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It's Harry's third year at Hogwarts; not only does he have a new "Defense Against the Dark Arts" teacher, but there is also trouble brewing. Convicted murderer Sirius Black has escaped the Wizards' Prison and is coming after Harry.
This is the tale of Harry Potter, an ordinary 11-year-old boy serving as a sort of slave for his aunt and uncle who learns that he is actually a wizard and has been invited to attend the Hogwarts School for Witchcraft and Wizardry. Harry is snatched away from his mundane existence by Hagrid, the grounds keeper for Hogwarts, and quickly thrown into a world completely foreign to both him and the viewer. Famous for an incident that happened at his birth, Harry makes friends easily at his new school. He soon finds, however, that the wizarding world is far more dangerous for him than he would have imagined, and he quickly learns that not all wizards are ones to be trusted. Written by
Director Chris Columbus wanted to work with DP John Seale and asked the studio to hire him to shoot the picture, but at that time Seale was committed to shooting Timeline (2003). However, production delays for the latter film enabled Seale to be available for the movie's photography period. See more »
Owls are very quiet in flight. They have to be, they are hunters and rely on being able approach their prey silently and hear where that prey is in the first place. The owls in Harry Potter - especially in the scene where hundreds of them gather outside the Dursleys' house in Privet Drive - are very loud. Every time they appear, the soundtrack contains loud flapping noises which sounds more like some sort of pigeon than any owl. See more »
[as a cat]
I should have known that you would be here, Professor McGonagall.
[Professor McGonagall transfigures into her human self]
See more »
Richard Bremmer, the vocal and facial source for the computer generated Lord Voldemort is credited as "'He Who Must Not Be Named.'" See more »
Valiant, successful attempt to bring the magic to life
We live in a world where economics is hard. This forces practical limitations when making a movie. Time and money are sadly finite, cinema owners need to be pleased as well as fans and computer animation ain't perfect. Given these limitations, this film is about as close to human perfection as it is possible to achieve. However, it's extremely clear what an immense challenge it is to turn Philosopher's Stone from book to film.
Two and a half hours is not long to explore a wonderful, magical world. Furthermore, the directors have bowed to the inevitable temptation to show us things that cannot be communicated so effectively in a book. The consequence is the feeling of a slightly breathless sprint in places.
It also means that the movie has to stay true to the spirit of the book rather than to the letter of it. There are omissions and there are changes. The changes that were made capture and maintain the spirit of the story really well; indeed, there are places where the story is more clearly and straightforwardly told in the movie than in the book. Some aspects of the story are fleshed out on screen and the additions are delightful, completely in keeping with the flavour of the world.
The humour of the movie is inevitably more visual than that of the book; no belly laughs, but a lot of smiles. Some punchlines have changed, but the reasons why the jokes are funny remain the same. Not knowing exactly what's coming next is a good thing! It's all kept tasteful, classy and above the belt; there's nothing to cringe about.
The voice acting is almost uniformly brilliant. However, there are occasions where some of the actors are required to convey high emotions and are only given a second or two of face shot, or head-and-shoulders shot, to do so. This isn't as much freedom as they need and they fall a little short. The blame here must fall on the decision to give the actors too much to do too quickly, not on the actors themselves.
Other than these rare jarring instances, the physical acting is frequently excellent and seldom less than completely adequate, judged against the highest of targets set by the book's clear emotion descriptions.
Dan Radcliffe has the look, the mannerisms and the charm of Harry down pat. His strongest expressions are the bemusement that must be inherent at entering a world where science does not rule alone and the bravery that Harry shows in his achievements. Emma Watson possibly slightly overplays Hermione, but does so in a fully endearing fashion. There's one scene which gives her too little chance to truly express panic; otherwise her performance needs no changes.
Rupert Grint has comic timing way beyond his years, hitting Ron's lines perfectly. Tom Felton makes a stylish Draco; Matt Lewis' Neville character suffers from the acceleration, so the finale does come as a slight characterisation shock.
The Phelps brothers' Fred and George are distinctively cheeky rather than proactive pranksters; Chris Rankin imbues Percy with genuine authority. Sean Biggerstaff shines; his Oliver Wood is likeable and an ideal Quidditch team captain.
Robbie Coltrane's Hagrid is the single dominant adult character, with maximum laughs extracted at every step. The movie changes strongly exaggerate one side of Hagrid's nature, though; probably inevitable considering how much plot exposition his character has.
David Bradley has a vicious Argus Filch; John Hurt's Ollivander is an eccentric treat, giving a wonderful introduction to the Wizarding World. The professors are uniformly excellent, though Richard Harris' Dumbledore comes off as disappointingly flat until the end.
The most ambitious point of the movie is the computer generated imagery. The stills are wonderful, but the fastest animation is restricted by the limitations of real-world technology. The book makes extremely stringent demands of the CGI; sometimes their overall effect in the movie is merely good rather than insanely great. Some of the magic spells and effects look awesome; others don't capture the imagination nearly so much.
The world cannot yet completely convincingly animate human beings doing inhuman things, which serves as a clear reminder that you need fictional magic to make the impossible possible. The Quidditch scene is the most demanding of them all; while the sequence is action-packed and good-looking, disappointingly, it's not a total success. Perhaps some of the scenes would have been better with more conventional special effects? (For instance, the lower-tech-looking Sorting Hat scene is one of the most delightful of them all.)
The set looks gorgeous. However, it may not stand up to detailed analysis. It's fairly obvious that things are shot in many disparate locations, rather than one big Hogwarts School near Hogsmeade.
The score is absolutely wonderful. The soundtrack may rely too heavily on The Famous Bit, but it's clear that the balance and mixture of things in the finished movie are exactly right.
The feel of the whole movie is everything fans could have hoped for. The dialogue is intensely measured, the colouring is suitably epic, the selection of what to leave in is really tightly considered. You get chills in your spine at the right places; you feel the triumphs as all-encompassing endorphin highs. It's clear that the production have thought long, hard and lovingly. They are true fans of the story, they are the right people for the job, it all bodes very well for the second film.
So it could never have been the film that the hyper-literalists were hoping for, then, but it is as good as the practicalities of the real world could possibly permit. Don't expect miracles and you'll love it. I look forward to watching it again and again.
8/10 at the very least. A really satisfactory film!
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