Harry Potter & The Prisoner of Azkaban
Directed by: Alfonse Cuaron
Written by: Steve Kloves (based on the book by JK Rowling)
Starring: Daniel Radcliffe, Emma Watson, Rupert Gint, and Emma Thompson

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He solemnly swears that he is up to no good...

Who would have thought that a blockbuster franchise, infamously controlled by the source material's protective author, would be a new weapon against the dismantling of the auteur theory? Footprints may be a recurring visual motif in the film, but it's fingerprints we're speaking of. Director Alfonso Cuarón is caught red handed. His nimble and talented fingers have clearly been all over this adaptation; reshaping it, sharpening its edges, coaxing it into something lifelife. Potter is no longer a pedestrian book-on-film franchise, but a lively and hormonally suggestive (Harry and his co-horts are teen-agers mind you) motion picture adventure.

This third film is grittier and more resonant in its depiction of adolescence. From the hilariously winking opening scene (Harry fumbling under the bed sheets with his magic wand) to Hermione and Ron's almost-sudden relationship, to the noticeably sharper moodswings happening throughout, the film feels far more grounded in real behavior. The characterizations are fuller, too, as if the actors assembled suddenly realized that they aren't performing scenes so much as portraying lives. One can for the first time almost imagine Harry, Hermione, and Ron as characters existing outside of whichever scenes they happen to be appearing in. Given the rather oversized leap in the quality of acting, considerable credit must go to Cuarón 's guiding hand.

With this solid base of characterizations first, the flights of fancy consequently feel less like CGI setpieces and more like magical occurrences. I never felt the joy of magic in the first two films, but here, as Harry rides a magical beast over the waters surrounding Hogwarts, I was soaring right along with him. Part of this is no doubt due to superior visual effects but much of it has to do with where the heart of the film lies. Cuarón , you see, isn't interested in flying beasts or Quiddich in and of themselves. The setpieces herein serve only their purpose in the story and don't glorify themselves. Perhaps I'm showing my naivete, but it seems this time out that there is little attention paid to the demands of synergistic marketing ("this particular scene will be a level of the companion piece video game!") and that comes as a relief given the number of films marred by that way of thinking.

This is not to say that the new director performs a "miracle". That would be an overstatement. Rather I suggest that he casts a spell. Cuarón doesn't quite wrestle the property away from Rowling so much as improve upon its inherent strengths. Her repetitive plotting, the books' most noticeable flaw, is still in ample evidence. [The kids always realizing their in danger right away despite the adults hiding it? Check! One of the teachers being suspect? Check! Everyone associate with Slitherin being an evil bully (as if scholastic and sports teams always consist of all good and/or all bad students) and causing Harry trouble? Check! Hermione and Harry's superior magic skills and knowledge saving the day? Check! The villain being revealed to be not quite who we were led to believe it would be? Check!] This repetition makes certain portions of the film plodding rather than exciting, just as it did in the previous films. But overall the third film is sharp and quick on its feet. Credit here goes to the terrific production team, including cinematographer Michael Seresin and famed composer John Williams (third time is the charm apparently). This also marks Cuarón 's third collaboration with editor Steven Weisberg. They mercifully keep the film humming along, never dwelling longer than necessary on a particular scene. The production manages to convey a lot of information quickly and cleverly in composition, framing, and timing. The film is a beauty even if the story it tells isn't always superb.

Alfonso Cuarón makes for quite a poster boy for the continued acceptance of the auteur theory. This is finally not just a franchise, but an actual film. This acclaimed director is in full control of his powers. He works with the same materials that were on hand in the previous two installments; fun but repetitive source material, child actors of questionable skills, adult actors of British fame and fortune. He works within the same genre: children's adventure/fantasy. But the spell that's cast is potent at last. It's his own cinematic talent that is the magical ingredient in this concoction.

If The Prisoner of Azkaban is any indication, and I think it is, Hogwarts needs Cuaron more than he needs Hogwarts. Even the end credits are suddenly enchanted. Sadly, the director has already vacated the franchise that he artistically shocked into life. I'm glad he visited and I'm sad that he won't be returning. If Hogwarts ever needs a visiting instructor for a class on transformative spells, I know just the man they should call.

Slipping into Potter vernacular for a moment...
Chris Columbus (director of the first two films): Muggle.
Alfonso Cuarón (director of the this one): Now, there's a wizard for you!
Mike Newell (the next director on the franchise): Halfblood? We shall see...

Harry Potter and the Prisoner of Azkaban: B

-Nathaniel R

Related Reviews:
Harry Potter and the Sorceror's Stone
Y Tu Mama Tambien