A review of Harry Potter and the Half-Blood Prince

Novel vs. Film, Film vs. Novel- an epic battle whose end seems about as approximate as the end of our occupation of the Middle East. A battle which, in this humble politico's view, is just as futile. Maybe I still have college-kid cockiness because I took a few film courses dealing with this precarious relationship and understand that they are different mediums, with different conventions and different aims, and so I believe I'm an authority. Maybe I'm easy to please when it comes to something I'm familiar with. Whatever the case may be, I just can't sit around and defend the film against the argument that that it's not exactly like the book, or that major elements were cast aside.
What I can say is that it was an excellent film. In this, the sixth installment, Potter and his friends must deal with their raging hormones, and the constant threat of Voldemort and his legion. As to the latter aspect, there are various mentions of atrocities and occasional shots of Aurors (Dark Wizard Hunters) pacing the halls of the fortified schools. However, as a whole, that tense atmosphere was not well-communicated, but relegated instead to single shots such as the black whips of Death Eater trails repelling against the dome-like force field protecting Hogwarts. Whereas this could have been a detriment to the film, the director instead chose to focus on Malfoy and his quest, which remains a well clouded mystery until about halfway through the film; and even then specifics are shrouded (unless, of course, you've read the book). Here an ominous threat is cast over the otherwise bubbly landscape of the school's corridors, when Malfoy's usually boastful and angry grimaces are coupled with looks of weariness and uncertainty. Tom Felton, in a few words, finally delivers an authentic performance of substance. We feel his dilemma, we understand the internal conflict between his mission and his character, and that alone makes up for what should have been a much darker film.
Where the film succeeds is in the contrast between the solemn and the jocular. Hormones bubble to the surface, with an intense focus on potions class and the intentionally bubbly personality of its new teacher- Horace Slughorn. As his character unravels, so do the relationships in the novel- from light, humorous and airy to mysterious and wrought with guilt. The teenagers find love and, with a brazen air, wrench it from the mantle of fantasy; and like most young relationships, find it far too heavy to easily bear. Whereas Ron's relationship with Lavender is painted with humor, Hermoine's pain and heart-break is visceral. These emotions are paralleled with Slughorn, whose flighty character soon chips away to the foundations of guilt upon which his hesitance to re-join the faculty is rooted.
The film ultimately serves very utilitarian purposes: one last hurrah for the frivolity of youth; cementing the thematic motif of difficult decision making; and finally, grounding the roots from which will spring key plot points of the seventh and final chapter. As vague as my last point seems, to give more detail would ruin the film for those who've yet to read the book. And in this deliberate, utilitarian treatment of the reference text, the director succeeds in a fine adaptation. The nature of the book is intact with respect to the scope of the novels.
"The Half Blood Prince" aspect plays only lightly into the story. A bigger tale needed to be told, but it's function as part of the title is never fully served. Instead, it's presence is used as a device to find a means to an end. The "big reveal" seems to be a perfunctory revelation, more than an eye-opening point of further contention for Harry. However, this might be addressed in further detail and in subtler ways in the final films.
I won't give creedence to arguments of book vs. film, but I will say this: in an ideal world, I'd love to see a more precise translation. However, director David Yates delivered a film whose purpose and gusto do justice to the source material and, more importantly, to the continuity of the story as delivered through film.

8.0/ 10
(Random tags) Funny, lighter than the previous film, moments of sadness, mature-child friendly, inner turmoil,

Love and Loss: Brokeback Mountain Film Review

The abstract concept of love has always been discuccable yet undefinable. Love brings us together and tears us apart. Love creeps up upon us when we least suspect it and is often dificult to fend off; it is often said that ince in love, you can never fall out of it. Whatever the case may be, love is nearly impossible to directly describe, and so writers have, for centuries, created tales of love. Filled with varying human actions that seek to distinguish what is love from what isn't, some come across as corny and most are filled with cliches. In film, we usually run into the same problems, but the advantage of film is that the ultimate power of the written word can be combined with human interaction- film (like the acted plays) provides us with a chance to experience the poetry of love. And when the combination of the human element and the written word is a seamless weave, the viewer can wrap himself the warmth of love, and if but for a fleeting few hours, can understand what someone's defintion of love.
BROKEBACK MOUNTAIN is one of those films. Set in Wyoming, this tale of lovers is, on a superficial basis, littered with cliches: forbidden love, affairs, lost love, utter devotion, etc. But what sets this film apart are the layers upon layers on which it is built. Under the careful direction of Ang Lee, a love tale is brought to life. Combining precise cinematography and composition with a fine set of actors, Lee portrays this tale of forbidden love. Ennis Del Mar, a tight-jawed midwestern cowboy played by Heath Ledger and Jack Twist (Jake Gyllenhaal) seek employment in the early 60's. They are both hired to guide a flock of sheep up a mountainside -Brokeback Moountain- through the summer. They only spend meals together, carrying out different tasks for the rest of the day. Slowly they begin warming up to eachother, and, when a bitter cold has Twist invite Del Mar into the tent, the two make love in the warmth of the tent, and continue their affair until the end of the job. From here the story begins its rocky tavels forward, as Del Mar returns home to his soon to be wife Alma (Michelle Williams) and Twist soon finds a wife in Lureen Newsome (Anne Hathaway). The film continues for the next 20 years or so, with Del Mar and Twist reuniting at Brokeback Mountain to continue their affair.
To say anything else about the plot would be giving too much away, so I'll continue with a discussion of the elements that made this film a beautiful exposition of love. First of all the acting was superb. Ledger gave an Oscar worthy performance, with his tight-jawed Midwestern accent and demeanor, he believeably portrayed a man torm between love and a life of responsibility towards his daughters. His facial expressions conveyed so much. While with Twist, be it happy or sad, you knew he was feeling either emotion. While separated from Twist, in his eyes one could see the longing of a man who knew love but struggled with societal norms and expectations that tore at him in every waking moment. There is a bit of history that also prevents him from fulfilling his heart's desires, and that notably eats at him too. Williams plays the role of betrayed wife well. She actually sees her husband kissing Twist and remains tight lipped about it until a crucial scene where she cracks. And as bad as you feel for Twist and Del Mar, so you feel for Williams's character.
An ability to make the viewer feel torn is yet another strength of the film. Del Mar and Twist are clearly in love, but you can't help but feel bad for Alma (Williams) and Newsome (Hathaway). These two women are innocents in a story much bigger than the players. Alma is in love with her husband and Newsome is struggling with a marriage that should have been nothing but a fling. And of course there are children involved, so the complications only build.
Lee's composition is a key element of the film. The placing of chracters in relation to the background conveys more than words sometimes, and supplements them others. When Del Mar and Twist escape to Brokeback Mountain, the beauty and serenity of the scenery provide for them that utopian dreamworld where love rules over reason. The craggy mountains and arduous storms are symbolic of the path they must tread if they wish to be together; the lush greenery, the clear water of the rivers and streams and serene ambiance of the natural and wild realm are symbolic of the purity and truth of the love they feel for one another. Careful composition of their flirtations and physical interactions also help convey their intense feelings. After not having seen eachother for four years, the two hug and then are pulled into one of the most passionate, affectionate kisses captured on film, their embrace only rivaled their final one towards the end of the film. While kissing, the camera places them somewhat off center, focusing more on their hands as they feel eachother's faces in surreal disbelief, clutching at eachother's wardrobes as though if they were to let go the other may be lost forever.
The love in the film is definitely real. The ending is perhaps one of the saddest I have seen and I wept in a heaving mess of tears. As a film it is tremendous and as a love film it dominates.
If asked to define love and all of its complexities and all of its simplicities , I would show that person BROKEBACK MOUNTAIN.

This film is a 10 of 10.