A Great Adaptation That Only Meets Us Halfway

Harry Potter and the Deathly Hallows: Part 1

*** out of ****

Directed by: David Yates

Starring: Daniel Radcliffe, Rupert Grint, Emma Watson, Ralph Fiennes, Bill Nighy and Helena Bonham Carter

Running time: 146 minutes

It was J.K. Rowling who introduced me not only to a sweeping and fully encompassing fantasy world of magic with her Harry Potter series, but to the magic of fiction as a whole.

Thankfully, as an avid fan of the novels, I have not disliked one of the film adaptations, even as they shifted from Chris Columbus' kiddie-oriented adventures to Alfonso Cuaron and Mike Newell's soarting tales of dangers - adolescent and magical - to David Yates' obediently adult political parables.

For this Potterphile, Hallows ranks third of the seven installments released thus far, behind Half-Blood Prince (the most character-driven) and Goblet of Fire (the most royally entertaining). Part 1 is rapt with spellbinding action sequences, nuanced performances and sinister political overtones, but is sadly a mere transitional set-up for the series finale, set to razzle-dazzle awestruck fans on July 15, 2011.

In Part 1, Harry (Radcliffe), Ron (Grint, the show-stealer yet again) and Hermione (Watson) are not making the yearly trip to Diagon Alley, Platform 9 ¾ or Hogwarts. There are more pressing matters at bay: they must retrieve Voldemort’s remaining horcruxes (the Dark Lord is played by Ralph Fiennes), where he has hidden his soul to attain immortality.

Meanwhile, Potter is “Undesirable #1,” wanted by the Ministry of Magic, now firmly controlled by Voldemort in true Big Brother fashion. To make matters worse, Death Eaters are pursuing the scarred wizard and his friends so that Voldemort can finish off Harry before the horcruxes are relinquished.

Godspeed to all who are unversed in Rowling’s literary universe, as the film overwhelmingly zigzags when referencing events and characters from earlier installments. The young adult wizards have received ambiguous clues and items given by late Hogwarts headmaster Dumbledore in the last film, and now find them to be frustratingly unhelpful. This convoluted mystery is reminiscent of a hyperactive, although decidedly darker Scooby Doo episode.

For diehard fans who whined that the previous entry, Half-Blood Prince, was disappointingly low in action, there's no need to fret: Yates has worked overtime in orchestrating full-throttled action set-pieces. From a riveting, unbearably suspenseful hide-and-seek situation with a ghoulish snake to an exhilarating car (and broomstick) chase through the streets (and skies) of London, Yates, for the most part, frames the action coherently and keeps the spells rattling off at a quick, nifty pace.

The film’s action centerpiece, where the three friends, disguised as other wizards, infiltrate the Ministry to search for a handy device, contains both sharp comedic timing and suspenseful momentum (also, watch out for the nod to Terry Gilliam's Brazil). The high-octane spectacle is not bad for Yates who, until Potter, was a reliable source for filming small BBC miniseries and TV movies.

Unfortunately gone in this version are the plush, Victorian interiors of Hogwarts so artfully designed by Stuart Craig. Instead, we get a delightful, devilish piece of shadow-puppet animation during a brief expository piece – the story of the titular Deathly Hallows – that more than makes up for the lack of gothic mise-en-scene.

Of course, the Hogwarts faculty, usually populating the screen in supporting roles and consisting of nearly every English actor currently employed, is mostly gone or reduced to mere scenery. Alan Rickman’s detestable Snape gets a few lines, and John Hurt’s Ollivander (who hasn’t been seen since Philosopher’s Stone in 2001) shows up briefly near the end but doesn't do much.

With the adult ensemble given the silent treatment, the weight of Deathly Hallows solely falls into the laps of Radcliffe, Grint and Watson. The three actors are capable of carrying the film, and all deliver series-best portrayals. Given a quest that seems almost impossible to finish, the comrades struggle to find the strength within them to continue on this daunting task. Hope recedes and tension mounts, especially when Ron becomes envious of Hermione’s blossoming admiration for his best friend.

The core friendship – the driving force of Rowling’s series – is, unfortunately, the sole withering point of Deathly Hallows, even if the portrayals are pitch-perfect. The actors are game with carrying the mystery along, but their relationships could have used more weight. Save for a somber dance between Harry and Hermione, much of the camaraderie and humanity is taken a back seat to make way for – gasp – a pithy adolescent love triangle between the three that recalls Stephenie Meyer.

With so much time spent on dissecting the details of the complex journey at hand, there are few poignant moments that reiterate the grave expense these characters are risking their lives for, and their noble decision to brace it together.

Deathly Hallows may be the best Harry Potter film adaptation, but I can’t determine that yet since halfway through, it ended. I understand that as the biggest money-making franchise in Warner Brothers' history, it is tempting to keep going for an extra installment. But one can dream of what a no-holds-barred three-and-a-half hour finale may have looked like.

The decision to split the films sucks out the momentum and keeps character development to a minimum (having our pockets picked in the process doesn’t help, either). I don’t blame Potterphiles who want to ship the Warner studio heads off to Azkaban immediately.

It’s a shame we can’t get Part 2 immediately, since the first installment sets it up admirably, with strong performances, exhilarating battles, formidable pacing and unrelenting menace. It’s a remarkably entertaining film, but also only half of a film, or rather an invigorating and exciting 146-minute teaser for the real finale.