Harry Potter and the Half-Adapted Script

Though scoffed at by some as children's literature, the Harry Potter series has nonetheless made a fan of me, though not a hardcore one. I bought each book upon its release, read it once, then put it away, never to be re-read. In a way, my lack of fanaticism has prevented me from appreciating the degree of detail with which author JK Rowling has invested her world, as she rarely repeats herself, choosing instead to reward those who have dedicated themselves to her work.

But it took only a single reading for the sixth entry, Harry Potter and the Half-Blood Prince, to be my favorite book of all seven, so I had high expectations for the movie. I knew the constraints of the film medium would likely leave it wanting, and I was right — but even with that forewarning, I was still disappointed.

I enjoyed the book's depth of characterization, especially as we came to know many players we previously knew only by name and deed. But in the movie, the history of Voldemort, Dumbledore, and the titular prince are all emasculated, and the ending stripped of much of its tension and the opportunity for Harry to show how much he's matured. Further, one of the joys of the books is never knowing what trivial fact will later prove significant. With the hindsight provided by the movies now lagging behind the completion of their source material, I can say that I'm challenged to see how this movie sets up the story's conclusion in the 2010 and 2011 releases of the two-part Deathly Hallows.

If I find fault with the script, I am not so easily critical of its actors: Daniel Radcliffe, Emma Watson, and Rupert Grint continue to perform admirably, as they have since founding the roles in 2001. Perhaps it was because I had, less than a week earlier, experienced my third viewing of the new Star Trek film, but it was in watching Half-Blood Prince that I finally realized that Rowling has done with her protagonists what Gene Roddenberry did with his: created a balanced triumvirate. There is the cool, logical, dispassionate sidekick; an emotional, human counterpart; and the main character who looks to both for support, balancing their advice while still relying on instinct. I am not proposing a one-to-one relation with Spock, McCoy, and Kirk, but there is definitely a tried-and-true formula at work here.

The film makes good use of its minor characters as well. I was consciously aware that Ginny Weasley (Bonnie Wright) had zero lines in Order of the Phoenix, relegating her to annoying pouty faces, which is thankfully not the case here. And Natalia Tena is back as Tonks — but without the purple hair she featured in Order of the Phoenix, seems somehow less cute to me.

From a production standpoint, Half-Blood Prince left me with an observation I've never made about this film's franchise's previous installments: it has an excellent soundtrack. I don't just mean the recurring Harry Potter theme, but also the original pieces that swell dramatically at just the right points. Although composer Nicholas Hopper worked on this film's predecessor, that soundtrack didn't leave an impression. The last film to make me want to buy its soundtrack was Enchanted, which was a musical; for a non-musical to similarly motivate me is unusual.

I did not leave the theater disappointed; the action, acting, pacing, and soundtrack of Half-Blood Prince were together worth the price of admission. But fans of the books will miss what was left on the cutting room floor, and non-readers may find the plot a bit confusing without the underlying support.

I want to close by sharing a product of Emerson College (where I myself am a student), which collaborated with Warner Bros. to create this trailer that takes the unique approach of featuring no actual film footage, instead focusing on how Rowlings' fictional sport has influenced real-life athletes: