Harry Potter and the Deathly Hallows – Part 2 combines spectacularity and emotion with class (review)

The last film in the cult saga returns this evening on TF1.

The chain will complete its cycle Harry Potter this evening, from 9:10 p.m. Here is the review of Deathly Hallows – Part 2 published in First in July 2011, when it was released in cinemas. A blockbuster to watch again on Première Max.

Bye bye Harry. The last lap of the trackHarry Potter is a film that succeeds in mixing the spectacular and the intimate. A very beautiful ending!

Here we are ! At last! The episode that all fans have been waiting for. THE film which closes one of the most important sagas of cinema (in terms of its duration, its box office, its impact in pop culture…). After 10 years, 8 films, 4 directors and more than 6 billion dollars in revenue, it’s all over! In 2h10. And ? It’s impressive.

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For those who have not followed, we will remind you that, in this last episode, Harry must find the last 4 Horcruxes (objects where pieces of Voldemort’s soul are hidden) and destroy them. One of these macguffins (that’s what it is) is at Hogwarts and our hero will therefore have to face his nemesis in the schoolyard. It will bleed ! We have known this for over a year now: David Yates – the director – and David Heymann – the producer – have promised spectacularity, action and a good dose of darkness for this last episode. The Battle of Hogwarts must have been impressive, definitive, epic. She is. The effects are astonishing, the settings morbidly beautiful and the creatures (Death Eaters, Giants of stone or blood, dragons) of the most beautiful effect. The action scenes are not only spectacular, but above all perfectly readable: the bet is therefore successful for David Yates who had to end the saga on a muscular note and put to the ground the previous benchmarks of digital blockbuster (think Star Wars and the Battle of the Clones, The Lord of the Rings and the Battle of Isengard). But…

HP7 P2 is ultimately more than that. The penultimate episode played the intimate card, preferring to concentrate on the performance of the trio and offering before the (real) end a softer climax – the calm before the storm. The 7 bis should therefore be entirely focused on its outcome, favoring noise and fury. Move forward at all costs without ever stopping or bowing to the horrors of its characters. Show no mercy ! we thought. What we didn’t imagine, what we couldn’t predict, was the extent to which Yates would succeed in mixing the grandiose with the intimate; the epic with emotion.

Two scenes prove this mastery: Snape’s flashback, a moving parenthesis (heartbreaking, harsh, luminous – delete as appropriate) at the heart of a story of absolute darkness. The sumptuous photo – warm and shimmering (yes, yes, even in 3D) -, the subtlety of the construction (between dreamlike and fantasy, the viewer is drowned in the nuances of memory) as well as the performance of the incredible Alan Rickman (and if he was the best actor in the saga – or even, downright, its secret talent?): all the power of the saga lies in this 5-minute scene, which functions as an incredible emotional ride.

A little further, and in the same way, when Neville Longbottom rebels against Voldemort, the face to face is of an intensity and nobility which manages to say a lot about the issues and the characters… In a few words shots, we understand what was really at stake in the saga and what David Yates managed to accomplish like no other (with the exception of Alfonso Cuaron). Because these two scenes put the finger on what makes the saga successful. Having been able to capture the power of the Potterian universe, the violence of the issues, while not sacrificing Never the characters and their emotions! Capturing the truth of childhood while placing it in an impressive heroic fantasy environment.

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Obviously, the trio ensures (especially Radcliffe who shows here everything he has in his stomach). But all of Ralph Fiennes has Helena Bonham-Carter Passing by Warwick Davis are great. We regret that some characters do not have the importance they have in the novel, or that certain scenes had to be sacrificed. Or even the epilogue, no more necessary (and better delivered) than in the book. But as the end of the saga, and as a pure cinematic object, Harry Potter and the Deathly Hallows stands out as a real success. Phew?
By Pierre Lunn

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