After years of being subjected to a myriad of mediocre romantic-comedies and endless sub-par Alfred Hitchcock remakes, Harry Potter and the Goblet of Fire came as a real ray of sunshine to restore my faith in cinema. Needless to say, J.K Rowling is one of Britain’s more prominent generals in the war against bad literature, but Mike Newell’s translation of ink to silver-screen has baffled even the most hostile of skeptics. Seldom do I leave the couch to reside in my bed chamber with a spring in my step, but tonight was different.
Harry (Daniel Radcliffe) returns to Hogwarts school of Witchcraft and Wizardry with his peers Ron (a superb Rupert Grint) and Hermione (Emma Watson) for his fourth year. Following suit with the previous installments of the franchise, his year is plagued with mishap and disaster, with the focus this year revolving around Harry’s participation in the Triwizard Tournament. Needless to say, Radcliffe delivers the goods once again; his performance as the bold, brave, yet inquisitive Harry Potter is one to be remembered. He manages to convey a range of emotions from jest to anger and jealousy; each being equally convincing. Daniel Radcliffe does not play Harry Potter; Daniel Radcliffe is Harry Potter.
The Goblet of Fire has a noticeably darker tone, and steers itself towards more mature audiences than its predecessors. Themes of romance, violence, and death are frequent throughout, however Mike Newell in his infinite wisdom still retains the qualities of a family targeted fantasy film that the previous films boast so proudly. Rowling has ingeniously crafted the series of Harry Potter in such a manner that the maturity of the text grows with the maturity of the reader. Screenplay writer Steven Kloves has worked this technique into the films as well, with the first film (The Philosophers Stone) sporting noticeably more child appealing themes then the following films in the series. Whilst appearing cunning to some (particularly those who grew up with the films), others watching the films in sequence may find the inconsistency to be frustrating.
Too preoccupied to compose a fourth score for the franchise, John Williams has passed the conductors baton to Patrick Doyle. Although a new comer to film, Doyle is no amateur to the ring, having several Academy Award music nominations under his belt. Viewers will be taken aback by Goblet of Fire’s rich array of new orchestral arrangements, as well as being reacquainted with some of the signature themes and motifs from the previous films. Williams’ absence will seem apparent to the most attentive of enthusiasts, but most will still admit Doyle pulls of a splendid piece of work; nothing short of magic.
For one and a half hours all 5 of my senses were bombarded by a spectacular display of passionate theatrics coupled with ground breaking cinematography and special effects only Warner Brothers could deliver; for one and a half hours I was spellbound. The Goblet of Fire truly adds a new dimension to the series, and is a must-see for those who wish to experience something truly ‘magical’.
I give it 4/10.
