Voldemort's allies are "purebloods" obsessed with rooting out both nonmagical Muggles and mongrel "mudbloods." The film's feel is paranoid and post-apocalyptic, and it's no wonder the central trio's well of affectionate banter has run dry. In common with her fellow Brits Tolkien and Orwell, Rowling is haunted by harbingers of fascism - in this case, race-based fascism. The Harry Potter Wiki says they're objects "in which a Dark wizard or witch has hidden a fragment of his or her soul for the purpose of attaining immortality." You need to know that, since the whole movie is about the dark wizard Voldemort's nasty hordes chasing Harry and his friends Hermione and Ron as they try to find and destroy various horcruxes.Īnd it's a vivid reminder that for all the enchanted-kingdom imagery of Rowling's first books, her real subject is deadly serious. For instance, I needed a refresher course in "horcruxes." Wander in without having seen another Potter film, and you won't have the faintest idea what's going on. The movie has no satisfying finish - but to be fair, it has no satisfying beginning, either. I'm surprised they didn't split the second part in two, and the second part of that in two, and on into infinity. Rowling's seventh and last book into two films.
got antsy about losing its so-called "tent poles" - multi-part properties that prop up the studio - and decided to split J.K. There's nothing wrong with the two-and-a-half-hour Harry Potter and the Deathly Hallows: Part 1 that couldn't be solved if this weren't, in fact, Part 1 - if the saga ended here instead of stopping at the climax and saying, in effect, "See you in 2011, suckers."īut two years ago, Warner Bros.
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