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# Harry Potter and the Deathly Hallows Part I: first review
## The penultimate instalment in the Harry Potter franchise is the scariest
yet - but a film of real poignancy. Rating * * * *
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TelegraphPlayer-8128237
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[Rupert Grint: Ron has taken over my life][3]
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[Emma Watson: I needed to feel like myself][5]
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[Radcliffe on the end of Harry Potter][7]
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[Harry Potter: the story so far][9]
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[Harry Potter sneak peek][12]
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By Anita Singh 9:30PM GMT 11 Nov 2010
[Comments][13]
How to end the most lucrative film franchise of all time? By stringing it out
for as long as possible. Thus the final book in JK Rowling's ludicrously
successful series has been turned into not one, but two instalments - a
delight for Potter fans and a gift to the accountants at Warner Bros.
So Part I is the beginning of the end, and director David Yates sets out his
stall early. "These are dark times, there is no denying," intones a doomy Bill
Nighy in the opening scenes. The wizarding world has become a very dangerous
place.
The plot sees Harry (Daniel Radcliffe), Hermione (Emma Watson) and Ron (Rupert
Grint) on the run from Lord Voldemort and his henchmen. They must sever ties
with home - and Hogwarts - and go it alone.
Along the way, they embark on a quest to track down various things which will
help them fight the evil forces - a horcrux containing a sliver of Voldemort's
soul, the sword of Gryffindor, the meaning of a pendant that holds the key to
the deathly hallows. Explanation of all this is provided for Potter novices,
but a familiarity with the books is certainly an advantage.
Without doubt, this is the scariest Potter film so far. There are moments when
even adult film-goers will be watching through their fingers - a scene in
which Hermione is tortured, albeit heard rather than seen, another in which a
Hogwarts teacher comes to a very unpleasant end. (And if you're scared of
snakes, you might want to give this film a miss altogether.)
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We also see a great deal of Voldemort, Harry's arch-nemesis, in a bone-
chilling performance by Ralph Fiennes. Yates suffuses his film with a sense of
dread that never dissipates.
But this is also the instalment that takes us deepest into the emotions of the
central trio. When Harry visits the grave of his murdered mother and father,
and Hermione casts a spell to remove all trace of herself from her parents'
memories, they are scenes of real poignancy.
The most affecting scene did not figure in the book at all: Harry and Hermione
dancing together in a tent to a crackling radio play of the Nick Cave track O
Children. It manages to be sweet, funny and tear-jerking all at the same time.
We have watched these three growing up and their performances have never been
better - particularly Grint, who gets the opportunity to do more than just
play for laughs. His jealousy of the friendship between Harry and Hermione
feels entirely real.
There are lighter moments too - we are introduced to the inner workings of the
Ministry of Magic, where entry is gained by flushing oneself down a public
lavatory. As always, it's the little details that delight: the self-filling
champagne flutes at Fleur's wedding, Dumbledore's last will and testament
unscrolling itself in mid-air.
The set-pieces are terrific, from the sight of seven Harry Potters in the same
shot to a mid-air chase sequence in a motorcycle and sidecar that manages to
detour through the Dartford Tunnel.
Returning cast members Julie Walters, Imelda Staunton and Jason Isaacs give
brief but effective turns, and Nighy is a welcome addition as Rufus
Scrimgeour, the curiously accented Minister of Magic.
Yates' only misstep is his focus on the trio's camping trip in the wilderness.
This part of the film goes on for too long, and the shots of Harry looking
pensive against a variety of admittedly stunning backdrops look more like a
Visit Britain advert than the adventures of the world's most famous wizard.
Even at a running time of just under two-and-a-half hours, it feels as if
Yates is cramming in as much as he possibly can. Can Part II be better than
this? You'll have to wait until July to find out. But it'll be no mean feat.
**Harry Potter and the Deathly Hallows - Part I: Seven Magazine review, by
Jenny McCartney **
**Seven rating: * * * * **
As the Harry Potter franchise has moved towards its inevitable conclusion, so
the films have shifted farther away from the childish audience that once
thrilled to the cosy sorcery of Harry and his pals at Hogwarts.
Harry Potter and the Deathly Hallows: Part 1, the penultimate film in the
series, is best suited to older children: if you put a five year-old anywhere
near it, you would be guaranteed a month's screaming meltdown at bedtime.
On reflection, I'm not entirely sure that doesn't apply to adults, too. In
this film, England is a menacing and cold-hearted place with powerful echoes
of Nazi Germany, as the evil Lord Voldemort (Ralph Fiennes) and his cohorts
wheel out repressive measures against 'Muggles' (non-magic folk, for readers
who don't speak Potter) and 'half-bloods' (a mixture of magic and Muggle).
When Voldemort seizes control of the government, Harry's face is plastered on
'wanted' posters: once caught, he'll be killed. Harry (Daniel Radcliffe),
Hermione (Emma Watson) and Ron (Rupert Grint) must dodge capture while
simultaneously finding and destroying the 'Horcruxes': the scattered objects
that enable Voldemort to remain immortal.
But atmosphere, not plot detail, is the point here. Since The Deathly Hallows
is being split into two films, there's no sense of rushing headlong towards an
explosive finale; better dawdling to explore sub-plots, complicated feelings
and the creeping chill of things never being quite as they seem.
It all makes for a different style of Potter film, in which the gothic, comic
grandeur of Hogwarts doesn't feature at all, and the Harry-Ron-Hermione trio
spend much time shivering in frozen forests and by icy lakes, almost in a
state of suspended anticipation, hoping not to be found by Voldemort's dreaded
'Searchers'.
Age has complicated their relationships: at one point, Ron storms off, jealous
of what he perceives as the closeness between Harry and Hermione - and a
subsequent tender dance scene between Watson and Radcliffe is ambiguous enough
to hint that Ron might have indeed picked up on a trace of suppressed
attraction between them.
With Radcliffe, in particular, what sometimes appeared as a kind of blank
perkiness in the earlier films has matured into a more profound sense of
stoicism: the older Harry is in closer touch with his feelings and his fears.
The stretching-out of the storytelling allows for lingering in some gorgeously
surreal pieces of cinema which transcend even the expectations of the Potter
genre: at one point, the three friends use a spell to inhabit the middle-aged
bodies of Ministry workers and enter the corridors to Voldemort's
administrative heart of darkness, never knowing when their disguises will
crumble.
For pure visual ingenuity and dramatic tension, I would take that scene above
much that's noisily acclaimed as spectacular fare for adults, such as
Christopher Nolan's dreary dreamscapes in Inception.
The set, as ever, is a richly mouldering, eccentric delight, and the
cinematographer Eduardo Serra uses a haunting grey and grainy palette to echo
the darkness dominant in the land. David Yates, the director, has created a
curiously effective film: structurally patchy yet so consistently inventive
that it rarely grows tedious.
Above all, it succeeds in whetting the appetite for the almighty battle
between good and evil that's certain to roar through Part 2.
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