I now have to say I feel as weary as the film's characters look after the final defeat of Voldemort. In that initial review in 2001, I admitted that I entered the cinema prejudiced by the hype and emerged having greatly enjoyed the film and admiring the skill that had gone into the making. "It's complicated," replies a desperately tired, unwashed Harry, who rapidly dispenses with anything that might be described as a synopsis of preceding events, leaving people who don't know their Horcruxes from their Dementors to muggle through. There is a tentative attempt at the beginning of The Deathly Hallows: Part 2 at clarification, when a goblin asks: "How did you come by the sword?", referring to the Excalibur-like weapon retrieved from the bottom of a lake in The Deathly Hallows: Part 1. A generation of readers and filmgoers has grown up with the bespectacled, wand-waving wizard and saviour of the world from Privet Drive, Little Whinging, Surrey, and the appearance of the final film coincides with the birth of a fourth Beckham child, suitably given the middle name "Seven" which could as easily be the number of books in the sacred text as her father's former Man Utd shirt. Seven Rowling novels have been turned into eight films which take around 20 hours to see (or 36 hours if you watch the DVD extras), and the phenomenon is infinitely greater. I want the filmmakers to know that Luna and Neville are heroic characters, and they don’t need a bland romantic storyline to have us see them as such.O n 18 November 2001, I began my review of the first Harry Potter movie: "It's difficult to separate the film of Harry Potter and the Philosopher's Stone from Harry Potter the phenomenon – that astronomical budget the producers' worldwide deal with Coca-Cola the billion dollars-worth of associated merchandise the actors' complaints of being exploited by Hollywood the declaration by its director, Chris Columbus, that JK Rowling's novel merited the respect accorded to Shakespeare the endless opinions on its significance ranging from world premiere guest Brooklyn Beckham to newspaper moralist Melanie Phillips."Ī decade on, we have reached the end of what we now call "the journey". This prodigal son’s last-minute change of heart is an emotional moment in the books that really shows how wonderful and forgiving the Weasleys are.Īlso, did we need a Luna/Neville romantic subplot? Luna and Neville feel forced together and don’t show any romantic interest in one another before this film. We also don’t see anything of Percy’s return to the Weasley family. The tragedy of their deaths is totally glossed over in a single shot, and we never hear about their son (and Harry’s godson), Teddy. Tonks and Lupin deserved better treatment in the movies. In the books, we see Hermione make a genuine first move because she’s truly charmed that Ron cares so much about the well-being of the Hogwarts house-elves.
How does some weird CGI Horcrux water monster that doesn’t even put up much of a fight finally break the ice? They’ve almost died together plenty of times before this. Perhaps the most obvious example of this happens with Ron and Hermione. Beloved storylines are left out, and romantic storylines feel forced.
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