The government is sinisterly brought to Hogwarts in the form of Dolores Umbridge, one of the most reprehensibly self-satisfied characters in literary history. What makes the “Potter” series endure is Rowling’s insistence on allowing her books to mature along with her aging character. Gone is the gentle whimsy of the early adventures (when little Harry’s pure nobleness was enough to burn holes into the faces of his enemies). As Potter grows older, things become a whole lot more complex, with Harry finding unnerving parallels between him and the phantom who wishes to bring about his death. Now, in Order of the Phoenix, Harry’s beloved mentor Sirius informs him that “we have all got both light and dark inside of us. What matters is the power we choose to act on.”
Yes Sorcerer’s Stone and Chamber of Secrets were much more magical and fun, yet the later stories reach for something deeper, darker, and ultimately more rewarding. The problem with Phoenix as a film is the fact that its story is inherently anticlimactic. The story is all build-up to an ultimate pay-off that won’t be fulfilled for another two books. This makes the film far less dramatically satisfying than Prisoner of Azkaban (the most cinematic film adaptation) and Goblet of Fire (the most successful). And Phoenix as a book was at times a trial to read—Harry’s own frustration compelled me to sporadically throw the book across the room, which in this case is about the equivalent of throwing a bowling ball.
The film, however, is easily the most briskly watch-able and the most economical (clocking in at the shortest running time of any Potter film). The director David Yates (whose work includes mostly low-budget made-for-TV fare) is the first of the Potter series to effectively utilize montage sequences to condense the action—while allowing breathing space for the more important scenes. If anything, Phoenix moves at the best rhythm of any previous Potter installment, and it’s probably a good thing Yates has been brought back to direct the sixth film (which may emerge as part two of this compelling yet strangely incomplete picture).
Still, several plotlines are left disappointingly underdeveloped—particularly Harry’s first romantic fling with Cho Chang—whose much-hyped kiss is further undermined by actor Daniel Radcliffe’s sexually-charged onstage nudity in last spring’s Equus. Most regrettably, Harry’s relationship with Sirius isn’t allowed nearly enough screen time to give the final act the punch it deserves. And it’s still a shame to see so many wonderful actors used as walk-ons, particularly Emma Thompson, Maggie Smith, and Helena Bonham Carter (at her most deliriously diabolical as Bellatrix Lestrange).
Yet on the other hand, the performances have never been stronger. This is Radcliffe’s finest hour—once and for all proving himself to be a layered, intensely passionate actor equal to the material he’s been given to play. As Harry’s pal Hermione, Emma Watson has always been a pro, and here she captures the exhilaration of a well-mannered student finally discovering the value in breaking the rules. And as Ron—who’s been portrayed as a seemingly one-dimensional dunce with a gaped mouth in previous installments—Rupert Grint has never been better. While Hermione’s line berating Ron for having “the emotional range of a teaspoon,” seems to be a real-life playful jab at Grint’s acting ability, the frog-faced tyke-turned-subdued thespian finally manages to never overplay a note, and handles his scant amount of scenes with gracefulness and sharp humor.
While Michael Gambon’s portrayal of Dumbledore has been accused of being overtly gruff in previous films, his work here is absolutely perfect—proving that even the most angelic figures are allowed to have a rugged humanity. Alan Rickman, a favorite of the series, is nothing short of sensational as the ever-ambiguous Professor Snape—eliciting laughter, fear, and compassion without ever having to raise his voice. There are also some delightful new additions, including newcomer Evanna Lynch as enigmatically dreamy student Luna Lovegood, and Imelda Staunton as Umbridge. Staunton’s performance in Vera Drake proved she’s capable of being as great a performer as anyone, and in the seminal role of Umbridge, she doesn’t disappoint—she’s as icily scary and as hilariously convinced of her own goodness as Louise Fletcher in One Flew Over the Cukoo’s Nest. And George Harris as senior Auror Kingsley Shacklebolt is memorable if only for delivering the film’s best line: “Dumbledore’s got style.”
There’s also some viscerally dazzling action during the film’s fiery showdown, as well as some glorious anarchic mischief (courtesy of the Weasley twins) in the face of Umbridge’s tyranny that is sure to get audiences cheering. Though Harry Potter and the Order of the Phoenix ultimately functions as a bridge between films, it is worlds more entertaining and rewarding than the various final installments of this summer’s lesser film franchises. Now that’s magic!
Rating: ***1/2 (out of *****)
How the other Potter films match up…
Harry Potter and the Sorcerer’s Stone ***1/2
Chris Columbus’s generic approach is solidly enchanting.
Harry Potter and the Chamber of Secrets ****
Columbus darkens the tone and strengthens character.
Harry Potter and the Prisoner of Azkaban ****1/2
Alfonso Cuaron’s vision is brilliantly artistic if flawed.
Harry Potter and the Goblet of Fire ****
Mike Newell’s smooth approach is the most cohesive overall.
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