![]() The last time I saw something that pathetic in Harry Potter movie were those blue creatures (I apologize for my lack of knowledge in HP terminology) flying around in the classroom in “Harry Potter and the Chamber of Secrets “. Let me start from the bad things – the ridiculous CGI sequence in which Ron sees his nightmare is truly cringe worthy. As a fan of ridiculous yet enjoyable sparkly vampire saga I'm not saying it's bad. Having not read the book I'm only judging the movie here and the drastic increase of scenes like that make the movie feel much like “Twilight” than “Harry Potter”. I don't know what possessed the creators to include so many soapy scenes between Harry, Hermione and Ron. It makes far too many missteps and sometimes turns into snooze fest. The new Harry Potter movie is not as enjoyable as part 4th and 6th. Even the young actors showed more and more talent and feature my favorite performance form all the movies – lovely Evanna Lynch as fascinatingly strange Luna Lovegood. The improvement also came with terrific actors being involved in the series, with great Imelda Staunton and always deliciously creepy Helena Bonham Carter. With each movie the formula changed a little and the unnerving habit of ending movie with a twist about one of the teachers being a villain stopped occurring. ![]() After very disappointing “Order of Phoenix” came my second favorite “Harry Potter and the Half-Blood Prince” with haunting musical score and beautiful sequences, especially interesting flashbacks. Perhaps the answer to that will be down to personal taste.As the series progressed and directors changed, beginning with “Harry Potter and the prisoner of Azkaban” the movies became a little bit more dark. This means that, whilst there's no question that Desplat's music evokes the menacing, increasingly dangerous world of Harry Potter with beauty and dramatic precision, it's slightly debateable as to whether it works as an effective piece in isolation from the film. The famous theme itself is used sparingly. This is a work more intent on painting an atmosphere than in giving the listener motivic handles on which to grasp. However, there is one single but sizeable question mark over whether this recording is going to completely hit the spot for Potter fans. It's particularly striking for its smooth beauty, which remains present even when painting scenes dripping with evil or fraught with pain. The score itself is equally affective – menacing, comforting, magic-tinged, powerful and fragile all in one. Pope's orchestration is a work of genius, hightening the music's drama with a myriad of different instrumental colours, from recorders and theorbo (a plucked, lute-like instrument), to ethnic percussion and a shakuhachi (a Japanese end-blown flute). It's a formidable writing team, and both must feel as though they've accomplished what they set out to achieve. In a nice instance of events coming full circle, the orchestrator is Conrad Pope, who worked on the first three films with John Williams. A three-times Oscar nominee, his previous film scores include The Golden Compass and The Curious Case of Benjamin Button. That lilting, whimsical, slightly sinister little phrase, penned for the first film by composer John Williams, must surely be one of the best-known cinematic themes ever written.Īlexandre Desplat is the fourth composer invited to write a Potter soundtrack. Harry Potter falls into that illustrious bracket though, and a big part of the magic is down to its music. There aren't many film series that reach a seventh installment without having lost their sense of momentum.
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