Harry Potter and the Prisoner of Azkaban

Reviewed by Peter Veugelaers © 2004
- Take a pot shot but be warned.

So, Harry is in another spot of bother, just like any other stereotypical British kid. In Harry Potter and the Prisoner of Azkaban he’s under pressure from the thought of a murderer, indeed it is enormous supernatural pressure. Sirius Black, on the loose from Azkaban prison, is hunting for Harry – he was in prison for murdering Harry’s parents and so must complete the cycle of vengeance. The repackaging of JK Rowling’s stories for yet another sequel is not so different from its predecessors and visual technique does not compensate for originality

Although I’m not a die hard fan of the Harry Potter books, the latest installment is cementing this story’s hold in the cinematic lexicon – popular film that is also good entertainment. The producers had better come up with something different next time around, though, as this series is starting to creak and groan.

I haven’t read the next Harry Potter book ready for cinematic production, but let’s hope Rowling has spiced things up for us. A tad more character definition and plot development would do nicely. Harry starts to do less obvious things unlike brandishing his wand in the name of self confidence. Or Herimone Granger gets more womanly tasks than pretend to know everything about spells or Ron Weasely proves he is becoming more of a man in more sophisticated ways apart from regurgitating animal noises in a boarding room with his friends. Something more interesting needs to happen to Harry, his friends, and the story. But I’m not the perceived target audience all the same.

Some films get closer to authentically portraying or representing school life – even though this is set in a fantasy world, Harry Potter is more fanciful and boyish about kid’s own.

The look of Prisoner of Azkaban is darker; particularly ominous is a new breed of demon cum ringwraith called Dementors that might make younger kids reach for their mom’s hand. A Dementor’s job is to perform a vigil at Hogwarts School and provoke the so-called escaped murderer Sirius Black (a splendid Gary Oldman).

But it is much of the same old story: supporting Harry in avoiding this forebodingly portrayed danger, but not overly scary, is his two school friends Herimone and Ron, who develop as little as possible as characters – they’re growing up (which is expected, of course). Potter also has an ally in the unassuming Professor Lupin, a likeable and well performed David Thewlis, who develop that student-teacher bond in the most platonic of senses.

Established actors like Michael Gambon (from the British television series The Singing Detective) as Dumbledore, who replaces the late Richard Harris in the role, Robbie Coltrane (from the British series Cracker) as Hagrid, Hogwart’s groundskeeper, and Maggie Smith (another Brit) don’t get many scenes in this (particularly Smith) although they’re all equally good.

Still, the strength of the Harry Potter stories is the sensitively handled central character’s predicament as an orphan, Oliver Twist with a wand, and his journey into a sort of redemption, self-discovery and discovery about his long lost parents. In Harry Potter and the Prisoner of Azkaban that is developed slightly more with some good scenes evoking Harry’s response to his family history. Daniel Radcliffe has the right look and gives Harry a concerted effort, coming across credibly.

Director Alfonso Cuaron, who hasn’t directed many films in his career, took on board a major production whereas his previous films, most notably the controversial Y tu mamma tambien (And Your Mother Too), have had smaller budgets even though the stars may be A-list as in Great Expectations. He has inspired moments with well timed comedic sensibilities, and clever use of film technique which does not distract from the storytelling and instead enhances it.

What is striking about this film is its visual innovation. Live animated paintings on walls, invisible horsemen, a half breed animal of bird and horse which carries Harry across a lake in a magnificently picturesque scene, transformations of humans into creatures, and more, do not add up to a wonderful experience all the same. There are lags in pace and it feels flat in places that matter most.

Azkaban feels disjointed as if the story has no beginning or end, perhaps like the succession of The Lord of the Rings trilogy or the latest Star Wars films. The first two films felt more complete; Azkaban is episodic but you do not need to have seen the first two films to understand it.

The scenes that have been marketed as stand-outs are disappointing, like the touted sneak peek of the phantasmal bus screeching its way through suburban streets, technically spot-on nevertheless. As it is edgy it lacks that upbeat quality that marked Sorcerer’s Stone and Chamber of Secrets.

Is that all? I asked myself as the end credits appeared. Something different needs to happen next time around.