Fridae

First, we must say goodbye to the safe haven of Hogwarts. The Deathly Hallows marks the point where Harry, Ron, and Hermione must venture beyond the confines of the predictable routines (lessons, quidditch, practical jokes, run-ins with Draco’s bullies) and familiar faces (the various teachers) at Hogwarts. Like it or not, they must now embark on a long quest to bring down a newly-ascendant Voldemort. As various posters for this film put it, “Nowhere is Safe”. This is no roller-coaster film but a dark thriller more like Alfonso Cuaron’s Prisoner of Azkaban.

The Deathly Hallows 1 couldn't be converted to 3D in time for the end of this year, which is why we’re watching this in glorious 2D. Actually, it doesn’t matter at all. Watching the film, it feels like a decision was taken from the beginning for The Deathly Hallows to be shot in 2D and animated and then converted to 3D. In other words, screen composition, action, special effects have all been planned with an eye on producing breathtaking 3D effects after conversion – and even in 2D, there will be several points in the film (especially the action setpieces) where you get the feel of watching a 3D picture.

Surprisingly, David Yates does now rise to the challenge after his middling to average results beginning in Order of the Phoenix. It does seem that the director, who has far more experience in television production, has finally mastered the cinematic medium at least in terms of visuals – and sometimes, visuals is all we need.

My only grouse with The Deathly Hallows 1 is its pacing, or what I call the Mordor problem. The Return of the King, as a novel, was written in two separate volumes – Sam and Frodo trekking through mountains and forests and complaining about the toll the One Ring takes on the spirit; and an all-action, all-adventure war story featuring Aragorn and gang. Imagine if Peter Jackson made LOTR 3 as it was written and split it into two long movies. You’d feel at times, in the too-long interludes between the too-short setpieces, as though you were watching a long prelude to what would be the ultimate big bang, all-action conclusion. But alas, David Yates is not a Peter Jackson or Alfonso Cuaron, a visionary willing to make a liberal adaptation for the cinematic medium.

Thankfully, his visual sense for 3D cinematography puts him in good stead. The Deathly Hallows 1 is by far the best Potter film in the series, next to or on par with Prisoner of Azkaban.