Hogwarts Revisited – Harry Potter and the Goblet of Fire
July 12, 2011 Leave a comment
On the fifteenth of July, 2011, the highest grossing film franchise ever will finally come to an end. Spanning ten years, eight movies, four directors and a worldwide box-office gross of over six billion dollars – the Harry Potter film franchise will draw to a close with Harry Potter and the Deathly Hallows: Part 2, as Harry faces off against He Who Must Not Be Named for the very last time.
So, without further ado, previously on Harry Potter…
Returning to Hogwarts after attending the Quiddich World Cup with the Weasleys, Harry (Daniel Radcliffe) is looking forward to a year without incident. With Hogwarts hosting the Triwizard Tournament, the school welcomes students from the Durmstrang Institute and Beauxbatons Academy of Magic for the duration of the competition. When the time comes to appoint each school’s competitor, however, Harry’s name is called as an unexpected fourth contender. Acting as a binding magical contract, Harry has no option but to enter the competition and compete with the other, older and more experienced students.
Jealous of Harry’s apparently endless fame, Ron (Rupert Grint) severs ties with The Boy Who Lived and refuses to aid him in the tournament, forcing Hermione “I’m not an owl” Granger (Emma Watson) into the unfortunate role of intermediary. Left to overcome a dragon, navigate a lake-full of merpeople and beat his competition to the centre of an enchanted maze, Harry nevertheless succeeds in making it to the Triwizarding cup first. Deciding to share his success with fellow Hogwarts competitor – Cedric Diggory (Robert Pattinson) – they are unexpectedly transported to an unfamiliar graveyard. Revealed to be the doing of one of Voldermort’s (Ralph Fiennes) Death Eaters, Harry watches as Cedric is murdered and his own blood taken to resurrect the Dark Lord. Escaping back to Hogwarts with Cedric’s body, it is discovered that that new Defence Against the Dark Arts professor, Alistair Moody (Brendan Gleeson), had been kidnapped prior to the onset of the school and replaced by a Death Eater in disguise tasked with leading Harry to the Dark Lord.
Mike Newell took over from Alfonso Cuarón for Harry Potter and the Goblet of Fire, his desire to make a traditional British boarding school movie bringing a new flavour to Hogwarts. Cutting out more subplots than ever before – the Quiddich World Cup is introduced but never shown while Hermione’s S.P.E.W. crusade is dropped entirely – the Goblet of Fire often feels rushed and incomplete. Required to introduce an unwieldy number of new characters as a result of the Triwizarding tournament, a number of the film’s cast are sidelined almost completely to make room, this being the first film to skip Harry’s summer vacation at the Dursley’s.
Harry Potter and the Goblet of Fire still has a lot going for it however, the Triwizarding tournament paving the way for some of the franchise’s most thrilling sequences to date. While it has been largely trivial uses of magic which have impressed to date – an enchanted car here, some vanishing glass there – Newell’s fourth instalment provides our first indication of exactly what wizards are capable of. The dragon chase is spectacular, while the underwater sequences are quite simply breathtaking. Furthermore, the inclusion of the Yule Ball casts each of the three friends in a new light, the social awkwardness and teenage hangups proving welcomingly familiar in a world of exploded aunts and talking fireplaces. It is the final reveal of Voldermort which impresses most, however, with Ralph Fiennes breathing some real menace into the character, a brilliantly creepy (and noseless) embodiment of pure evil.
It is testament to Newell – and, by extension, Rowling too – that four movies in the franchise still proves so awe-inspiringly magical. As the winged horses carrying the Beaubaton students glide into view, the boat housing the Durmstrang pupils rises from the depths of the Black Lake and Mad Eye Moody hoists himself into the Hogwarts grounds, Newell’s eye for the epic really comes to the fore. While Fiennes’ introduction of Voldermort is undoubtedly the performance of a half-life, it was Miranda Richardson’s turn as the slimy-sexy Rita Skeeter that really left my inner fanboy aflutter. Tragically left out of the following film, Skeeter is everything I wanted her to be and more.
With so much ultimately lost in translation, Newell’s Goblet of Fire is the easy target for criticism. Frenetic, informal and lovingly lensed – I mean, it’s utterly gorgeous – however, the film serves its purpose in the franchise with such gusto that one small Quiddich World Cup seems a small price to pay. It really is to the credit of producer David Heyman that each new director – a variable about to settle with the arrival of David Yates – has managed to bring something new and important to the franchise. In Newell’s case, that something is a truly iconic villain, the creation of which will undoubtedly stand the test of time as one of cinema’s best.