The most common puzzler for reviewers, and thus the most frequent complaint, is how dark the film is. And they're absolutely right - this film is dark in a way none of the other Potters have been. It has very few humorous moments, and those moments feel more like accidents than anything else. We spend no time at Hogwarts - with its romance, beauty and Dumbledore-supervised adventures - and school days are but a memory. The lighting reflects this darkness, as very few shots in the film have bright light. The actors (as I have heard some reviewers complain) do little more than frown in stress and worry. All these observations on the film's darkness are very true and not what you'd expect from a Harry Potter movie.
But that's the point. The first half of Rowling's seventh novel is rough too. After all, it's in the first half of the story that there is absolutely no hope, none whatsoever. Not until the trio reaches Shell Cottage, knowing how to destroy Horcruxes, do they begin to think they've got the tiniest chance against Voldemort. Minister of Magic Rufus Scrimgeour's words describe the first half of the book best: "These are dark times, there is no denying it. Our world has known no greater threat than it does today." This seventh film is not for the faint-of-heart, and absolutely not for any young people.
You see, as the young wizards come of age (17, in the wizarding world), they begin to face the tough realities of adult life. And I really mean that they face them. Ron Weasley confronts his worse fears, among them a racy kiss between Harry and Hermione (one of the primary reasons this film should not be shown to children). Muggle-born Hermione is tortured by Bellatrix Lestrange, and though most of the torture occurs off-screen, the performances of Watson and Bonham Carter are so powerfully convincing that the scene really haunts you. The story is book-ended by excruciating sacrifices and its center turns on the moment when the trio breaks up painfully. Several of the fight scenes are intense enough that I'd say they're ought of bounds for anyone really young or immature. All in all, Deathly Hallows Part 1 isn't really a "fun" film to watch, at least by Potter standards; it's a pretty tough film on the viewer. It's no surprise to me that many walk out of the theater more serious than joyful.
But I confess, the intensity and darkness of Deathly Hallows Part 1 didn't bother me. The reasons are threefold. First, it was appropriate to what is going on with the characters in the story. Yes, there's some tough/nasty stuff going on. But to be frank, life's tough. When you come of age, when you're an adult, life takes you by surprise and whirls you around while you try to get a grip on things. In real life, people face hard things like desertion, jealousy, and death. When you're fighting for what's right, the people you love face serious danger. In Deathly Hallows Part 1, you see these things come out. It's not always pleasant, but it's boldly, thought-provokingly honest.
Secondly, the seriousness of the film is very faithful to its half of Rowling's seventh novel. It is unfortunate that, in this first half, the darkness doesn't let up, but that's how the story goes. Really, Deathly Hallows Part 1 was almost unfailingly true to the book, though it did not go quite so far as Chris Columbus's rather slavish adaptions. Of course, Part 1 will require some help from the final film, which brings me to my third reason.
I also didn't mind the intensity of Deathly Hallows Part 1 because I have hope that the final film will blow my socks off my feet. Part 1 just won't work well if the last film is a flop. But if Part 2 can succeed in bringing everything together and in compensating us for the intense darkness of Part 1, the two films combined have the potential for five hours of cinematic art, the kind which ought to be made more regularly.
Something to keep in mind if you go to see Deathly Hallows Part 1 is its primary question: Is goodness really worth the price we pay? In other films, where the trio have elders they can turn to and rely on, they never question the value of fighting for good. But when it comes time to call their own shots, things get blurry. Ron deals with a desire for vengeance, a jealousy of his friends, and a fear for his entire family. "Nobody else is going to die," says Harry, "Not for me." No wonder they lose their grip sometimes. And when we look into the dark circles under Hermione's lonely eyes and her care-worn expressions, we can't help but ask the question. Is destroying a Horcrux (a bit of evil soul) really worth all this pain and toil, all the blood and strife? Though the movie never gets into this, the story does end with the belief that, yes, goodness is worth all this sacrifice. But unfortunately, viewers will have to wait until July to get the movie's answer. This first half sets the stage for the second in the best possible way: it shows just how much you have to be willing to lose in order to conquer evil.
Now, Deathly Hallows Part 1 does have its faults. The prime example was that it didn't flow quite smoothly enough. Yates once again proves that his strength lies in poignant vignettes and specific scenes with his Obliviate prologue, Harry and Hermione dancing scene, Godric's Hollow Graveyard, among many others. Even certain sequences, like the brilliant Ministry of Magic scenes, work splendidly. But Yates's ability to string them together is not as strong. I can name sequences which are simply enchanting, but the transitions from one scene/sequence to another is often not a smooth as it ought to be. I am willing here, however, to grant David Yates a little artistic license. A lot of the clunkiness can be interpreted as a deliberate artistic choice, and if you choose this interpretation, it's actually quite skillful. Harry Potter and the Deathly Hallows Part 1 is first and foremost character drama. The film isn't actually concerned with the movement of the plot as much as it is with the portrayal of each character's psychology. For example, Yates focuses more on Hermione's loneliness (a particularly well-done theme through the film) than her typical "girl power" image. He emphasizes Ron's vulnerability instead of his humor. But the overall smoothness of the plot suffers as a consequence.
But I really felt that the strengths of the film outweighed this potential problem. The cinematography and lighting were just as excellent as in the last film. And the acting in this series just keeps getting better. Daniel Radcliffe succeeds quite well with Harry and, for the first time since The Sorcerer's Stone, I'm satisfied with the portrayal of Ronald Weasley. Ron is no longer the stupid comedic relief, and thus finally becomes the important, deep character he is in the books. Watson, who has already proved herself countless times, once again acts her role like a pro. In some scenes, notably that of Hermione's torture, her acting was downright chillingly brilliant.
And when other actors are required (most of the film is spent between just Harry, Ron, and Hermione), they all flourish. The cold Ralph Fiennes continues as Lord Voldemort, and his Death Eaters are led by the superb Helena Bonham Carter (honestly, Carter's role here is overlooked by most reviewers and film awards. It takes guts and talent to pull off a role this crazy). I could go through a list of the other actors, but since this film is practically a catalogue of the greatest British acting talent of our day, I think I shall cease my raptures here. I only note, for those fortunate enough to have seen Gwyneth Paltrow's Emma, that the wonderful Sophie Thompson appears here in a small role (Just a tidbit for fellow fans of British acting).
I know that this review is rather longer than usual, but I cannot end without discussing Alexandre Desplat's soundtrack. Continuing in the footsteps of Patrick Doyle and Nicholas Hooper, Desplat moves away from that sterile Hedwig Theme and brings new life into the sound of Harry Potter. But just as Part 1 is a very different movie from its predecessors, this soundtrack is special. Desplat completely captures the sombre nature of the story with a sound reminiscent of James Horner's Braveheart; in the meantime, he creates a sound which transcends its Harry Potter stereotype. Desplat uses his strings to maximum emotional effect, and as a means to unify the soundtrack, as can be seen in pieces such as "Obliviate", "Snape to Malfoy Manor", "Ron Leaves", and "Ron's Speech". A new sound for the series is the delightful cello, a development which I find thrilling. Occasionally, Desplat makes excursions with other instruments - the piano in "Harry and Ginny" and the flute in "Farewell to Dobby". A few pieces are odds and ends, pleasant though they be. He captures the ultimate bureaucratic sound in "The Ministry of Magic" and "Lovegood" is beyond my ability to describe, it's so unique. By and large, the piece that encompasses the most musical themes is "Godric's Hollow Graveyard", which incorporates the piano, strings, and the signature solo cello. All in all, I found this music the most profound which has yet been composed in the series.
And so, I found Deathly Hallows Part 1 quite excellent, when taken with a few provisos: 1) the second film must round the story off well and 2) people do not let children sit through it. What many people (including, I believe, the person I accompanied to the movie) found depressing, I simply found refreshingly honest and thought-provoking. Deathly Hallows Part 1 doesn't try to hide the tough parts of becoming a responsible adult. It isn't content to be part of the most successful franchise in movie history - it actually wants to examine human nature and the struggles people face. As such, Yates's Part 1 is not, I repeat, not for children. It's an adult movie (ie., beneficial to adults but harmful to children). But for its appropriate audience, Deathly Hallows Part 1 really transcends its place in the Harry Potter series. It wants to be more than entertainment, a fact which I can appreciate. If Part 2 can maintain that transcendence, and still bring light and hope to the story, I'd say that Deathly Hallows is definitely worth a viewing.
