HARRY POTTER AND THE FIGHT WITH THE DARKNESS

2024 Author: Harry Day | [email protected]. Last modified: 2023-12-17 15:43

Everyone who knows me a little more than superficially knows that I am a big fan of the books and films about Harry Potter, as well as his magical universe. And today I want to tell you about my favorite part of this movie story. In the books, this is the "Deathly Hallows", and perhaps someday I will be going to talk about it, although I cannot imagine how I can fit into an article as much as the book that concludes an unthinkable number of events has absorbed. The book, which is the indivisible construct of all the previous ones.

The third part of the Harry Potter films has become my favorite. I revisit it when I'm sad, in pain, when I want fun. I can safely review it with friends, or at home with my parents. For me, this is the type of family tube movie that is in a blanket, with cocoa and light sadness in my soul. For me, this whole film is a reflection of light sadness. I went to its premiere at the cinema with my mother, and for me it will forever remain saturated with the magic of the cinema, the magic of contact with my mother, the magic of a huge space and the play of light in the dark, and, of course, the smell of popcorn and Coca-Cola:)

The opening scene directly intersects with my personal history, and is amusingly looped into recursion: at one time I read under a blanket with a flashlight about Harry reading "The History of Magic" under a blanket with a flashlight in the third book. It was a moment of unity. I am grateful to the director, Alfonso Cuarón, for giving me this feeling of unity, not only in the opening scene, but throughout the film. Imagine how many children once read about a wizard boy under the covers, hiding from their parents, and how many children found themselves in the form of an orphan boy, to whom someone once said "you are special, Harry, AND THIS IS GOOD"? Here is the key to the hearts of children and adults. Give them love, acceptance, and support.

Harry Potter is a very lonely boy. The theme of his loneliness is raised more than once in books and films. Harry suffered a terrible trauma, which, willingly or unwillingly, determined his direction. But did she ultimately make Harry the victor of the Dark Lord and master of Death? I am afraid no. A lonely boy could never have accomplished such a powerful inner feat. Love, support, reinforcement, acceptance throughout all the books from random and non-random people brought up a person in him who had something to protect and protect. Who understood why it is possible and necessary to fight in the name of love.

In the third part of the film, Harry's loneliness is felt for the first time even by young viewers sharply and not at all childish. An understanding of the seriousness of what is happening comes, growth and upbringing takes place together with the heroes of the tape. Blowing up the aunt is funny and childish, protecting the parent's image as the reason Harry did it is absolutely serious. Harry is no longer a boy who blindly believes the words of his relatives, obeys their will and does not distinguish love from violence. He is a teenager who is prone to bouts of fair, "adult" anger and other difficult feelings, but he is also a child who solves these problems in a childish, "magical" way. And who among us would not want to solve the problem by simply inflating our personal "aunt"? Oh, don't be cunning.

The entire film balances precisely on this fine line between children and adults. Harry often acts like a normal teenager, running away from home, breaking school rules, punishing his bully, but each of these steps has logical consequences. Harry in this film has to hold responsibility for his every choice, and everything that happens is focused on these links between choice and responsibility to him. Now, if the rules are violated, we are threatened not with a mythical evil spirits, but with an absolutely non-mythical person who has his own secret motives, against whom there is no suitable spell or rule. Man is a much more complex structure, and the film gives a sense of this balance between where the magic ends and the everyday complexities of the world of human relationships begin. By the way, the nature of Sirius Black and Professor Lupine speaks about this: half-human-half-animal, an entity at the junction of magic and reality. They also balance the humorous with the thriller part of the film. On the one hand, everything is very lamp-like, funny, with pillows and sweets, and very cozy, on the other hand - cold tones, freezing ice and disgusting paws of Dementors breathing death into your face …

The Dementors are one of the best inventions in the book, and one of the most subtle. The element, without which the connections between events could not work. When I first read about Dementors, about the first meeting with them, I was shocked no less than the main characters. And, most importantly, I also had to face something that lived deep in my soul. With what worked when faced with the Dementors, how Harry's injury earned, attracting the epitome of horror, darkness and cold. Death Trauma. Dementors are the literal embodiment of depression; these are the words of the author - J. K. Rowling. Dementors are about Death itself in that embodiment with which we least want to face. This is death, which is not part of the cycle of rebirth, this is death - the loss of our human essence, of what makes us living people. Therefore, it is no coincidence that the most terrible execution in the universe is the "Dementor's kiss" - the sucking of a person's soul. I totally understand and share Harry's reaction. And like him, I had to learn how to fight my Dementors. The book and the film became the first teaching material for me personally. Effective teaching material.

Three of my favorite scenes in the film, chronologically, are Dumbledore's speech on light, Harry's flight on the hippogriff, and his dialogue with Professor Lupine on the bridge. "Happiness can be found even in dark times, if you do not forget to turn to the light" - I have been going with these words for as many years as this film has lived. This is one of the most reliable compasses for me, which leads even out of the most terrible, dark and dangerous forest. Harry's flight is about freedom, which covers even the space of the school, from which Harry breaks out for a few minutes. And we are with him. We even move away from the framework and limitations of the school of magic, from its tasks and problems, and simply merge with the animal and natural world, allowing ourselves to scream with admiration.

Dialogue with Lupine is about love, warmth, intimacy and contact. When I look at this scene, I remember how many "Lupins" I had - people who supported me in difficult times, who trained me to fight my Dementors. Who situationally acted as my parents. I think warmly about these people, because without them I would not exist today. Lupine for Harry is not only a situational father, but the person who introduced him to the concept of fear provided the boy with the opportunity to enter into a safe form of contact with his fear. Boggart is another subtle find in the book. Through the Dementor Boggart, Lupine helped integrate Harry's trauma - the loss of his mother - into a positive construct. Helped to identify, accept and process this trauma. In fact, Lupine did some therapeutic work, and not only for Harry, but for me as well. For how many more people have these dialogues filled with warmth, quiet joy, sadness and education turned out to be healing?

Love is the leitmotif of the entire film, and if the seventh part were filmed in the same style, it would be great, since this whole story is dedicated to love, it begins with love and ends with love. The third part, more sharply than the first two, opposes loneliness versus acceptance, declares how important it is to get this acceptance at a certain stage, and what an important role this will play in the end. This is about what the once planted sprouts of love grow into. They germinate in mercy, the ability to accept and love another, in the belief in happiness, in the ability to fight the darkness, no matter how strong it is. Fight for yourself and for what is dear to you. Don't be afraid to die for it. This is how the narrative line follows: from a children's fairy tale to an adult novel of formation and upbringing. Ultimately, Harry discovers and discovers that the greatest power that supports him from within and is embodied in his father, as well as his father's avatar - a deer (a symbol of courage and a guide to light forces) - is hidden in himself. We ourselves are the sources of light that support us. We do not reflect other people, but ourselves.

A special "thank you" I want to say for the music to the great (and one of my favorites) composer John Williams, who has written scores for many other cult films, including, for example, "Home Alone". She is really magical and enchanting, she captures and really leads the plot, complements it, is a significant part of it. It evokes emotions and gently plays them like an expensive instrument, immersing the viewer and listener in a state of feeling and living.

The story ends the same way: as it should. Harry saves two innocent lives and one tarnished (and this gesture of mercy will also have consequences in the future), he is forced to part with two dear people, and, losing them, involuntarily feels frustration: "everything was in vain." It seems that he is once again returned to a state of loneliness. Professor Lupine here also acts as a tightening plaster that connects the disparate parts of the boy's soul together: how can there be three lives "in vain"? How can all the lessons learned from these events, all the experience lived, be in vain? However, the most subtle motive that you understand only as an adult and deeply feeling: Harry also healed some parts of Lupin's soul. This will also have consequences. It was also not in vain. This is how Time loops itself.

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