“Harry Potter and the Prisoner of Azkaban” (2004)

Harry Potter and the Prisoner of Azkaban

Grade: A

Mexican director Alfonso Cuarón helms the third Harry Potter film with a superb sense of visual and narrative style, marvelously transitioning the franchise from the innocence of its early years to a dark and mature future. A few more notes on Harry Potter and the Prisoner of Azkaban:

Directing:

Cuarón is perhaps the most talented director to ever helm a franchise film, Harry Potter notwithstanding. Case in point: Prisoner of Azkaban is as artful and emotionally evocative as Y tu mama también, bringing a creative flourish that is quite surprising yet undeniably refreshing in the context of a big-budget blockbuster. Whereas the previous Potter films at times felt disjointed in their adaptation-by-numbers approach, Prisoner of Azkaban truly feels like a continuous story from start to finish. Much of that is due to Cuarón’s inventiveness — the long, unbroken tracking shots; the imaginative transitions between scenes; the clever foreshadowing in the omnipresent imagery of clocks and sundials. There’s magic in every frame, and it’s not just because the main character is a wizard.

Acting:

Our heroes are a year older, growing up right before our eyes from innocent juveniles to semi-mature adolescents. And our actors are actually two years older (Chamber of Secrets was released in 2002), which means that they have organically improved by leaps and bounds. Daniel Radcliffe’s performance is the most notable, with naturalistic line delivery (a deeper voice will do that) and subtle emotion in each expression. Likewise, Rupert Grint and Emma Watson fully inhabit their roles and aren’t just Harry’s sidekicks anymore. But the best actors are the adults in supporting roles, and the most electric scene in the entire film comes courtesy of four of England’s finest character actors: Gary Oldman, Alan Rickman, David Thewlis and Timothy Spall all meeting in the Shrieking Shack for a dramatic and suspenseful tour de force.

Writing:

For at least the first four books in the series, J.K. Rowling’s writing and world-building improved with every entry. Prisoner of Azkaban introduces us to exciting new magic (e.g., werewolves, dementors, shapeshifters, hippogriffs, time travel, Patronus charms), with intriguing mysteries and surprising plot twists galore. But the secret ingredient is that — for the only time in the series — there’s no Lord Voldemort, which makes this adventure stand on its own. The standard good-vs.-evil conflict is replaced with a spooky whodunit (or, rather, a who-is-it), making for a storyline that leads to unexpected and unpredictable payoffs. And the subtle humor adds to the film’s overall charm and immersion.

Music:

Legendary composer John Williams returns for another soundtrack, but Prisoner of Azkaban marks a significant departure from the sweeping grandiosity and quotable melodies of the previous two films. He matches Cuarón’s old-school cinematic tendencies with a classical sound that draws on Mozart and Haydn.

Whereas Williams’ previous Potter scores were out-front and perceptible, like a secondary character, his Prisoner of Azkaban orchestrations are content to blend in with the background. The change is ultimately for the better, as the music is much more mature and eclectic.

Ending (SPOILERS):

Everything from the Shrieking Shack showdown onward is fantastic (basically the final hour of the film), offering one cathartic climax after another. The difference between Prisoner of Azkaban and the previous films is that the climaxes are all emotional. Sure, the mind-bending plot is the most thrilling narrative of the entire series, but Cuarón’s choice to show rather than tell is why the film is one of the best coming-of-age stories of the 2000s.

As for the final freeze frame: I’m glad that such a dark and mature film (in comparison to the previous two installments) ends with a triumphant throwaway moment of teenage triumph. Harry deserves a happy ending after all the tragedy he goes through.

“Happiness can be found, even in the darkest of times, if only one remembers to turn on the light.” — Albus Dumbledore

Why Harry Potter and the Prisoner of Azkaban gets an A:

Very rarely do we get to see a world-class auteur like Alfonso Cuarón helm a franchise film, and his uninhibited creative vision results in the most absorbing and well-crafted installment of the entire Harry Potter series. It also helps that he gets to work with Rowling’s most riveting storyline.

Accolades: Colin’s Review Best Films of the 2000s

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