Harry Potter and the Goblet of Fire (2005) Mike Newell   For this fourth adaptation of J.K. Rowling's magnificent Harry Potter series, new director Mike Newell (Four Weddings and a Funeral and Mona Lisa Smile) offers an impressive interpretation of the author's work. Whereas Chris Columbus' take on the first two Harry Potter films were influenced by his mentor Steven Spielberg (with their almost "Indiana Jones"-like tone), Prisoner of Azkaban's director Alfonso Cuarón sought to fashion a more artsy film, sometimes at the expense of narrative cohesion and character identification. But while Mike Newell is keen to tell a ripping good adventure, he also demonstrates a perceptive insight and affinity for the characters. In addition, Newell is also the first director of a Harry Potter film who is actually English, and thus his portrayal of life at Hogwarts (which, despite its magical trappings is a quintessentially British boarding school) resonates with verisimilitude and the experience of someone who has attended one himself. The film begins as Harry enters his fourth year of wizarding studies. Meanwhile, Hogwarts has been chosen to host the Tri-Wizard Tournament, a perilous extreme-endurance test open only to students over the age of 17. But mysteriously, 14-year-old Harry Potter winds up being chosen to compete. A new Defense Against the Dark Arts teacher has also arrived- "Mad Eye" Moody, an eccentric, paranoid ox of man. Also back is the sinister snob Lucian Malfoy (again played to snarling perfection by Jason Issacs). The great Michael Gambon fits more comfortably into the role of Albus Dumbledore, and Maggie Smith, Alan Rickman, and Robbie Coltraine as Minerva McGonagall, Severus Snape, and Hagrid. Harry Potter and the Goblet of Fire is a long book, which forced Newell to have to omit a number of things. The traditional opening at the Dursley home is missing, an omission which robs the film of a hilariously funny scene involving floo power and Fred and George Weasley's usual shenanigans. Dobby the house elf also fails to make the transition from book to screen, and some of the more atmospheric trappings of Hogwarts, such as its ghosts, the moving stairs, and the "living" paintings, are hardly glimpsed at (though Moaning Myrtle emerges from her toilet long enough to flirt with Harry as he tries to take a bath). The film's set-up, where Voldemort's servants disrupt the campground outside the quidditch stadium, also feels a little rushed, but happily the narrative soon settles into a smooth pace and the adventure unfolds fairly evenly during the rest of the film. True to form, there is no shortage of otherworldly thrills, but in this film, the non-magical aspects of the story prove to be the most compelling. There is more focus on how the relationship between Harry, Hermione, and Ron is changing. Now 14 years of age, our three protagonists are going through puberty. Harry experiences the sweet honey of first love when he meets the lovely young Cho Chang, and conversely, Ron tastes the bitterness of jealousy as he watches Hermione go to the Christmas Ball with quidditch champ Viktor Krum. But lest one assume that this is merely a story of teen angst, be assured that Goblet of Fire is rife with visual splendor and excitement. The imagery is rich, courtesy of cinematographer Roger Pratt (who also shot Chamber of Secrets) while production designer Stuart Craig outdoes himself with even more eye-popping sets. The Tri-Wizard Tournament is spectacularly rendered, and Harry's perilous duel with the dragon is an especially nail-biting sequence. The film's climax has an almost biblical resonance, as Harry faces down the most evil of foes and, in a transfiguration- like moment, receives unexpected help from beyond the grave. The only disappointing thing about this film is the absence of John Williams, whose effervescent music for the previous adventures furnished much of their magical splendor. In all though, Harry Potter and the Goblet of Fire is a wonderful fantasy adventure, as well as a bittersweet tale about growing up. Cinematically, this film is also an improvement on Prisoner of Azkaban, a sign that Harry's on-screen adventures are hopefully back on the right track.   —Paul Andrew MacLean

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