Harry Potter and the Goblet of Fire (2005)
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
© 2006 