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The escape of renegade wizard Sirius Black from a hellish incarceration is the main storyline mechanism that controls Harry Potter and the Prisoner of Azkaban the third in an ever-lasting series of adaptations of J.K. Rowling’s phenomenally famous novels.
But the worse problem arises whether the movie’s talented director, Alfonso Cuaron, can escape the prison built for him by the man who directed the first two entries, Chris Columbus. The answer is yes, but just barely and, true to the tradition of adventure yarns, only at the last minute.
Actually, make that the last 60 minutes. For the final hour of the two-hour-and-21-minute HP Azkaban is the closest any of the films has been used to capturing the enormously pleasing essence of the Potter books.
The fact that it took Cuaron, who last produced the exceptional “Y Tu Mama Tambien,” so much time to break free speaks a lot about how much individuality and personal expression any director, no matter how talented, can bring to a moneymaking series of such fecundity that it has to be shielded from risk at all costs.
That’s why even though Cuaron — with “A Little Princess” on his resume — was one of Rowling’s top choices to do the first Potter films, he did not get the job. Warner Bros. instead turned to the unapologetically mainstream Columbus, an unadventurous Hollywood apparatchik who ended up re-creating all the detailed surface and none of the underlying magic of the Potter books.
Yet, that soulless fidelity went down well enough to earn the first two entries some $1.8 billion worldwide, enough to guarantee that any director would be too straitjacketed by what had come before to put his own mark on the material and make a truly great movie.
So Cuaron, who used the same writer (Steven Kloves), production designer (Stuart Craig), composer (John Williams) and trio of leads as the previous two films did, ended up putting the best face on a problematic situation.
“I think Chris created a very elegant universe,” he told one reporter. “It would have been not only irresponsible but also stupid to come and say, OK, just for the sake of change, let’s change all this stuff that is working fantastically well.”
And even if Cuaron had wanted to, Columbus had installed himself as a producer on “Azkaban” with a particular goal in mind: “I wanted to make sure that Harry Potter and the Prisoner of Azkaban film didn’t stray too far from the world the audience and the fans have sort of fallen in love with over the course of the first two movies,” he told The Times’ John Horn last year.
Thanks, Chris, we needed that.
The three leads (Daniel Radcliffe as Harry, Emma Watson as Hermione, Rupert Grint as Ron) play characters who are now turned 13, an age when anger and frustration are more frequently expressed. One of the advantages of Cuaron’s direction, his expertise with younger actors, indicates that the constant determination and occasional fury exhibited by the characters, typically Harry and Hermione, are absolutely convincing.
And Harry, raging hormones aside, has tons to be furious about as he returns for his third year at Hogwarts institution. That pesky wizard Black (Gary Oldman), held imprisoned for betraying Harry’s parents to the dread Voldemort, has apparently escaped, with the termination of our young hero at the top of his to-do list.
In addition, with only defense-against-the-dark-arts teacher Professor Lupin (David Thewlis) on his side, Harry has to face the black- robed Dementors, those soul-destroying, kiss-of-death-bestowing Azkaban prison guards who seem to be the direct descendants of the similarly robed and equipped Nazgul, who gave Frodo such a hard time in “Lord of the Rings.”
Rowling’s Harry Potter and the Prisoner of Azkaban had a darker cast than the first two Potter books, and it’s fortunate that Cuaron is a convincingly edgy director, someone for whom a sense of genuine unease feels natural and appropriate.
Also helpful is Cuaron’s ability to work with fully grown performers as well as the young adult variety.
Doing especially good work are the key people new to the series. Oldman exhibits a delicacy he hasn’t always shown with the character of Sirius Black, and Thewlis, best remembered for starring in Mike Leigh’s “Naked,” brings a mature and compassionate presence to Professor Lupin. Between the two of them they do the best, most realistic acting the Harry Potter films have offered to date.
The rest of Harry Potter and the Prisoner of Azkaban new casting is regrettably uneven. Michael Gambon, through no fault of his own, does not have the gravitas the late Richard Harris brought to the role of Hogwarts headmaster Professor Dumbledore. Emma Thompson has been either allowed or encouraged to frustratingly overact as divination professor Sibyl Trelawney, and Julie Christie’s guest-starring as a Hogsmead tavern functionary is even shorter than her appearance in “Troy.”
The key difficulty that has to be overcome with Harry Potter and the Prisoner of Azkaban however, is that there is too much standard Harry Potter stuff the film seems compelled to include, material that both swells the running time to that counterproductive two hours and 21 minutes and detracts from the story’s intrinsic drama.
The stations of the cross Harry Potter and the Prisoner of Azkaban movie feels it has to retrace come in two forms. First are the characters who appear because they were in the first two movies even though they serve no real purpose here. Do we really have to see the Fat Lady and the rest of the moving paintings on the walls of Hogwarts one more time? Couldn’t bad boy Draco Malfoy be given some time off? And is there anyone who isn’t bored to tears with Harry’s guardians, the Dursleys?
The second pro forma element in “Azkaban” is the special effects.
Though die-hard fans have clearly come to expect this kind of computer-generated gimmickry, with rare exceptions — the half- horse, half-eagle Hippogriffs are a great success — these kooky bits of business are both unconvincing and a distraction from the emotional core that makes the Potter books so special.
Finally, finally, finally, like those magnificent Hippogriffs soaring above the landscape, Harry Potter and the Prisoner of Azkaban breaks free of all these shackles in its final hour. Working with the persuasive Thewlis and Oldman, able to focus his gifts on what’s distinctive, dramatic and surprising about the story, Cuaron creates on screen the heartfelt magic that has enthralled so many on the page.