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- Reviewed Format: Theatrical Release
- Rated: PG-13
- Stars: Daniel Radcliffe, Emma Watson, Rupert Grint, Imelda Staunton, Michael Gambon, Gary Oldman, Ralph Fiennes, Alan Rickman
- Writer: Michael Goldenberg, based on the novel by J.K. Rowling
- Director: David Yates
- Distributor: Warner Bros
HARRY POTTER AND THE ORDER OF THE PHOENIX
This Harry Potter middle chapter may seem a muddle to Muggles … By Abbie Bernstein
July 11, 2007
David Thewlis as Remus Lupin and Daniel Radcliffe as Harry Potter in HARRY POTTER AND THE ORDER OF THE PHOENIX (2007).
© Warner Bros Pictures
It’s really hard to imagine someone wandering into Harry Potter and the Order of the Phoenix cold, without having seen the previous films and/or read the books, which is a good thing, because this latest entry in the cinematic series makes no concessions to the uninitiated. Newcomers are likely to be bewildered, and even those who have read the book, the fifth in J.K. Rowling’s phenomenal Harry Potter series, may find themselves looking at the enormous condensations and cuts and thinking, “Wait a minute …”
Here’s where we’re at. Young wizard-in-training Harry Potter (Daniel Radcliffe) is suffering through another break in the school year at the home of his profoundly unsympathetic Muggle (that is, non-magical) relatives, the Dursleys, when he has to use his wand to fend of some especially unpleasant supernatural monsters. Rather than being praised for his quick thinking, Harry is almost expelled from wizard school Hogwarts for using magic in front of a Muggle. This is smoothed over, but serious problems still loom. Cornelius Fudge (Robert Hardy), head of the Ministry of Magic, is denying against all evidence that the dreaded wizard Lord Voldemort (Ralph Fiennes) has returned and therefore insists that Harry is lying about his recent confrontation with the villain (as seen in the previous film, Harry Potter and the Goblet of Fire). Indeed, Fudge has become so nervous about all things having to do with Harry, Hogwarts and the school’s headmaster Dumbledore (Michael Gambon) that he handpicks the school’s new Defense of the Dark Arts teacher. This would be Delores Umbridge (Imelda Staunton), a smiling, perky, pink-clad fascist who makes up new rules daily. As Umbridge wears away at wizardly learning and Harry is stonewalled by Dumbledore and prevented by well-meaning grownups from taking part in the war against Voldemort, our hero winds up teaching secret classes in magical self-defense to his fellow students.
Although it’s got the huge set-pieces and special effects we’ve come to expect (or take for granted) in a Harry Potter film, new-to-the-series director David Yates and likewise previously-unPottered screenwriter Michael Goldenberg have pared Rowling’s novel in such a way that the thematic results have a good deal in common with the uplifting education drama genre (there’s at least one point where there seems to be specific critical comment on the U.S. No Child Left Behind program, even though Rowling and most of the filmmakers are British). This aspect of the film actually works very well, largely because Staunton, with a trilling little giggle that darts out at inappropriate moments and a sense of self-righteousness radiating from her, makes Umbridge one of the most memorable, hissable villains of the year. Never mind Voldemort, who for all his epic evil, is up for anything. Umbridge is the embodiment of conformity at its most smug and vicious – that Staunton manages to put this across and yet play the character with some humanity is a real triumph.
No one can fault Yates or Goldenberg for pacing – this is Rowling’s universe at its most full-tilt boogie. It’s also drawn in shades of grays and blacks. When color comes in, for the most part, it’s either subdued (the rainy countryside around Hagrid’s cottage) or a warning sign (Umbridge’s pink outfits). This is fantasy, but largely serious in tone, though there is some levity, largely courtesy of Harry’s pals Ron (Rupert Grint) and Hermoine (Emma Watson), both in fine form, and Ron’s older twin brothers Fred (James Phelps) and George (Oliver Phelps), who have excellent timing. Evanna Lynch makes an otherworldly impression as the exceptionally calm young Luna Lovegood. As for Radcliffe, he demonstrates why sometimes film can work better than the written word. On the page, Phoenix’s Harry came off as excessively sulky at times, albeit that he had plenty of cause. Radcliffe’s underlying air of frustration and impatience make the screen Harry more urgent than unreasonable – we understand why he’s so upset and we sympathize. The other adults in the cast are all good, with special mention going to Alan Rickman as the put-upon Snape and Helena Bonham-Carter, whose Bellatrix LeStrange is the very definition of unhinged.
Harry Potter and the Order of the Phoenix is made with vigor and conviction. It is a good if drastically curtailed adaptation of a much fuller story, and those who have been following the tale will enjoy this section. If, however, you haven’t jumped on the Potter train yet, start at the beginning – anyone who gets on here risks being thoroughly lost.