Harry Potter and the Raging Hormones

I liked this recent film very much. My Potter-obsessed friends were quick to point out what the movie omitted and how it only cheapened the experience. I get excited about adaptations recisely for this reason. It's interesting to see how filmmakers trim the original narrative into something that works at the cineplex.

I'll start with the two biggest departures. The first is the climactic battle at Hogwarts. I remember a bigger battle from the books. Students equipping wands against the more powerful Death Eaters (Voldemort's minions) with Harry (Radcliffe) concentrated on Snape (Rickman). Dispensing with the skirmish, director David Yates only gives us Harry vs. Snape. I'm okay with this. The movie's already long enough (although, I can always have more) and for the sake of trimming, it's perhaps a good move.

The other omission is a little tricky as it concerns the film's subtitle, "the half-blood prince." In the book, Rowling hardly goes a chapter without mentioning it. The film hardly addresses the topic. Yes, it is introduced and the prince is revealed, but with very little in between. In the book, the young trio scavenge and research the prince to death. For a film whose title purports such a large narrative tipping point, very little is made of it.

But this is mostly a quibble and it could be because I know where the story goes. The point of this whole book is to setup the final one. In the previous books and films, Snape plays a supporting role - a teacher that Harry hates, and the feeling is mutual. We need this build up to establish the potential for Snape. Perhaps leaving many questions unanswered was a conscious decision. In the seventh novel, Snape becomes the fulcrum for the entire series. Indeed, a case could be made that he is the crucial character of the series, even more than the eponymous hero.

One final contentious point concerns the ending. It might seem abrupt. The climax occurs within an instant, not very drawn out and the film ends probably within ten minutes. Again, I am okay with this. This is the penultimate novel. Leave the audience with the greatest suspense and that means holding back as much as you can and what is commonly referred to as "getting out early." Leave the narrative as quickly as you can. Now, don't pull a TRANFORMERS 2 type ending which ends in about 5 minutes with a very tacked-on soliliquoy. HALF-BLOOD PRINCE ends where it should, leaving us just a little bit hanging.

I loved the opening shot of the movie, so perfect for how the movie ends. It begins right where ORDER OF THE PHOENIX ended. Dumbledore (Gambon) with his arm around Harry. Such a sign of things to come and where they have been. First shots that suck you in are invaluable. DARK KNIGHT's opening push in on a skyscraper was great.

Finally, the hormones! This is probably why I liked the movie so much - half of it was all teen romance! Ron and Hermione sexual tension. Harry and Ginny sexual tension. Actually, this is a kid's story, so maybe it should be "sensual" tension. This is a very dark movie, especially when you understand how far we've come. Columbus' first two films were rightfully cheery. Columbus did exactly what was needed, no complaint here. PHOENIX started the darkness and it only gets darker in 6. The hormones are a welcome distraction from the chaos.

Wrap up: everyone wants to rank the films. Well, here is my list in descending order.
#4 GOBLET OF FIRE
#1 SORCERER'S STONE
#2 CHAMBER OF SECRETS
#5 ORDER OF THE PHOENIX
#3 PRISONER OF AZKABAN
#6 HALF-BLOOD PRINCE

4 is clunky. 1 and 2 are just what they needed to be, and I really think 2 is very well-done. I really like 2, just to give you an idea of how much I love this series cinematically. 5 was very controlled. 3 and 6 are touch and go. But 6 wins because of the hormones, and I just saw it. Like my good friend at FilmSchoolRejects, CULTURE WARRIOR, a marathon might be in my future.

How many people have actually seen Citizen Kane?

It's comforting to know that when I write something there are some people who actually read it! Even better that they want to talk about it. It's the most rewarding thing. I don't really care if it's criticism or general agreement with my thoughts - the interaction is the important thing.

And so that is where this specific post begins. After I posted my State of Union, a friend of mine - who I shall call the V Machine - challenged one of my assertions. The gist of my assertion was that I felt marginalized at NYU because of my love for the big movies, the ones the public see, the ones they want to see. V Machine felt the opposite. What little movies we did watch were the canonical texts with no attempt made to broaden the filmic scope.

I am not sure we actually came to common ground because neither of us really wanted to budge from our intellectual bunkers. For a minute, we got stuck on what might almost qualify as a cliche in the halls of academia - "gaps of knowledge." When did we finally get to see the Excorcist? How long before we could actually sit through the Godfather without getting bored? Perhaps it might be helpful is to talk of "gaps of WANTED knowledge." I am perfectly comfortable in my American movie bunker. Yes, it might be most talked about, but certainly not exhausted. V Machine (I think) wanted more international cinema in her schooling. I guess she is the better person because its not like she has no interest in American, just another interest. Me, I have no interest in the international movie scene.

For the most part, I stand by my assertion but I will make one addendum - a qualifier for my knowledge. I am interested in what people in my general social circle (United States) are watching NOW. My one qualifier is the CONTEMPORARY component. Some may see my position as a limiting one and perhaps even an ignorant one, but my two reasons are simple.

The first and most important, I want to talk with people about movies. And I don't mean the cinephile. I want a simple but engaging conversation about a movie. The easiest way to do that is with my family and friends and the movies they see. I want to see the film playing on 6 screens at the local multiplex. It's easier to talk about TRANSFORMERS 2 than say, BATTLESHIP POTEMKIN.

Secondly, to borrow from Bordwell and Thompson title, film is art - ALL OF IT. I care about narrative heterogeneity, cinematography, editing, color, and voice-over. When I say, ALL OF IT, I mean the films. Even the worst films have redeeming moments or something you can learn. I believe this is why I am a forgiving critic - that and I am generally a positive person.

Perhaps if I say it this way: All of the movies I wrote about for final papers were big Hollywood releases within the last 15 years (BRAVEHEART, SYRIANA/BABEL, TOY STORY, SIN CITY, MINORITY REPORT, 300, and THE FELLOWSHIP OF THE RING). For some reason I feel this to be against the norm. Does this help with my sentiments?

I want to know what is driving the culture. If The Da Vinci Code becomes a worldwide phenomenon, I want to read it because of that reason. Yes, I've read Twilight and plan to read the second one. It's water cooler conversation but I love it! This is not an indictment of my fellow MAs at NYU. We had and still have water cooler conversation. However, it seemed that when it came time to write a paper, the expectation was to jump into the deep end of the cinema pool, because that is where the robust material resides.

Perhaps it boils down to my never-ending quest against the disparaging of something simply because it's popular. "I used to like them, but ever since they started playing them on the radio, I don't like them anymore" makes no sense to me. Either you like or you don't.

The last thing I want to say is very important. My post sounds like I didn't enjoy my time at NYU. Far from the truth, I enjoyed it. It is a place where no idea is too stupid. Nothing is unquestionable. Debate is encouraged. Some cynics may disagree with me, but that's okay. I am a positive person.