’, but also the impact of death; challenging to keep those who we’ve lost in our hearts and to live on from the harrowing traumas that are best to be forgotten…

Quickly following on from the events that took place in Part 1, Harry, Ron and Hermione continue their quest of finding and destroying Lord Voldemort’s remaining Horcruxes, the magical items that retain a part of the Dark Lord’s soul deep inside. But as one Deathly Hallow surfaces after another, and with Voldemort finding out about the deadly deed that Dumbledore originally started at the same time, battle lines are drawn as Harry, Ron and Hermione join the final clash of good vs evil at Hogwarts, where crucial secrets unravel themselves along with the remaining Horcruxes. Can Harry stop Voldemort once and for all? Or will evil prevail and take the day?…

Whereas the first instalment of The Deathly Hallows focused and emphasised on this profound sense of loss and isolation among Harry, Ron and Hermione, Director David Yates and Screenwriter Steve Kloves purposefully leave behind the subtle moody build-up of the previous film, in exchange for immediacy and haste. One of the things that Yates did particularly well in Part 1 and continues within the opening segment of Part 2, despite some naysayers faltering the very idea of the last Potter tale being split into two features, was the way in which ’emotion’ underpinned the end of the last film, and the start of this one. The death of Dobby was an unfortunate yet significant end event that matched the crushing sentiment that has already been bestowed upon Harry and his friends and foreshadows circumstances that inevitably will happen in Part 2. What is pleasing to see from the opening segments of Part 2 was this continual substructure of emotion that was clearly present in the ending stages of the last film. Yes, this film is indeed about the final battle and Harry’s brave and final confrontation with a great evil. However, for a film such as this one that is continuing the same story, it was necessary for Yates to open this film that not only maintained these feeling of loss, isolation and despair within a dark time, but also presages circumstances that will become imperative later in the narrative. Of course, the fact that this opening scene, which is just as beautifully shot as the other cinematography aesthetics that are implemented, leads with an establishing shot of Hogwarts and the wizarding students marching in the courtyard to add to this ominous aesthetic, does more or less notify us of where this story will transition to. However, it’s the subtle close-up of Snape looking disfigured, which slowly fades into the subsequent Potter titling and Harry still pondering over Dobby’s grave, that satisfies the emotionalism of the opening; subtly for-telling events that will come to light in an exceptional manner later on. As was mentioned in the previous Potter outings in The Half-Blood Prince and Part 1, what is again pleasing to see Yates utilise fully, is the forward flowing-motion of the cinematography and how the film embraces a visual aesthetic that complements the damning contextual themes and the chaotic destruction of Hogwarts. Indeed, the many shot-sequences of either Harry and/or Ron and Hermione scurrying across the calamitous Hogwarts, with other battles intersecting in-between, is brilliantly constructed and is something that many wanted to see in this finale. However, it’s the subtle nature of the lens zooming-in towards a characters facial expressions when he/she is talking that propels the forward momentum that this film adopts. In any ordinary film, it’s likely that you’ll witness a typical conversation sequence, where the camera cuts back-and-forth between two individuals, that places the camera in static position; simply focusing on facial characteristics to create meaning. In the case of this film and in the other Potter tales that he’s been in the chair of, Yates purposefully manifests these ‘conversation sequences’ in a fashion that drives the structure of events in a fluid contextual course. Scenes such as when Harry is interacting with his dearly deceased before confronting Voldemort in the Forbidden Forrest and even when Voldemort’s presence is first made known when he’s telepathically and ominously communicating to Hogwarts school, which is harrowing in itself with the random girls eerily screaming, are pertinent examples of this that accurately accompany the destructive spectacle. Speaking of the anticipated array of wizarding brawls that vary between many different perspectives with the members of the Order of the Phoenix, it’s all done to a satisfying degree. Unlike some directors who parade the final acts of their films with unnecessary and drawn-out clashes that negate the viewing experience, Yates simply manages to craft-up action set-pieces that are evenly scattered within the run-time. The film cleverly, and rather naturally, divides the different perspectives of the fighting in a dispersed way; in turn managing not to cluster all the wizarding scrimmages at the very end. While there is praise to be mentioned of the visual-aesthetic that conjures from the wand-waving, especially when Voldemort and his remaining Death Eaters spray destructive spells against the magical shield that is safeguarding Hogwarts school, it has to be said that there were a few moments when the ever dark-lighting disturbed what was on display. I get that this finale is as dark offering that explicitly deals out death more than any other book/filmic series, but to adopt a dark-look that does coincide with what’s going on in the narrative, there can be some disposition in regards to what we see on screen. A little nit-pick I know, but it was niggling me at times.

Being that this is the final Potter film that deals with intimate loss and despair, there are going to be many scenes that stand out for each person, which is perfectly fine considering that there many great little and expansive excerpts that make this film one of the better ones to which in this lauded series. However, if there was one decisive scene that does unravel a key mystery in the story and includes everything that was mentioned in the previous paragraph of Yates’ film-making, it would be the moment in which we emotionally delve through the despondent memories of Severus Snape. A balanced montage excerpt (if I can call it that?), Yates delivers a truly poignant and deeply heartfelt revelation of Snape’s true being; an intricate farewell of a complex character that even those who have read the book, can expect to be overwhelmed by the emotion and sympathy it emphasises. For sure, Part 2 was always meant to be the conclusion that boasted in its many mercurial deaths and spectacles. However, it is to Yates’ credit that there is still as much heart as before in the story-telling, solely proven within the mystery surrounding the true nature of Severus Snape, who is once again played acutely by Alan Rickman.

As with nearly every Potter film there has been, one of the aspects that has always been consistent to see are the performances of the young starlets, who are much grown-up in this film than they were back when they started in the Chris Columbus films, and the older cast members who have equally and consistently performed to truly make this film, and the past Potter films, feel relatable and believable for the younger demographic. Indeed, throughout all the films in their favoured characters, the likes of Daniel Radcliffe as Harry Potter, Rupert Grint as Ron Weasley and Emma Watson as Hermione Granger, have all done a considerable job in making what this franchise has become for a lot of audiences. The central trio have all had their shining moments; whether it’s Hermione punching Draco full-on in the face, or one of Ron’s general comedic antics that lighten even the darkest of moments. Of course, the spotlight for this film is squarely on Radcliffe who portrays a character for the last time that certainly projects, to the audience, heroism and bravery for people to get behind. However, it isn’t just Harry who has to face horrifying enormities that awaits, in his shining moment, it’s Neville Longbottom (Matthew Lewis) who we see transform over the past films from a clumsy, bullied boy into a motivator/warrior that bravely confronts the forces of evil at Hogwarts. He even has his own inspirational speech that, yes, it’s fitting for a conclusion that puts two colliding forces against each other. On the other hand, doesn’t Harry have a similar speech in the concluding book just before he faces-off against Voldemort one last time? Regardless, it makes sense for a character like Longbottom to uphold this ‘wizarding combatant’ side when everything seems to be doom-and-gloom. 

One of the things that divides people of Yates’ last Potter filmic venture, is the epilogue and how it could have been pursued differently than seeing the same actors of Radcliffe, Grint and Watson (and Bonnie Wright and Tom Felton) play older versions of the characters that they’ve been performing since the beginning chapter of The Philosopher’s Stone. Despite having qualms over the same actors playing older versions of themselves, creating a little bit of awkwardness amongst over-selves, Yates delivers an acceptable ending that any worthy franchise would have asked for. It efficiently moulds over the magic showdown that equals what The Lord of The Rings and Star Wars inhabited and you can’t quite help but feel moved by how it so properly gives the series a touching closure; by having the same ending music that was first heard in the initial film of the series and the camera slowly panning in towards the recognisable trio of friends who have all gone on to do their things.

Many of the great franchises that you all know of, which have each subsequently gone-on to make money through the Box-Office, have all adopted endings that truly satisfy the viewers needs. In his last time directing the conclusion of this lauded franchise, which has recently beaten the likes of Lord of the Rings and James Bond to become the UK’s favourite book-to-film adaptation, David Yates’ The Deathly Hallows Part 2 profoundly ends the Harry Potter story with not only expected battle sequences that employ beautiful visuals and stylistic camera movements that don’t feel stagnant compared to many other long-winded final acts, but also a touch of affection that coincided well with the action. Indeed, as much as it is a film that emotionally waves farewell to the actors and story that contributed in constructing a film series that people grew up with, like myself, The Deathly Hallows Part 2 conclusion carries with it an ultimate message that resonate with every viewer; there is darkness in all of us, but we can overwhelm it. Quite so, all good things must come to an end at some stage. However, with Rowling recently announcing a next set of Fantastic Beasts films, lets just hope that we’ll see even more of a scope in a magical and fictional world that audiences can be engrossed in again…

And with that conclusion, I think it’s time for me to end this review and this series that I’ve enjoyed typing up. As always everyone, thank you for reading my latest film review of The Deathly Hallows Part 2 and I hope you’ve not only enjoyed reading this review, but also the other Harry Potter film reviews that I’ve done (which were all done in anticipation of watching and reviewing the return of the Potter world, Fantastic Beast and Where To Find Them). In all honesty, I don’t think I’ll be watching anymore Harry Potter films for a long while now. Besides, we do have a new series to wrap our eyes around!! As usual, if anyone has an opinion on my review or on the film itself, please feel free to drop a comment down below. Unfortunately, next week I won’t new film reviews. BUT, I do have something to announce which I think will prove to be beneficial for Blog readers going forward. Once again, thank you to everyone who has joined me on this Harry Potter film review journey!! It’s definitely something that I want to try doing with another franchise, I just don’t know which one to do? Anywho, I’ll see you all very soon and I hope you’ve enjoyed the read!! Have a nice day/ weekend!! Adieu!! 🙂

★ ★ ★ ★ ☆ – Alex Rabbitte