harry potter english essay

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Harry Potter

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Harry James Potter is a fictional character, the protagonist of a series of novels written by English writer Joan Rowling. In the main series that consists of seven books, as well as whole Rowling’s fictional world, he is known as the only wizard in history who managed to defeat the dark wizard called Lord Voldemort and the only one who survived eight battles with him. Among other things, Harry is a winner of the Triwizard Tournament and the owner of a special Hogwarts Award ‘For Service to the School’, received in 1993 for saving the school of Witchcraft and Wizardry from the monster of the Chamber of Secrets – the Basilisk. The character gained extreme popularity all over the world. Despite difficult childhood and a long chain of challenges, Harry Potter has never betrayed his brave and candid principles, which makes him a truly inspiring character for the generation of readers that grew up with him.

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Harry was born on July 31, 1980, in the family of James and Lily Potters. His father was an animagus (a person who can deliberately turn into an animal) from the ancient bloodline of wizards while his mother was a muggleborn witch, extremely gifted, especially in potions. All three of them were accepted into Hogwarts and sorted into Gryffindor House, which already tells something about the family; the decision-making magic of the Sorting Hat depends on student’s dominant personality traits and, for Gryffindor, these have to be bravery and pride. Harry himself barely knew his parents (they died when the baby Harry was only one year old), but remembered them with deep respect and love. Every time someone said that he looked like his father, Harry felt proud. Of course, anyone who spoke of his parents unflatteringly aroused the boy’s cordial dislike. Naturally, professor of magic potions Severus Snape gave derisive comments about James which did not add warmth to their relationship. Harry’s feelings towards his father became slightly colder when he saw in the Pool of Memory – a magic device that allows re-experiencing one’s memories – recollection of James and his best friend Sirius attacking unarmed Snape. He did not cease to love his father after that, but his attitude towards him lost his childlike eagerness.

Arguably, Harry’s appearance is quite a metaphor for his personality and his story. He has a puny physique, a short stature, dark hair (similar to his father’s), and bright green almond-shaped eyes (like his mother Lily had). This hints a reader to his strong connection to his family heritage that he believes to be lost and to the type of the hero he is; he is the one who is destined to save others, although does not seem to be built for that. Being a well-developed character, Harry Potter also has many recognizable special signs. Firstly, he wears round glasses and has a recognizable scar in the form of lightning on the forehead. He also has a scar on the left hand in the form of the words ‘I must not tell lies’, obtained after illegal detentions executed by professor Dolores Umbridge. Lastly, he has two more marks: an oval scar on the breast left by the Horcrux medallion (a special magic relic which contained the part of Voldemort’s soul that could let him resurrect in case he died), and a snake bite scar on his hand left by Voldemort’s serpent Nagini in the house of Bathilda Bagshot’s, author of History of Magic.

Harry grew up in a heavy emotional environment but this did not affect his personality in a negative way. The difficult life with the Dursleys, his only living relatives, has formed in him a sort of distrust; yet, he overcomes it after his first year in the school of wizardry. When Hagrid, Hogwarts’ gamekeeper, appears in his life, the boy doubts reality of what is happening until the last. During the first year in Hogwarts, where Harry finally feels like a full-fledged person, the main features of his character reveal themselves, both positive and negative. In addition to kindness and courage, Harry is endowed with such qualities as mercy, compassion, and the ability to self-sacrifice. Harry is a good friend and companion, he does not like to lie, and always tries to help those who need it. Along with this, Harry knows how to raise his voice against injustice, which is due to the hardness of his personality. At the same time, he is quite rebellious and sometimes show certain disrespect towards the rules. Harry often feels tormented by contradictions because of him being the unintended Horcrux of Voldemort (although he does not know it). Nonetheless, his light side always prevails. After the loss of his godfather Sirius Black, Harry acquires a grim determination of revenge.

To continue, Potter never attacks first; on the contrary, he himself often has to reflect attacks. Harry is a leader by nature, and if he has to lead anything (to be captain of the Quidditch sport team or the leader of the Dumbledore Army defense classes), he does it pretty well. Harry never boasts of his fame; moreover, his fame annoys him. He is not always sociable, and despite the fact that he has to contact with a large number of people, he manages to become close only with a few. One might say that Harry’s shortcomings include secrecy that comes from a desire to protect those around him; he often believes that he is better to act alone to protect his loved ones. He rarely shares his feelings and experiences, even with those few close friends. These difficulties with trust and being open tend to reveal themselves even in his adult life: from the Harry Potter and the Cursed Child theatre play we know that Harry has a hard time building relationship with his son Albus; still, he finds a way to become a decent parent.

To conclude, Harry cannot ignore his own emotions and rely only on facts like his father’s friend Remus Lupine does, he is not able to grasp details like his friend Hermione Granger, and he may sometimes fail to treat everything with humor like his best mate Ron or Weasley twins. However, he is able to love people deeply and strongly and intuitively foresee something that cannot be explained in words. His personality proves to be his greatest advantage in the war against the Dark Lord and the quest of destroying his Horcruxes.

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Harry Potter and the Philosopher's Stone

By j.k. rowling, harry potter and the philosopher's stone essay questions.

How does the death of his parents influence Harry's character and the decisions that he makes over the course of the book?

The death of Harry's parents is the catalyst that shapes the entire course of Rowling's narrative. Without their death, Harry would not have spent his childhood with the neglectful Dursleys nor would have entered Hogwarts with little knowledge of his background or importance in the wizarding world. More importantly, the death of his parents gives Harry an impetus for his hatred of Voldemort and ensures that, despite his similarities to the Dark Lord, he will never be seduced by the power of the Dark Arts. The absence of his parents in Harry's life also distinguishes him from the other students: he has endured a loss that none of them can understand, and this sense of isolation and martyrdom will become crucial aspects of later books.

Was Professor Dumbledore correct to leave the infant Harry with the Dursley family instead of keeping him in the wizarding world?

By leaving Harry with the Dursleys, Professor Dumbledore doomed Harry to spend his childhood being neglected and mistreated by Muggles who would never understand or love him. However, Professor Dumbledore also ensured that Harry would be protected from all of the elements of the wizarding world that might ruin him. Not only was Harry safe from the threat of dark wizards determined to avenge the fallen Voldemort, but he was safe from the heavy burden and unavoidable attention given to the boy-who-lived. Because of Professor Dumbledore's decision, Harry grows to be a kind, modest, and unassuming young man who is not forced to learn of the horrific murder of his parents until he is emotionally mature.

Why is Harry's insistence on being placed in Gryffindor House instead of Slytherin House so significant in terms of his development as a character?

Throughout the novel, Rowling emphasizes the importance of choice in determining an individual's character and direction in life. It is the choices that we make that establish what kind of person we will become. With that in mind, Harry's refusal to be placed in Slytherin House, despite his many similarities with Voldemort, is crucial in terms of his characterization. Harry could have remained passive during the Sorting and would have ultimately been sorted into Slytherin. Yet, by taking an active role in his Sorting and choosing to be placed in Gryffindor, Harry demonstrates his determination to choose his own direction in life and not adhere to anyone else's perception of his nature.

Is there a clear sense of good and evil in the book?

At the beginning of the book, it seems as if there are clear distinctions between good and evil: Professor Dumbledore and Harry are wholly good, while Voldemort and his Death Eaters are wholly evil. Yet, over the course of the narrative, Rowling complicates the issue and creates a sort of moral ambiguity, particularly in the character of Professor Snape. From the start, Professor Snape is presented to be a malignant follower of Lord Voldemort, and Harry is only too ready to believe that his Potions teacher is completely evil. In actuality, though, it is the seemingly benevolent Professor Quirrell who is doing the bidding of Lord Voldemort. The concepts of good and evil are too complex to be expressed in black-and-white terms, and every character has some element of good and evil in their nature. The problem is, Rowling suggests, how a battle can be fought between good and evil when the lines between the two are so blurry.

What primary difference between Harry and Voldemort does Rowling choose to highlight in the book? Why is this difference so important?

The primary difference between Harry and Voldemort is Harry's capacity to understand and feel love. Although Harry does not have his parents, he is still able to love their memory and develop close relationships with other characters, including Ron, Hermione, and Professor Dumbledore. Voldemort, on the other hand, views love as a weakness and so chooses to isolate himself from those around him. Professor Quirrell does not love Voldemort but rather fears him, so his loyalty is far weaker than the bonds of friendship forged between Harry, Ron, and Hermione. Moreover, because Lord Voldemort did not comprehend the power of Lily Potter's love when he attempted to kill her son, Voldemort nearly destroyed himself with the killing curse meant for Harry. Voldemort will never be able to understand the strength of love and, though he will always be more powerful than Harry, Harry has the support and strength of the people he loves to help him defeat the Dark Lord.

How does Rowling present the difference between the wizarding world and the Muggle world? Why does she choose to highlight these differences?

The Dursley family serves as the primary example of the Muggle world in the first part of the novel: ignorant, selfish, close-minded, and not equipped to understand the wonders of the wizarding world. One of the reasons why Harry is left with the Dursley family is precisely because of their "Muggleness," which allows him to grow up without the burden of the wizarding world. However, when Harry goes to Hogwarts and meets Hermione and other Muggle-born wizards, he learns that the Dursleys are not representative of the Muggle world, but rather the worst part of it. Moreover, Rowling reveals that people in the wizarding world can be just as cruel and close-minded as Muggles. Although the two worlds seem to be completely different, good and evil are present in both, and both worlds are worth saving from Lord Voldemort's reign of terror.

Throughout the novel, Harry and his friends break numerous rules at Hogwarts. How does Rowling create a balance between the importance of maintaining authority and the importance of rebelling against it?

Rowling does not argue in favor of ignoring all rules and regulations. Many of the rules at Hogwarts are instituted in order to protect the students; for example, the rule that prohibits students from going to the forbidden third-floor corridor ensures that students are not attacked by the three-headed dog. At the same time, however, Rowling realizes that rules must be broken in certain situations for the sake of the bigger picture. Harry does not break the rules at Hogwarts simply for the sake of breaking them; he rebells because he knows that his actions serve a greater purpose: protecting the Sorcerer's Stone, defeating Voldemort, and ultimately, protecting a way of life. No one can make a difference, good or bad, if they always adhere to the rules, and part of Harry's appeal is that he is willing to risk the consequences in order to do what he believes is right.

What larger theme does Rowling express in her discussion of the Mirror of Erised and Harry's fascination with it?

In her discussion of the Mirror of Erised, Rowling explores the issue of desire and the way that it can hinder a person from taking action in his or her life. When Harry looks into the Mirror of Erised, he sees the family that he will never know. As Professor Dumbledore tells him, the vision of Harry's parents is not truth or knowledge: Lily and James Potter are dead and never coming back. Yet, Harry's desire for his family is so strong that he could easily lose himself in the visions of the mirror and waste away, never to move forward. Desire can be an important catalyst for action (as in Ron's case, in which he sees himself as Head Boy and Quidditch captain), but with Harry, his desire forces him always to look backwards. In order for Harry to live his own life and fulfill his other desires, he cannot lose himself in the desire for something that he can never have.

What is the significance of Dumbledore's relationship with Harry?

Professor Dumbledore is the first real father figure that Harry has in his life at this point. Lacking the presence of his true parents, Harry had to raise himself more or less on his own, rather than follow the example of the warped parental figures: Vernon and Petunia Dursley. Although Professor Dumbledore does not seem to take an active role in Harry's life until half-way through the novel, he is always watching over Harry and seems to care for him a great deal. It is not coincidental that Dumbledore is the one who takes Harry after his parents' death and determines where he should be raised. Harry's conversations with Dumbledore shape his belief system, as well as providing him with a stable figure of authority that he can model himself upon.

Many conservative critics claim that the Harry Potter series promotes witchcraft and is therefore unsuitable for children. Do you agree or disagree with this claim?

In the Harry Potter series, Rowling creates a magical world in which the forces of good are pitted against the forces of evil. Yet, the themes that Rowling promotes in her books--the importance of choice, friendship, love, determination--are themes that are important in the everyday world and that any young children should strive to learn. Rowling's decision to express these themes through a magical and exciting fantasy world is not a promotion of witchcraft, but rather a way to connect and speak to children in a manner that excited their imagination, creativity, and desire to read. A close examination of the Harry Potter books also reveals that Rowling is very clear about which kinds of magic belong to the Dark Arts and are thus associated with cruelty, tyranny, fear, and other negative elements of the everyday world. When conservative critics denounce Rowling for promoting witchcraft in her novels, it seems likely that, not only have they not read any of the Harry Potter books, but they have missed the important lessons that Rowling instills in her work.

Harry Potter and the Philosopher’s Stone Questions and Answers

The Question and Answer section for Harry Potter and the Philosopher’s Stone is a great resource to ask questions, find answers, and discuss the novel.

Who is the only person Voldemort is afraid of?

Albus Dumbledore, the headmaster of Hogwarts, is Voldemort's only feared enemy.

What does Hagrid bring for Harry when he first time meet?

When Hagrid first meets Harry Potter he brings him a cake and a letter inviting him to attend Hogwarts school of Witchcraft and Wizardry.The cake is a special treat for Harry's eleventh birthday,and the letter explains that Harry is a Wizard and...

Harry Potter Short Questions

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Study Guide for Harry Potter and the Philosopher’s Stone

Harry Potter and the Sorcerer's Stone (also Harry Potter and the Philosopher's Stone) study guide contains a biography of J.K. Rowling, quiz questions, major themes, characters, and a full summary and analysis.

• About Harry Potter and the Philosopher's Stone
• Harry Potter and the Philosopher's Stone Summary
• Character List

Essays for Harry Potter and the Philosopher’s Stone

Harry Potter and the Philosopher's Stone (also Harry Potter and the Sorcerer's Stone) literature essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of Harry Potter and the Philosopher's Stone.

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Wikipedia Entries for Harry Potter and the Philosopher’s Stone

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• Development, publication and reception
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Home — Essay Samples — Literature — Books — Harry Potter

Essays on Harry Potter

Writing an essay about Harry Potter can be a fun and engaging way to explore the themes, characters, and impact of this beloved series. Whether you're a student or just a fan looking to dive deeper into the magical world of Hogwarts, writing an essay about Harry Potter can help you sharpen your critical thinking skills and express your love for the series.

When choosing a topic for your Harry Potter essay, consider what aspect of the series you are most passionate about. Whether it's the themes of friendship and bravery, the complex characters, or the world-building, there are plenty of topics to explore. For an argumentative essay, you could analyze the ethical dilemmas faced by the characters or debate the impact of the series on popular culture. For a cause and effect essay, you could explore how the events in the series lead to certain outcomes or how the series has influenced readers. For an opinion essay, you could share your thoughts on the controversial aspects of the series or discuss your favorite characters and why they resonate with you. For an informative essay, you could delve into the history of the series, its impact on literature, or the cultural significance of the wizarding world.

• The theme of love and sacrifice in Harry Potter demonstrates the power of compassion and selflessness.
• The character development of Hermione Granger in Harry Potter challenges traditional gender roles and empowers young readers.
• The magical world of Harry Potter serves as an allegory for the struggles and triumphs of adolescence.
• The Harry Potter series, written by J.K. Rowling, has captured the hearts of readers around the world with its enchanting blend of magic, friendship, and adventure.
• As a symbol of resilience and hope, Harry Potter has become a cultural phenomenon that continues to inspire and captivate audiences of all ages.
• From the moment Harry discovers he is a wizard, the world of Hogwarts opens up to readers, inviting them to explore the complexities of good versus evil and the power of love.
• The Harry Potter series has left an indelible mark on popular culture, reminding readers of the enduring power of love, friendship, and bravery.
• As we bid farewell to the wizarding world of Harry Potter, we are left with a sense of wonder and appreciation for the timeless themes and characters that have touched our hearts.
• The magic of Harry Potter lives on in the hearts and minds of fans, reminding us that the power of imagination and storytelling can transcend time and space.

Success of The Harry Potter Series

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The Summary of Harry Potter and The Sorcerer's Stone

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The Problem of Evil in The Harry Potter Series

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• Harry Potter and the Philosopher's Stone (1997)
• Harry Potter and the Chamber of Secrets (1998)
• Harry Potter and the Prisoner of Azkaban (1999)
• Harry Potter and the Goblet of Fire (2000)
• Harry Potter and the Order of the Phoenix (2003)
• Harry Potter and the Half-Blood Prince (2005)
• Harry Potter and the Deathly Hallows (2007)

J.K. Rowling

Fantasy Novels

Fantasy Fiction, Drama, Young Adult Fiction, Mystery, Thriller, Bildungsroman

Hermione Granger, Harry Potter, Draco Malfoy, Ron Weasley, Lord Voldemort, Professor Albus Dumbledore, Professor Severus Snape, Luna Lovegood, Rubeus Hagrid, Dobby, Bellatrix Lestrange, Neville Longbottom, Professor Minerva McGonagall, Sirius Black, Pansy Parkinson, Newt Scamander, Remus Lupin, Ginny Weasley Gellert Grindelwald, Sorting Hat, Cho Chang, Dolores Umbridge, Peter Pettigrew, Fred Weasley, Dudley Dursley, Lucius Malfoy, Nymphadora Tonks, Hedwig, Lily Evans Potter, Albus Severus Potter, Nagini, Oliver Wood, Narcissa Malfoy, James Potter, Moaning Myrtle, Fleur Delacour, Alastor Moody, George Weasley, Dean Thomas, Argus Filch, James Sirius Potter, Lily Luna Potter, Molly Weasley, Vernon Dursley, Seamus Finnigan, Regulus Black, Winky, Sybill Trelawney, Peeves, Lavender Brown, Astoria Greengrass

Even though there is no actual Harry Potter in real life, J. K. Rowling drew her book inspiration based on a boy who lived just four doors down when she was a child. The boy's name was Ian Potter.

The most important symbol is the scar on Harry's forehead, which stands for the past, present, and the future. The scar is also a representative of Harry Potter's link to Lord Voldemort. The eternal fight between the good and evil.

Love is the main theme throughout the books because if you truly love someone, it cannot be taken away. The true love lasts forever as Harry Potter finds his identity and learns to fight against the tyrannical rule by Voldemort. It is an educational book where there is much more to that than it actually seems. Another great lesson is that true friendship can get you through anything. It is not the magic or being a wizard, but being a true friend and staying there for the ones you love.

It all starts when Harry Potter, an eleven year old English orphaned boy, learns that he is the son of two powerful wizards and has certain magical powers of his own. Joining Hogwarts, an English boarding school for wizards, he embarks on a magical journey, which helps him to find true friends and discover the truth about his parents.

• J.K. Rowling and Harry Potter share the same birthday date
• The author already had the sketch of the final chapter of the final book when she only had the first book written down.
• Struggling with depression after her mother's death, Rowling came up with the concept of the dementors.
• The Quidditch has been created after a fight with her boyfriend.
• The Philosopher's Stone has nearly become "Harry Potter and the School of Magic" in the United States.
• Haley Joel Osment of "The Sixth Sense" fame could have played Harry Potter.
• J.K. Rowling has acknowledged it herself that Harry and Hermione pairing could have worked.
• "To the well-organized mind, death is but the next great adventure." ― Albus Dumbledore
• "It does not do well to dwell on dreams and forget to live." ― Albus Dumbledore
• "Fawkes is a phoenix, Harry. Phoenixes burst into flame when it is time for them to die and are reborn from the ashes." — Albus Dumbledore
• "It matters not what someone is born, but what they grow to be." ― Albus Dumbledore
• "We are only as strong as we are united, as weak as we are divided." — Albus Dumbledore

The main message of the book is defeating evil with the power of love, sincerity, and friendship. The love grants protection, the logic and being smart helps to find the way and open the locked doors. It is more than just an entertaining story that reminds us once again that true friendship will stand through everything and that as long as you have your friend's back, you will challenge even the worst evil there is.

It is one of the most essential books for children and adults today, which makes it a great essay topic when we want to talk about friendship, care for each other, reaching for your dreams, and staying true to who you are. It is also the battle between good and evil and using magic just simply by staying kind and helping your friends.

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Short Essay And Paragraph On Harry Potter For Students

Here you can read a five-paragraph essay about the Harry Potter books in serious terms. The following selected paragraphs are valuable for learning purposes, especially for young students.

Table of Contents

A Paragraph About Harry Potter

1. Harry Potter is a series of seven fantasy novels by J.K. Rowling. The series tells the adventures of the young wizard Harry Potter and his friends Ron Wesley and Hermione Granger, who are all students of the Hogwarts School of Witchcraft and Wizardry and want to conquer the world.

3. They have also been criticized for their negative portrayal of certain groups, such as the Slithery, and for promoting witchcraft and wizardry. Even so, the series has become one of the most popular in history, and its influence on popular culture is undeniable.

4. So here’s a quick rundown of the Harry Potter franchise: Whether you’re a fan or not, there is no denying that these books have had a huge impact on the world. Did you know? The final book in the Harry Potter franchise, Deathly Hallows, was published in 2007 and became the fastest-selling book in history. In the first 24 hours of its publication, 11 million copies were sold.

5. The Harry Potter series has been translated into over 60 languages and made into eight blockbuster films. Rowling said she got the idea for the series while on a train ride from Manchester to London. Soon after, she began writing the first book. Harry Potter is often credited with reviving the children’s book genre , which made reading popular among young people again. Research has shown that it encourages children to buy books by other British authors, such as Roald Dahl and Diana Wynne Jones.

500 Words Essay On Harry Potter

Harry Potter is a series of fantasy novels written by British author J.K. Rowling. The series chronicles the life of a young orphan boy named Harry Potter, who discovers on his eleventh birthday that he is a wizard. He is taken to Hogwarts School of Witchcraft and Wizardry, a magical boarding school in Scotland, where he makes friends and enemies, and learns about magic and the magical world.

The series is made up of seven books, with the first book, “Harry Potter and the Philosopher’s Stone,” being published in 1997 and the final book, “Harry Potter and the Deathly Hallows,” being published in 2007. The books were later adapted into eight successful films, with the final film being released in 2011.

The Harry Potter series has become one of the most popular and successful book and movie franchises of all time. It has been translated into over 80 languages and has sold over 500 million copies worldwide. The series has also been credited with revitalizing interest in reading among young people and has been used as a tool for teaching reading and critical thinking skills in schools.

One of the reasons for the series’ success is its relatable and well-developed characters. Harry Potter, the protagonist of the series, is an orphan who is forced to grow up too quickly, and the series follows his journey from a neglected and mistreated child to a brave and confident young man. His friends Hermione Granger and Ron Weasley are also well-developed characters, each with their own unique strengths and weaknesses. The series also features a wide variety of memorable and dynamic villains, such as Lord Voldemort, the main antagonist of the series, and his followers, the Death Eaters.

Another aspect of the series that has contributed to its success is its rich and detailed magical world. Rowling’s imagination and creativity are on full display in the series, as she creates a world filled with a wide variety of magical creatures, spells, and magical objects. The series also features a complex and intricate plot, with many subplots and twists that keep readers engaged and guessing until the end.

In conclusion, the Harry Potter series is a masterpiece of modern literature that has captured the hearts and minds of millions of readers and viewers around the world. It has become one of the most popular and successful book and movie franchises of all time, and its relatable characters, rich magical world, and complex plot are just a few of the reasons why it has stood the test of time. It is a story of friendship, love, and the power of good to triumph over evil that will continue to be enjoyed by people of all ages for years to come.

Hello! Welcome to my Blog StudyParagraphs.co. My name is Angelina. I am a college professor. I love reading writing for kids students. This blog is full with valuable knowledge for all class students. Thank you for reading my articles.

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Harry Potter and the Sorcerer's Stone

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Discussion Questions

Consider the four different Hogwarts houses. Does sorting simplify the complexity of a human being’s personality? Why or why not?

Discuss the role of fate and destiny in Harry’s life. Provide examples of how Harry’s free will pushes back against these larger forces at work.

Compare and contrast the characters of Harry and Voldemort . In what ways are they similar, and how are they different? Why are these differences so significant?

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Harry Potter and the Adaptation from Novel to Film

Submitted by: Robyn Joffe

Harry Potter and the Adaptation from Novel to Film  

By Robyn Joffe

For as long as people have been making movies, people have been making movies based on books. Films have also been adapted from several other forms such as television shows, theatrical plays and even other movies. More recently, entire book series have been adapted, such as the Lord of the Rings trilogy and the still in progress Harry Potter series . With six of the seven books written, and five films finished (four of them released), the Harry Potter franchise has a lot to offer scholars interested in the how-to's and the results of adapting books to film.

The Harry Potter films, which started with the release of Harry Potter and the Philosopher's Stone in the year 2001, depict the events covered in the books in a more filmic fashion. The films bring Rowling's words to life; however, as is nearly always the case in adapting work of one form to another, the transitions can be less than smooth. As Deborah Cartmell, senior lecturer in English writes, "An adaptation is undeniably an appropriation of the text, and although the plot remains the same, the telling ’ or the interpreting of it ’ radically changes from one generation to the next." 1

From time constraints to a director's need for artistic expression to casting choices to how a film is promoted, the process of transforming a book to a film can be fraught with peril. Other such issues surrounding direction, characterization, pacing and chosen content (among others) can also contribute to a film's eventual success or failure. Though the resulting movie may in fact be a good film, the question that must be asked is whether it is a good film version of the book . Though most published academic works covering the adaptation of a book to a film focus on classic novels, such as those by Shakespeare or Jane Austen, adaptations are not made merely from acclaimed literary masterpieces. What the Harry Potter series lacks in academic acknowledgment, it more than makes up for in mass popular appeal.

For this reason, this essay will dissect the Harry Potter books and their resulting films, paying particular attention to what issues in the process of adaptation were most relevant to each, and see what, if any, perils were encountered in the making of them. In doing so, this essay will make use of both scholarly and amateur sources, because while authoritative texts are more often relied upon (and with good reason) in essays such as this, the opinions fueled by the unquestionable knowledge of the Harry Potter fan base (in regards to the content of both the books and films), are not necessarily any less valid than their more academically informed counterparts.

Harry Potter and the Philosopher's Stone (2001)

Graham Greene, one of the first major literary talents to show an interest in writing for films (and one who often adapted his own short stories) once described the screenwriter as "a ˜forgotten man' once the film went into production, since after that point other hands might make alterations to the screenplay." 2 In a much more recent book, the same sentiment was expressed: "Despite the excellent compensation, a Hollywood scriptwriter is a low man on the totem pole, and much of his work ’ sometimes all of his work ’ is not used." 3 However, for Harry Potter screenwriter Steve Kloves, working with director Christopher Columbus was an experience in the opposite. In fact, Columbus described their collaboration ’ which went from script development through production ’ as "something of a dream situation' 4 and Kloves further explained that "Chris has been willing to listen to any idea, and he doesn't think it's right until we both agree it's right, which is great." 5

Columbus also went a step further in welcoming the continued involvement of not just the screenwriter ’ but the original novelist as well; "My desire was to remain faithful to the story, the characters and the integrity of those characters ... I realized that I had found a solid collaborator [in Rowling]. And it was important because she knows this world better than anyone else." 6

Producer David Heyman also noted that Rowling "has been given the freedom to exert perhaps more influence on the Potter films than is usual when a book is adapted for the screen." 7 This is no doubt due to the fact that the book series is not yet completed, or as Kloves himself put it; "It's the only time I've ever been involved in a story without an ending ... And you would think [Rowling] would tell me something [about it], since I am writing it. But she won't." 8 Along with script approval, author J.K. Rowling had one other demand: that the actors playing the British characters actually be British. Thus, casting began.

Casting a film that is being adapted from a book can often become very controversial, especially if fans get wind of which actors are being considered beforehand. Because many novels that are made into films are not illustrated, the reader has created a picture of each character in their mind, according to any descriptions from the book, and accepting an actor who may not entirely fit that description or picture is something that many fans find hard to do. On the other hand, it is not always only a matter of a fan being unable to let go of his/her own interpretation of a character. At times, the decision to cast a certain actor in a certain role can be questionable no matter how good they might be.

An example of this would be the casting of Alan Rickman in the role of Professor Severus Snape. Though Rickman is a very talented actor, he was also fifty-five years old when the first movie was released, whereas at the start of the series Snape is supposedly only thirty-two years old. 9 While one might think that the age difference does not matter so long as the appearance is appropriate, the difference ’ particularly as it's more than twenty years ’ has an effect on that as well. In the book, part of Harry's perception of Snape is that "his eyes were black like Hagrid's, but they had none of Hagrid's warmth. They were cold and empty and made you think of dark tunnels." 10 Snape's youth, coupled with his demeanor, present a more tragic juxtaposition in the book than they do in the film because in the film that juxtaposition does not even exist. How can it when the embittered contempt that emanates from the character is easily understandable, rather than jarring, in the lined face of an older actor?

The choice to cast Rickman has also lead to another unforeseen side effect among Harry Potter fans: Lust.

The newfound Snapemania was sparked in part by the casting of actor Alan Rickman ’ well-established as "the thinking woman's sex symbol" ’ in the role. Rickman's feline movements and mellifluous voice give the Potions Master a sensuality absent from the page. And beyond the shoulder-length black wig and black contact lenses Rickman wears, no attempt is made to ugly him up. 11

This has even led to Rowling herself questioning whether those who profess their love of the character are talking about Snape, or Alan Rickman, and (as the same thing has occurred in the case of Harry's nemesis, Draco Malfoy) lamenting the humanizing effect that an attractive actor tends to have on the villainous characters he portrays; "Isn't this life, though? I make this hero ’ Harry, obviously ’ and there he is on screen ... but who does every girl under the age of fifteen fall in love with? Tom Felton as Draco Malfoy." 12

Aside from these and other slight deviations, Harry Potter and the Philosopher's Stone (known as Harry Potter and the Sorcerer's Stone in the United States 13 ), is remarkably faithful to its source text. In fact, BBC film reviewer Adrian Hennigan wrote that Columbus treated "J.K. Rowling's debut novel with a reverence that wasn't even accorded to the Bible." 14

However, not all deemed such devotion praise-worthy, and the film "was criticized by many as being too faithful to the book." 15 One summed the film up as "an adaptation which paradoxically undermines itself by aiming at a faithful replication of the source text' 16 while others merely declared that "a commitment to fidelity (in response to the perceived demands of readers/viewers) compromises the processes of adaptation." 17 However, on the other side of the spectrum, respected critic Roger Ebert wrote that the film had succeeded in doing "full justice to a story that was a daunting challenge ... During [the film] I was pretty sure I was watching a classic." 18

There are a couple of issues that help explain this broad range of reactions ’ aside from the obvious reality of people having different opinions. One of these issues is that this book and film are the first of a series, and so while the actual plot is one of mystery, it doesn't appear until rather late in the actual story ’ the time up to that point being taken up by Harry's introduction to (and the setting up of) the wizarding world. In fact, in the shooting script for the film, the titular Stone is only very obliquely referred to for the first time on the twenty-second page; "Hogwarts business. Very secret' 19 and once more on the forty-third; "the third floor corridor ... is out of bounds to everyone who does not wish to die a most painful death' 20 before the characters are confronted with the actual mystery on page fifty-five:

HERMIONE Didn't you see what it was standing on? [...] It was standing on a trapdoor, which means it's not there by accident. It's-

HARRY Guarding something. 21

This means that the actual plot of the first film doesn't start until fifty-five pages into the script, completely ignoring a rule that is not just for "adaptation, it's a rule of screenwriting in general. You've only got about thirty pages to set everything up. Establish your main characters ... ground the audience in the world where your story takes place, introduce the dramatic problem, and move into the second act." 22 Lagging with the opening could add to any pacing problems that might develop, as well as become the source of accusations of too much fidelity by critics. And yet, because this introduction is not just for this film but for the entire series, it's (arguably) necessary, because the plotline revolving around the Philosopher's Stone might be the focus of the first film, but Harry's place in the wizarding world remains a focus of each of the films that follow. To breeze through it would be inexcusable, making the resulting ambling movement towards the main plot of the film all but unavoidable. However, it is worth it to remember that that introduction is part of what the audience is there to see.

The other issue that must be highlighted when discussing the expectations of both fans and critics is the overwhelming, ever-growing Harry Potter phenomenon that accompanies the release of every single bit of news even remotely relating to the series. As Suman Gupta wrote in a chapter of his book entitled Movie Magic : "Very seldom have films been so preordained to be blockbusters, received so much media attention before they appeared ... been anticipated with so much informed readiness." 23

Perhaps Professor Philip Nel put it best when he wrote that "the film does no violence to readers' imagined versions of characters and events, but it does not offer its own creative vision." 24

Harry Potter and the Chamber of Secrets (2002)

This film, like the first, was directed by Christopher Columbus and written for the screen by Steve Kloves. Because most of the creative team was the same, most of the commentary towards the process of creating this film is similar as well. However, there are some significant differences and additional issues unexplored in the topic for the previous film that warrant its own ’ albeit shorter ’ discussion.

Structurally, the second film is quite different from the first, as the introduction to the entire Harry Potter universe isn't necessary this time around. As Rowling put it; "The first one is episodic ... And Chamber is a more linear structure so it was easier to translate to screen." 25 However, it is also the longest Harry Potter film (though, to be fair, it only beats Goblet of Fire by four minutes), and the pacing suffers for it. As one critic wrote, "You get the sense that its makers have tried to film a novel instead of make a movie' 26 while another pointed out that "watching the film, I mostly felt sensory overload as one special effect was piled atop another. In fact director Chris Columbus has scrupulously avoided anything like genuine emotion." 27

To be fair, he was worrying about other things - namely, his young stars.

Casting these kids at the beginning of Sorcerer's Stone was, in a way, horrifying. I spent the first two weeks on that film trying to get them to look away from the camera, stop smiling and be able to utter one line so I could cut around it. 28

The experience (or lack of same) of his actors contributed in a large way to how Columbus was able to shoot both of the Harry Potter movies he filmed. As none of the child actors had ever done anything professional before ’ aside from Daniel Radcliffe, who had only had a few small roles ’ the movie had to be shot and edited around them. The first two Harry Potter films owe their less-than-sophisticated look to the fact that prolonged camera shots and wide angles were simply not possible in most cases involving the young stars ’ and neither was the endless repetition that can otherwise be associated with film-making. In fact, Columbus "rehearsed very little with the children since ... he didn't want to lose their spontaneity." 29

In Columbus' words; "When we wrapped on Chamber of Secrets , their performances had improved immensely, and they had become seasoned professionals. I felt my job was complete' 30 and with his job complete, so was the second film.

Harry Potter and the Prisoner of Azkaban (2004)

It is in the discussion of the third film in the Harry Potter series that a more intricate and varied discussion on the pros and cons of the adaptation process can truly commence. This is not to say that discussing the first two films is without merit, but that as the books get longer (indeed, the third one is the first of the series to break 300 pages), and the plots grow more complex, the resulting portrayals on film offer more topics to debate.

Another reason that this progression reflected so obviously on the film series was that Christopher Columbus, director of the first two films, stepped back into the role of co-producer (with David Heyman and others) on this film, leading to Mexican filmmaker Alfonso Cuarón being hired to direct. Having previously brought his unique visual style to films like A Little Princess (and consequently proving he could work with children), Cuarón was drafted to lead the Harry Potter series in a new direction: "My approach was that I wanted to do a character driven piece, with cool visual effects, rather than a visual effects movie with some characters running around." 31

At the same time, Cuarón was conscious of the fact that he was stepping into an already-established universe, admitting that "it was one of [his] hesitations" before accepting the position. 32 He solved that dilemma by resolving to serve the material: "and the material meant before anything else the book, and then secondly the position of this film in the franchise of Harry Potter." 33

His overall success may be debatable, but what cannot be questioned is the dramatic change made in the look of this third film. As Columbus remembers: "Most of our sets were already built, but Alfonso had a desire ’ as did our production designer Stuart Craig ’ to open up the picture." 34 Using more wide-angle and tracking shots to heighten the sense of drama, 35 Cuarón was intent on facilitating the overall flow of the film, as well as creating lasting visual connections throughout. 36 Particular focus was paid to images relating to time (Harry spends several scenes in and around a large clock tower at Hogwarts), and identity (there are numerous scenes that start or end on a close up of a character's eye), in keeping with the themes Cuarón had chosen to highlight. The use of darker colours, more haunting music and dramatic lighting ("high contrast, more shadows") also contributed to the "very different look and feel from the previous films." 37

Perhaps the most important decision made to create this result, however, was one that was more philosophical than technical: "One of the things we decided was that in order for the magic to spring forward more naturally, it had to come from a real and honest place ... What we sought to create was a sense of reality in which the characters interact with each other." 38

Cuarón felt that choosing Michael Seresin for the film's cinematography would help to achieve that goal:

One thing that I felt was perfect for Michael was that we have this magical universe that he could really ground. Because he has got that grittiness, and that grittiness comes from the fact that he is a single-source light cinematographer. He's very naturalistic in that sense. I felt it would be a good marriage with the material. 39

And he seems to have succeeded. As Sloan de Forest, editor and contributor to Scribbulus , writes: "[In] the third film, I saw an immense, imposing Hogwarts drained of its warmth but injected with a unique style and grainy realism not present in the first two films." 40 The film was lauded by both critics and fans as being "the closest any of the films has gotten to capturing the enormously pleasing essence of the Potter books' 41 and there seemed to be a tentative collective agreement that Harry Potter and the Prisoner of Azkaban was a truly great movie. But that does not mean it was a great movie of the book , and as this is the difference that this essay seeks to highlight, more in depth examination is necessary.

The unique thing about the book, Harry Potter and the Prisoner of Azkaban , is that it is arguably not a story in and of itself ’ but the story of a story, which gradually unfolds throughout the book, finally leading to its climactic reveal and the ensuing repercussions. The book covering Harry Potter's third year at Hogwarts is not about Harry Potter's third year at all, but about the events leading up to his parents' deaths twelve years before.

It is fitting, then, that with this book comes the introduction of several new characters, including two of particular importance: Defense Against the Dark Arts Professor Remus Lupin, and the escaped titular Prisoner of Azkaban, Sirius Black. One interviewer notes that their "connection with ... Harry's parents is a major factor in Azkaban's back-story' 42 but though most of that quotation is true, it is the use of the word "back-story" that is the problem.

As Amy Z wrote in her essay An Elegantly Woven Tapestry: Plotlines in Prisoner of Azkaban , "it's true that there is no single central plot in [the story], because one candidate (Quidditch) lacks gravitas, and another (Sirius [versus] Harry) proves to be an illusion." 43 Instead, in the absence of an obvious main storyline, it is the so-called "back-story" that takes centre stage; "while Harry is going about his life ... there is another drama mostly invisible to him (and to us, until the second reading): that of Lupin, Black, Snape, and, if you think about it, Pettigrew." 44 In Prisoner of Azkaban the back-story becomes the main plot, as even though the events transpired twelve years previous, they are unfolding to Harry in the present and the story's climax happens when the truth is finally revealed to all. In that way, there was no conclusion to the events in the past, instead, it was as if those involved were put on hold, held in stasis until Harry's third year at Hogwarts when they were at last able to play it out:

"Everyone thought Sirius killed Peter' said Lupin, nodding. "I believed it myself ” until I saw the map tonight. Because the Marauder's Map never lies... Peter's alive. Ron's holding him, Harry."

"If you're going to tell them the story, get a move on, Remus' said Black, who was still watching Scabbers's every desperate move. "I've waited twelve years, I'm not going to wait much longer."

"Harry' said Lupin hurriedly, "don't you see? All this time we've thought Sirius betrayed your parents, and Peter tracked him down ” but it was the other way around, don't you see? Peter betrayed your mother and father ” Sirius tracked Peter down ”" 45

As Amy Z writes: "We think the story is about Black trying to kill Harry, so the plot seems focused on that; but that's not what the story is about. It's about Sirius in a whole different way, and it's as much about Pettigrew." 46 With the misunderstandings cleared up and the truth of the events of twelve years before revealed, the climax of their story becomes the climax of the book itself ’ one which ultimately ends in near disaster, allowing the fallout to finally occur.

In discussing how she has conceptualized the third book, Harry Potter fan Kelly Parker writes:

I think the third book is more about setting up the series for later on and dealing more with the past and how it is affecting Harry and the entire wizarding world now. It's not so much about his schooling ... his schooling takes a back seat to finding out about his godfather and dealing with all of that. I personally think this is one of the most pivotal books in the series. 47

Unfortunately, Alfonso Cuarón apparently did not see it in exactly the same way: "This film is concerned with confronting [the characters'] innermost fears ... It's [also] a journey of a character's seeking his identity and accepting who he is. To step out of the shadow of his father, for instance, is one of the themes." 48 Putting aside the question of whether or not this is true, the difference of opinion as to the main focus of the story obviously resulted in the exclusion of certain things.

One of the most often cited examples of such an exclusion is the actual back-story of Harry's parents and their friends. Included in this example are several key pieces of information that are either missing from the film entirely, or mentioned in vague generalities that are easily glossed over. The most important piece of information that is introduced in this story is the betrayal of Harry's parents that led to their deaths. It is in this book that we learn that Voldemort could not just go and attack the Potters, and that they would have been safe had they not trusted the wrong person, because of the preparations they had taken before going into hiding:

"Dumbledore told them that their best chance was the Fidelius Charm."

"How does that work?" said Madam Rosmerta, breathless with interest. Professor Flitwick cleared his throat.

"An immensely complex spell' he said squeakily, "involving the magical concealment of a secret inside a single, living soul. The information is hidden inside the chosen person, or Secret-Keeper, and is henceforth impossible to find ” unless, of course, the Secret-Keeper chooses to divulge it. As long as the Secret-Keeper refused to speak, You-Know-Who could search the village where Lily and James were staying for years and never find them, not even if he had his nose pressed against their sitting room window!" 49

The fact that Sirius Black was thought to be the Potters' Secret-Keeper, and therefore the only person capable of betraying them, is rather central to how he became the titular Prisoner , having been sent to Azkaban without a trial. The fact that Peter Pettigrew was the actual Secret-Keeper, and therefore the only possible betrayer of the Potters: " ˜ Lily and James only made you Secret-Keeper because I suggested it,' Black hissed ... ˜I thought it was the perfect plan... a bluff... Voldemort would be sure to come after me ... It must have been the finest moment of your miserable life, telling Voldemort you could hand him the Potters,' " 50 is also central to understanding the story. However, interestingly enough, the word "Secret-Keeper" is never spoken even once during the entire film, and the importance of the role is instead glossed over, when it is referred to at all: "Well, now, years ago, when Harry Potter's parents realized that they were marked for death ’ do you remember? ’ they went into hiding. Few knew where they were. One who did, was Sirius Black ’ and he told You-Know-Who!" 51

Aside from being factually wrong, as it was Harry and not his parents who was marked for death, the use of the word "few" and the phrase "one who did" instead of " the one who did" would imply that more than one person knew where the Potters were hiding. This would, in turn, mean that more than one person would have been able to betray them, rendering Sirius Black's immediate condemnation inexplicable ’ and potentially Peter Pettigrew's later one as well.

Although it minimizes the betrayal of the Potters, the vagueness that resulted from the absence of the word "Secret-Keeper" could still have been explained had another piece of information been included:

Sirius here played a trick on [Snape] which nearly killed him ... [he] thought it would be ’ er ’ amusing, to tell Snape all he had to do was prod the knot on the tree-trunk with a long stick, and he'd be able to get in after me ... if he'd got as far as this house, he'd have met a fully grown werewolf. 52

The knowledge that Sirius Black, at sixteen, sent a fellow classmate to his death without remorse (later saying it was just a prank), would have gone a long way to explaining why of the "few" who "knew where [the Potters] were", he was the most likely suspect: " ˜ Sirius Black showed he was capable of murder at the age of sixteen,' [Snape] breathed. ˜You haven't forgotten that, Headmaster? You haven't forgotten that he once tried to kill me ?' " 53 And although this might be considered a deviation from the central plot, or potentially slow exposition in a genre where showing is prized above telling , film as a visual medium allows for both to happen at once. This enlightening bit of back-story could easily have been accompanied by either a flashback or a montage of images, illustrating what was being said. However, this did not happen, and unfortunately, it is not the most important piece of information left out of the final film, by far.

The fact that Remus Lupin, Peter Pettigrew, Sirius Black, and James Potter are the same Moony, Wormtail, Padfoot, and Prongs who created the map Harry is coincidentally given by his friends is never mentioned, even when ample opportunity arises ’ as seen in the following comparative examples:

Prisoner of Azkaban (the book):

"I happen to know that this map was confiscated by Mr. Filch many years ago. Yes, I know it's a map' [Lupin] said, as Harry and Ron looked amazed. 54

Prisoner of Azkaban (the film):

PROFESSOR LUPIN I don't know how this map came to be in your possession, Harry, but I'm astounded that you didn't turn it in....

Harry walks silently. 55

While this might seem a small, relatively unimportant piece of information, it would only be considered so in isolation. However, this is not so. The connection of each man to his nickname not only solidifies the reality of their once close friendship, but it also connects each to his animal form and the fact that three became Animagi for the fourth: "My three friends could hardly fail to notice that I disappeared once a month ... I was terrified they would desert me ... [but] they didn't desert me at all. ... They became Animagi ... They couldn't keep me company as humans, so they kept me company as animals. A werewolf is only a danger to people." 56

The connection to Animagi is important because of the role that each man's form plays in the overall story. Peter Pettigrew is able to fake his own death and hide for twelve years as Ron's pet rat; Sirius Black is able to both keep his sanity while in and finally escape from Azkaban as a large dog; and Harry is able to discover and reclaim a part of his father, which he finds within himself, when his Patronus takes on the form of his father's stag. And while the first two are obvious in the film without the nickname connection, the fact that James Potter was an Animagus is not, and therefore the significance of Harry's Patronus is lost. This is particularly ironic considering that it is James Potter as Prongs who is arguably the link between the opinions of the fans already stated as to the main storyline of the book, and director Alfonso Cuarón's interpretation: "It has to do with Harry coming to terms with his male energy, his father and what his father is." 57

The absence of this information is notable not only because it details exactly "what his father is", but also because the information was there in the shooting script, but still didn't make it to the final cut:

PROFESSOR LUPIN Before I go, tell me about your Patronus.

HARRY Well. At first I thought it was a horse, or perhaps a unicorn, but I think it was ’

PROFESSOR LUPIN A stag.

PROFESSOR LUPIN Your father used to transform into one. That's how he was able to keep me company when I became... sick. ... There are stories about him and your mother, you know. Some are even true. But I think it's safe to say, in the end you'll know them best by getting to know yourself. 58

As the final cut of the film is decided on by the director (and the editor, at his direction), it is particularly peculiar that none of the dialogue in this excerpt ’ all of which would go towards emphasizing Cuarón's apparent vision ’ appears in the finished version. This would not be a problem were it not for the fact that in losing these aspects of the story, the viewer is treated to a film that is incomplete ’ not only in and of itself, but also as a part of the ongoing series.

Harry Potter and the Goblet of Fire (2005)

As with the third film, the fourth in the Harry Potter series invites a more detailed discussion on the difficulties and competing interests involved in adapting a book to a film. Fortunately for this essay, most of the issues raised in this discussion differ significantly from those presented in each previous film. One reason for this difference was the inclusion of a new director, filmmaker Mike Newell of Four Weddings and a Funeral fame, who, in his own words, had "never made a film like this before and [had] never made a film even a quarter as big as this before." 59 Unlike the other films in the series thus far, this film presented a directorial challenge even before shooting began. At 636 pages, Goblet of Fire is more than double the size of Prisoner of Azkaban (the longest of the previous three), and Warner Bros. Studio originally intended to split the story in half, shooting the two films back to back, and releasing them close together ’ similar to what had been done for the second and third films of the Matrix trilogy. 60 Mike Newell, however, thought this unnecessary: "As far as I'm concerned it's absolutely possible to do it in one. I think it would be slightly embarrassing to do it in two." 61

Aiming to avoid this, Newell pitched his conception of the story to the producers; "I said to them, I said, I can only make this if you will agree that what we're making is a thriller and we will ruthlessly take out stuff that doesn't go to that' 62 later adding that the whole point of the story was that the villain "needs one tiny, tiny little thing from the boy: three drops of blood." 63 As the first British director in the series, Mike Newell felt that he had the insider expertise necessary to bring an authenticity to the films that they were previously lacking ’ particularly in regards to the British school system: "It wasn't possible for them to get that right. They'd never been to such a school' 64 Newell said, further explaining:

I went through this sort of education. ... I wasn't at a boarding school ... but there's an enormous body of literature books ... and I had read all of those, and I'd been to a school just like it where you were beaten with a cane. I remember some of the teachers being really quite violent ... and it had a headmaster of whom one was likely terrified and then a descending order of authority figures, and then there was... and then there was us. ... I don't see how anybody who hadn't gone through that, who wasn't English, could possibly have suspected that. 65

There are two facets of this quote that require further examination, the first being Newell's view of Hogwarts as being just like all of the typical British boarding schools he never attended. Shaun Hately, author of the essay Hogwarts School of Witchcraft and Wizardry in the Context of the British Public Schools , writes that "Hogwarts is not a perfect exemplar of the Public School tradition ’ while there is a substantial influence, it cannot be assumed that Hogwarts always follows Public School traditions." 66 Further on in the paper, in discussing corporal punishment, Hately demonstrates that "At Hogwarts, such methods seem to have fallen into disuse' 67 citing a quotation from the first book in the Harry Potter series; "Oh yes... Hard work and pain are the best teachers if you ask me... It's just a pity they let the old punishments die out." 68

Additional evidence presents itself in the book from which Newell made his own adaptation, when Professor Moody transfigures a student into a ferret and proceeds to bounce him up and down, catching the attention of Professor McGonagall:

"Moody, we never use Transfiguration as a punishment!" said Professor McGonagall weakly. "Surely Professor Dumbledore told you that?"

"He might've mentioned it, yeah' said Moody, scratching his chin unconcernedly, "but I thought a good sharp shock ”"

"We give detentions, Moody! Or speak to the offender's Head of House!" 69

To J.K. Rowling, the "worst, shabbiest thing you can do" as a teacher "[is] bully children' 70 and corporal punishment has no place in Harry's world. And yet Newell, who admits that even real English schools have changed now, still felt the need to "[rewrite] a scene to add a glint of schoolboy mischievousness and the corporal punishment it provokes, in which dour Professor Snape ... bonks Harry and Ron in the head with a book for goofing off during a study period." 71 Snape does not appear at all in the scene in the shooting script for the film, 72 so it is obvious that this was a directorial decision. His selection is also unfortunate for the fact that his character is not one to be considered slapstick, nor is his hatred of Harry something in which to find comic relief. However, this twisted characterization appears to be a sort of specialty of Newell's, which is the second facet of the previous long quotation in need of examination.

As with the school he runs, Newell has also assigned headmaster Albus Dumbledore to a role in the film that is not in keeping with any other information readily available about him. His idea of Dumbledore as "a headmaster of whom one [is] likely terrified' 73 is directly at odds with J.K. Rowling's assertion that Dumbledore is instead "the epitome of goodness." 74 Indeed, Hately's essay specifies how the character "as presented in the Harry Potter books seems to fit neatly into the mould of the great benevolent public school Headmaster' 75 and as James A. Morone wrote in his article Cultural Phenomena: Dumbledore's Message , "[he] practically awards bonus points for breaking the rules' 76 citing this quotation from Chamber of Secrets as proof: "I seem to remember telling you both that I would have to expel you if you broke any more school rules ... Which goes to show that the best of us must sometimes eat our words." 77

The issue of the character and characterization of Dumbledore is a difficult one for numerous reasons. The choice of actor to play the role is very much tied up in that ’ especially because it was made twice. Richard Harris, a veteran of over seventy films, was initially cast in the role, which he played for the first two films. Critics wrote that his selection "was perfection; he had that twinkle in his eye and he conveyed that Dumbledore was as solid as a rock and as wise as readers of J.K. Rowling knew him to be. There was a certainty about him." 78

However, when Richard Harris passed away shortly before principal photography was to begin on the third film, a new Dumbledore had to be found. Michael Gambon made his Dumbledore debut in Prisoner of Azkaban , and his performance in both it and Goblet of Fire has garnered several comments ’ though, unfortunately, few have been complimentary: "I have to say that I thought Gambon's performance lacked some of the warmth and humour that Harris provided." 79 Newell, on the other hand, thought he was perfect:

I think that he had not wanted to be the same figure that Richard Harris had been, a figure of enormous Olympian authority who's never caught on the hop. He wanted something to do, simply because he isn't Richard Harris, and what he found in this one is that Dumbledore is fallible, not omnipotent, and indeed is behind the game. A great deal of what he does is about being inadequate rather than super-adequate, which is obviously much more interesting to play. 80

More interesting to play, perhaps, but woefully inaccurate. Even leaving aside the fact that if Gambon did not want to be the same figure Richard Harris had been, his decision to take over the role seems suspect; Dumbledore has been known throughout the series for being the only one Voldemort has ever feared. However, as de Forest points out:

for this fear to be plausible, Dumbledore needs to appear sharp-witted and not cross the line from affable eccentric to preposterous crackpot. ... How can [Newell] expect us to believe that anyone in the wizarding world reveres a panicky, absentminded grump who ... impulsively attacks his favourite student, throttling little Harry about the shoulders and neck? 81

And to Newell's argument that a fallible, inadequate, and behind-the-game Dumbledore creates a more interesting and more humanized mentor for Harry, M.Y. Simms asks in her essay Action! Harry Potter from the Page to the Screen :

Why would the greatest wizard in the world suddenly appear to suffer from chronic anxiety? I understand that things got serious in Goblet of Fire, but consider this: would Yoda, Merlin, Gandalf or Obi-Wan have freaked out when things got serious and danger loomed? ... I think not. ... Where did the ˜magic' of Dumbledore go? 82

In fact, far from being behind-the-game, J.K. Rowling's Dumbledore continues to run steadily ahead, even at the end of Goblet of Fire , after Harry's confrontation with Voldemort has already taken place:

"He said that my blood would make him stronger than if he'd used someone else's' Harry told Dumbledore. "... And he was right ” he could touch me without hurting himself, he touched my face."

For a fleeting instant, Harry thought he saw a gleam of something like triumph in Dumbledore's eyes. 83

Unfortunately, one repercussion from Newell's decision to have Gambon portray Dumbledore in this mistaken manner ’ a decision that is proved to be directorial rather than scriptural, due to the calmer version of the character evidenced in the shooting script 84 ’ is more detrimental than having raised the ire of fans; that being the effect it will have on the next installment of the franchise.

One of the main issues that Harry must deal with in the fifth book is his relationship with Dumbledore and how it has, inexplicably (to him), become estranged. This separation, or distance, that Harry feels causes him great distress as he wonders why the headmaster doesn't seem to care about him anymore. This leads to continued misunderstandings which result in the death of a main character and the discovery of a prophecy. Unfortunately, due to the portrayal of these relationships in the fourth movie, Harry would be unlikely to wonder if the headmaster cared about him in the first place, nor would it really matter to him either way. And the revelation given to Harry at the end, that Dumbledore "cared about [him] too much" and did all he had done because he "acted exactly as Voldemort expects [the] fools who love to act' 85 would scarce be believable from Gambon's discredited caricature. Of course, as Newell has not even read the fifth book, his failure to set it up properly is unfortunately explained.

What's not as easily explained is his failure in setting up even his own film, as he did read the fourth book in preparation. 86 As one critic wrote:

If the film version of [Prisoner of Azkaban] was missing some major plot points, and therefore felt like it was missing a vital organ or two, this one was like finding a skeleton that had been stripped of every conceivable scrap of flesh, leaving only the bare bones behind. Many character motivations were fuzzy at best; my mother, who hadn't read the book, had a million questions for me after we left the theatre. 87

But perhaps this weakness can be understood in reading Newell's approach to creating the film, in his own words: "What you do is you pack it with references and suggestions and so forth which, of course, you have taken from the book. So that a reader coming to the film goes, "Oh, I see. I get it. They did it that way." 88 The idea that fans would be appeased by a few references to aspects of the book, no matter what the quality of storytelling, is problematic at best, insulting at worst, and condescending either way. "The movie ticks through critical plot points like it's checking them off a list' 89 writes Anita Burkam in the article From Page to Screen: Mike Newell's Harry Potter and the Goblet of Fire ; "All that's missing is reasonably paced and plotted moviemaking." 90 That, and the so-called "human truth" that Newell apparently prized above all else: "You become more interested in [Harry's] interior processes, his emotions, than just what goes on' Newell asserts, 91 though it is difficult to understand why he is convinced of this when he, as director, seems more interested in what he can do with Harry's external world than in how to express the character's internal one. "It's one of the most powerful and dramatic scenes' 92 producer David Heyman says, in praise of Newell's work. And which scene is he talking about? The maze in the third task, which, as Dumbledore mysteriously informs each champion, changes people? The graveyard where Harry watches Voldemort's rebirth, duels with him, and comes face to face with the ghost-like shades of his long-dead parents?

No, of course not, that would make sense . Instead, as Heyman clarifies, "We departed from the book a little bit in the sense that the dragon breaks free of the chain that ties him and it leads to a dramatic chase through Hogwarts. Let's just say it doesn't necessarily meet the happiest of ends." 93 Never mind the fact that, as no one dies and Harry completes the task successfully, it does actually meet the happiest of ends, Heyman is talking about a scene in which Harry faces off with the dragon during the first task of the Triwizard Tournament. This is a scene which takes exactly two pages in the book (which includes the detailed description necessary of the medium), but in the film, it clocks in at nearly three minutes ’ a ridiculously long length of time on screen, particularly for Newell, who has said that "all of [these effects] would count for nothing if [audiences] simply didn't feel it." 94

Yet, as de Forest notes, "when a film jumps wildly from scene to scene, frantically flinging in new characters and situations willy-nilly, the seeds of authentic emotional reaction don't have time to be sown and flourish naturally ... the natural rhythm of reaction is massacred." 95 All of this leads to an ending of equal ruination, in what de Forest terms "a thrown-together mess of a conclusion. It seems unsure whether to end on a hopeful note, a tragic note, a portentous note, a humorous note or a poignant note, so it compromises by fizzling out with a flat uncertainty. ˜Everything's going to change now, isn't it?' asks Hermione. Yup. Sure is. Well. Will you sign my yearbook?" 96

While several critics enjoyed the film ’ and several film audiences, too ’ the question of whether or not Harry Potter and the Goblet of Fire was a good film is not the one that is asked in this essay. Instead, the question of whether or not it was a good film of the book must be considered, and while Mike Newell's Harry Potter and the Goblet of Fire might be considered a fun, and even wild ride of a film, it remains on the surface, granting only a superficial and distorted glimpse into the story of Harry's fourth year. J.K. Rowling's Dumbledore warned; "You have to make a choice between what is right, and what is easy." 97 It is unfortunate that Mike Newell did not heed this advice.

Harry Potter and the End of This Essay (2007)

"Books have one of the highest ratios of conversion from development to film of any source, including original screenplays' 98 and yet the process of adapting the Harry Potter book series into films is unique in many ways. Perhaps the most important cause of its uniqueness is the fact that the seven book series is being adapted one novel after the other, and yet the seven book series is not yet complete. With the intense secrecy surrounding the story and revelations still to come from the original author, filmmakers must attempt to adapt each of these films from an incomplete overall source text. This only heightens the difficulty and the scrutiny that are already present in the adaptation process. That is why the question of fidelity, though it "cannot be considered a valid yardstick with which to judge any adaptation' 99 must figure in more heavily than it might otherwise. John Tibbetts and James Welsh wrote that "movies do not ˜ruin' books, but merely misrepresent them' 100 as "the accumulation of minor details can create a markedly different experience between a book and a film' 101 and while usually that may not create any problems, Mike Newell's Dumbledore aptly demonstrates that in an ongoing ’ and unfinished ’ series, certain changes have far-reaching effects.

Still, while fidelity holds more importance in this case than in others, "changes made by the screenwriter and director might not necessarily destroy the original. In the best adaptations, narratives are translated and effectively transformed into the medium of film." 102 With the seventh, and last, Harry Potter novel being released this summer, perhaps the remaining films will have a better chance of achieving this transformation.

Mireia Aragay writes in Reflection to Refraction: Adaptation Studies Then and Now , that the real aim of adaptation is

to trade upon the memory of the novel, a memory that can derive from actual reading, or, as is more likely with a classic of literature, a generally circulated cultural memory. The adaptation consumes this memory, aiming to efface it with the presence of its own images. The successful adaptation is the one that is able to replace the memory of the novel. 103

Although Harry Potter is not widely considered a classic of literature, the same philosophy can apply. An adaptation must be more than a filmed novel, without compromising the text it is meant to represent. A good film does not make a good adaptation, and though the Harry Potter film series had a promising start, future directors would do well to keep those words in mind. Notes 1. Cartmell, "Shakespeare on Screen' 33.

2. Tibbetts and Welsh, Novels Into Film , 279.

3. Havens, Genius Behind Buffy , 24.

4. Elrick, "Chris Columbus talks¦."

5. McNamara, "When Steve Met Harry."

6. Elrick, "Chris Columbus talks¦."

7. Hopkins, "Behind the Scenes¦."

8. McNamara, "When Steve Met Harry."

9. Vander Ark, "The Ages of Snape and the Marauders."

10. Rowling, Philosopher's Stone , 102.

11. Millman, "To Sir, With Love' 43.

12. Rowling, "Edinburgh Book Festival."

13. Scholastic editor Arthur Levine, suggested that Rowling change the title of the book for its American release as he felt it was "too esoteric' and the change would convey "more immediately the sense of magic that's in the book" (Heiberger). This, despite the fact that the Philosopher's Stone is an object of legend, often found in myth and folklore (Anderson), and referred to in many areas of study, including religion, alchemy, the occult ¦ while the Sorcerer's Stone means nothing.

14. Hennigan, "Films ¦ Philosopher's Stone ."

15. Krevolin, How to Adapt¦ , 52.

16. Aragay, "Reflection to Refraction' 20.

17. Cartmell and Whelehan, "Fidelity Debate' 37.

18. Ebert, "Sorcerer's Stone."

19. Kloves, Sorcerer's Stone, 22.

20. Ibid., 43.

21. Ibid., 55-56.

22. Krevolin, How to Adapt¦ , 54.

23. Gupta, Re-Reading Harry Potter , 143.

24. Nel, "Bewitched, Bothered, and Bored."

25. Mzimba, "Conversation with¦."

26. Nel, "Bewitched, Bothered, and Bored."

27. Butler, " Potter has the stuff¦."

28. Spelling, "Leaving School' 44.

29. Elrick, "Chris Columbus talks¦."

30. Spelling, "Leaving School' 44.

31. "Y tu Harry¦' 22.

32. Ibid, 19.

34. Spelling, "Leaving School' 44.

35. Puig, "Harry hits his teens."

36. Nazarro, "The New Magician' 39.

37. Puig, "Harry hits his teens."

38. Nazarro, "The New Magician' 38.

39. Trout, "Alfonso Cuarón Interview."

40. de Forest, "Fractured Fairy Tale."

41. Turan, "Prisoner of Azkaban."

42. Nazarro, "Alfonso Cuarón Interview."

43. Z, "Elegantly Woven Tapestry."

45. Rowling, Prisoner of Azkaban , 257-68.

46. Z, "Elegantly Woven Tapestry."

47. Kelly Parker, e-mail message to author, 12 April 2007.

48. Puig, "Harry hits his teens."

49. Rowling, Prisoner of Azkaban , 152.

50. Ibid., 271.

51. Kloves, Prisoner of Azkaban .

52. Rowling, Prisoner of Azkaban , 261.

53. Ibid., 286.

54. Ibid., 213.

55. Kloves, Prisoner of Azkaban , 80.

56. Rowling, Prisoner of Azkaban , 259-60.

57. Nazarro, "The New Magician' 38.

58. Kloves, Prisoner of Azkaban , 125.

59. Fischer, "Exclusive Interview."

61. Geri, "News: Mike Newell¦."

62. Fischer, "Exclusive Interview."

63. Ibid., "Interview: Mike Newell."

64. Associated Press, "Newell puts the Brit¦."

65. Fischer, "Exclusive Interview."

66. Hately, "Hogwarts School of¦."

68. Rowling, Philosopher's Stone , 181.

69. Ibid., Goblet of Fire , 182.

70. Fraser, Conversations with J.K. Rowling , 21.

71. Associated Press, "Newell puts the Brit¦."

72. Kloves, Goblet of Fire , 66-67.

73. Fischer, "Exclusive Interview."

74. Solomon, "J.K. Rowling Interview."

75. Hately, "Hogwarts School of¦."

76. Morone, "Cultural Phenomena."

77. Rowling, Chamber of Secrets , 243.

78. Simms, "Action! Harry Potter¦."

79. Aloi, "Grown Up Magic."

80. Whitehead, "Interview: Mike Newell¦."

81. Witherwings, "Fractured Fairy Tale."

82. Simms, "Action! Harry Potter¦."

83. Rowling, Goblet of Fire , 604.

84. Kloves, Goblet of Fire , 32.

85. Rowling, Order of the Phoenix , 739.

86. Fischer, "Exclusive Interview."

87. Moondaughter, "Under the Microscope."

88. Geri, "Newell discusses¦."

89. Burkam, "From Page to Screen."

92. Geri, "Update: Heyman talks¦."

94. Nathan, "This boy¦' 90.

95. Witherwings, "Fractured Fairy Tale."

97. Rowling, Goblet of Fire , 628.

98. Hopkins, "Behind the Scenes¦."

99. Aragay, "Reflection to Refraction' 20.

100. Tibbetts and Welsh, Novels Into Film , xvii.

101. Nel, "Bewitched, Bothered, and Bored."

102. Tibbetts and Welsh, Novels Into Film , xx.

103. Aragay, "Reflection to Refraction' 20.

Bibliography

Aloi, Peg. "Grown Up Magic." Witch Cinema 19, 5 June 2004. http://www.witchvox.com/va/dt_article.html?a=usma&id=8491 .

Anderson, Hans Christian. "The Philosopher's Stone (1859)." Hans Christian Anderson: Fairy Tales and Stories . 25 September 2006: http://hca.gilead.org.il/p_stone.html .

Aragay, Mireia. "Reflection to Refraction: Adaptation Studies Then and Now." Books in Motion: Adaptation, Intertextuality, Authorship . Ed. Mireia Aragay. Amsterdam: Rodopi, 2005. 11-34.

Associated Press. "Newell puts the Brit back in Harry Potter ." MSNBC , 21 November 2005. http://www.msnbc.msn.com/id/10054009 .

Burkam, Anita L. "From Page to Screen: Mike Newell's Harry Potter and the Goblet of Fire." The Horn Book, Inc . http://www.hbook.com/resources/films/harrypotter4.asp .

Butler, Robert W. " Potter has the stuff but not the spirit." The Kansas City Star . 23 November 2001.

Cartmell, Deborah. "The Shakespeare On Screen Industry." Adaptations: From Text to Screen, Screen to Text . Eds. Deborah Cartmell and Imelda Whelehan. London: Routledge, 1999. 29-37.

Cartmell, Deborah and Whelehan, Imelda. "Harry Potter and the Fidelity Debate." Books in Motion: Adaptation, Intertextuality, Authorship . Ed. Mireia Aragay. Amsterdam: Rodopi, 2005. 37-49.

Ebert, Roger. "Harry Potter and the Sorcerer's Stone." RogerEbert.com: Movie Reviews , 16 November 2001. http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20011116/REVIEWS/111160301/1023 .

Elrick, Ted. "Chris Columbus talks about directing Harry Potter ." DGA Magazine: Directors Guild of America 27:5, January 2003. http://www.dga.org/news/v27_5/feat_columbus.php3 .

Fischer, Paul. "Exclusive Interview: Mike Newell for Harry Potter and the Goblet of Fire ." Dark Horizons 24, October 2005). http://www.darkhorizons.com/news05/goblet1.php .

”””. "Interview: Mike Newell for Mona Lisa Smile and Harry Potter 4 ." Dark Horizons 9, December 2003. http://www.darkhorizons.com/news03/mona2.php .

Fraser, Lindsey. Conversations with J.K. Rowling . New York: Scholastic Press, 2001.

Geri. "Newell discusses the challenges of ˜ Harry Potter '." HPANA , 30 November 2004. http://www.hpana.com/news.18430.html .

”””. "News: Mike Newell won't split ˜ Goblet of Fire '." HPANA , 30 January 2004. http://www.hpana.com/news.17863.26.html .

”””. "Update: Heyman talks about first task and Fiennes." HPANA , 11 Oct. 2005. http://www.hpana.com/news.18913.html .

Gupta, Suman. Re-Reading Harry Potter . New York: Palgrave MacMillan, 2003.

Harry Potter and the Chamber of Secrets . Directed by Christopher Columbus. Burbank: Warner Bros. Pictures, 2002.

Harry Potter and the Goblet of Fire . Directed by Mike Newell. Burbank: Warner Bros. Pictures, 2005.

Harry Potter and the Philosopher's Stone . Directed by Chris Columbus. Burbank: Warner Bros. Pictures, 2001.

Harry Potter and the Prisoner of Azkaban . Directed by Alfonso Cuarón. Burbank: Warner Bros. Pictures, 2004.

Hately, Shaun. "Hogwarts School of Witchcraft and Wizardry in the Context of the British Public Schools." HP InkPot , 13 December 2005. http://www.fictionalley.org/authors/shaun_hately/HSOWAWATBPS01.html .

Havens, Candace. Joss Whedon: The Genius Behind Buffy . Dallas: BenBella Books, 2003.

Heiberger, Sara. "Harry Potter and the Editor's Pen." Brown Alumni Magazine Online , November/December 2001. http://www.brownalumnimagazine.com/storydetail.cfm?ID=421 .

Harry Potter Archive

Harry Potter Essays

• Read and write
• Reading practice
• Level 3 reading

Harry Potter film review

Have you seen any of the Harry Potter films? Practise your reading in English with this film review.

Do the preparation exercise first. Then read the text and do the other exercises.

Preparation

Film review: the harry potter film series.

The Harry Potter film series is famous all over the world and is loved by children, teenagers and adults. It's based on the books by JK Rowling. The first film, Harry Potter and the Philosopher's Stone , was released in 2001. The whole series consists of eight fantasy films. In each film the main character, Harry, is played by Daniel Radcliffe.

The story begins when 11-year-old orphan Harry discovers that his parents were wizards and he starts his education in magic at Hogwart's School of Witchcraft and Wizardry. There he makes two close friends, Ron and Hermione, who share his adventures.

Each film ends dramatically, often with a battle between Harry and his worst enemy, the evil wizard Lord Voldemort.

The characters

As well as Harry, Ron and Hermione, there's a huge variety of characters, including students, professors, dark wizards, ghosts and fantasy creatures. Non-magic people are called Muggles. The cast is excellent. The acting's outstanding, and even the strangest of characters are totally believable.

The setting

The films are mainly set in Hogwart's School of Witchcraft and Wizardry, which is in an ancient castle. There are moving staircases, portraits which can talk and move, and a dark forest where strange and dangerous creatures live.

The special effects

The special effects are amazing and make magic seem completely possible! The wizards' favourite sport, Quidditch, is played on broomsticks. Different techniques were used to create the effects that make the actors look as if they're flying.

Critic's opinion

The films are imaginative, funny, frightening and, of course, magical! What makes them so successful is that they combine action, fantasy and friendship.

If you like adventure and magic, you'll love the Harry Potter films!

Do you like the Harry Potter films? What other films do you like? Tell us about them!

I am a fan of Harry Potter. My favorite part is 6.

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Harry Potter is a great movie

English courses for children aged 6-17

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Essay on My Favourite Book Harry Potter Series

Introduction

From the very first book, I was hooked on this incredible series that captured my imagination and transported me to a world unlike any other. There’s something truly special about these books that make them stand out from all others – the charm, wit, adventure, and intricate details woven into each page are simply unforgettable. As someone who loves reading books in their free time, it’s no surprise that Harry Potter is at the top of my list as my favourite book series ever! So join me as we take a closer look at what makes these books so amazing.

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What is Harry Potter about?

Harry Potter is a beloved book series written by the British author J. K. Rowling. The story follows the life and adventures of Harry Potter, an orphan boy who discovers on his eleventh birthday that he is a wizard. The series takes place in a magical world where wizards and witches exist alongside muggles (non-magical people). Throughout the seven books, readers are transported to this enchanting world filled with spells, potions, mythical creatures and fantastical places such as Hogwarts School of Witchcraft and Wizardry. As Harry learns more about his past and himself he faces many challenges, including defeating dark wizards like Lord Voldemort. Alongside his best friends Hermione Granger and Ron Weasley, Harry must use all of his powers to overcome obstacles while discovering what true friendship means along the way. The Harry Potter series is an epic adventure full of magic, and action-packed battles between good vs evil but also filled with heartwarming moments that will leave you wanting more.

Why I like the Harry Potter series

There are countless reasons why I love the Harry Potter series. Firstly, the world-building is absolutely incredible. J. K. Rowling has created a rich and intricate magical universe that feels so real, it’s like you could step into it yourself. Secondly, the characters are incredibly well-developed and multi-dimensional. From Harry himself to Hermione, Ron, Dumbledore and even minor characters like Luna Lovegood or Neville Longbottom – each character has their own unique personality traits and quirks that make them feel like real people. Thirdly, the themes explored in the series are universal and timeless. Friendship, loyalty, and courage – are all values that we can relate to no matter what age we are or where we come from. Lastly (but certainly not least!), there’s just something truly special about the way this story makes me feel every time I read it or watch one of the movies. There’s an undeniable magic to it all that fills me with joy and wonderment every time I dive back into this beloved world of wizards and witches. My love for Harry Potter runs deep – there isn’t a single thing about this series that doesn’t completely captivate me!

The Different Books in the Harry Potter Series

The Harry Potter series consists of seven books, each one taking readers on a thrilling adventure through the wizarding world. Book- 1 The first book, “Harry Potter and the Philosopher’s Stone,” introduces us to Harry Potter, his friends Ron Weasley and Hermione Granger, and the magical world they inhabit. This book sets up the overarching storyline of Harry’s fight against Lord Voldemort Book- 2 “Harry Potter and the Chamber of Secrets” sees our trio back at Hogwarts for their second year. They discover that someone has opened the Chamber of Secrets, unleashing a monster that petrifies students. As always, Harry is tasked with saving Hogwarts from disaster. Book- 3 In “Harry Potter and the Prisoner of Azkaban,” we are introduced to Sirius Black – an escaped prisoner who is believed to be after Harry. Alongside this new threat is a mysterious creature called a Dementor which haunts Hogwarts. Book- 4 “Harry Potter and the Goblet of Fire” takes things up a notch as we see Hogwarts host its very own Triwizard Tournament – but something goes terribly wrong during it. Book- 5 In “Harry Potter and Order of Phoenix,” we find out more about Voldemort’s return as well as some important plot points concerning key characters such as Neville Longbottom. Book- 6 In “Half-Blood Prince”, Dumbledore finally reveals many secrets surrounding Voldemort’s past in order for them to defeat him once again Book- 7 Finally in “Deathly Hallows” everything comes together in this epic conclusion where friendship loyalty sacrifice all play crucial roles towards defeating evil once again

The Characters of the Harry Potter Series

The characters of the Harry Potter series are some of the most memorable and beloved in all of literature. From the brave and determined Harry himself, to Hermione’s sharp intelligence, each character brings something unique to the story. Firstly, there’s Ron Weasley, who is loyal and always willing to stand up for what he believes in. His friendship with Harry is one of the driving forces behind their many adventures. Then there’s Neville Longbottom, who starts off as a timid young wizard but grows into a courageous fighter over time. His journey from underdog to hero serves as an inspiration for readers everywhere. Of course, we can’t forget about Severus Snape – arguably one of the most complex characters in the entire series. Despite his prickly demeanour and questionable actions at times, it becomes clear that he has been working towards a greater good all along. And finally, there’s Voldemort himself – a terrifying villain whose power seems unstoppable until Harry discovers his weaknesses. He serves as both a physical danger throughout much of the series and an embodiment of evil itself. Each character in this beloved book series adds depth and meaning to J. K Rowling’s magical world.

To sum it up, the Harry Potter series is undoubtedly one of my favourite book series of all time. It has everything a reader could want: adventure, magic, friendship, love and loyalty. The books’ intricate plotlines and well-developed characters keep me engaged every time I read them. Aside from being an enjoyable read, the Harry Potter series also taught me many valuable lessons about life such as bravery in the face of adversity and standing up for what you believe in even when it’s hard. If you haven’t had the chance to read this magical book series yet or are looking for your next favourite book to dive into then look no further than Harry Potter.

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The “Harry Potter” Movie vs. Book Comparison Essay

Nowadays, more and more films are being made based on the books’ plots. The trend to make movies according to popular books has developed tremendously with the launch of such film projects as The Lord of the Rings and Harry Potter. It is known that if the viewer first watches a movie and then reads the book it is based on, it will be very difficult to eliminate the images that the director, according to his vision, reflected in the film. One’s imagination ceases to work, and reading is reduced to the reproduction in the mind of already assimilated images. At the same time, one of the most important tasks of literature is to develop the imagination. The reader must do the work of visually recreating the images the author describes. For my essay, I chose the movie and the book Harry Potter, which differ in many aspects, such as the plot, the details of the narrative, and the representation of the main characters.

The movie Harry Potter is a great illustration of the book. All the actors are perfectly chosen, and the main characters have the same characteristics as the author of the book wrote about. The plot twists and turns are mostly consistent with the source material. The boy’s story, life journey, and experiences are described in the original version. He also goes to a wizarding school and finds friends and enemies. Harry develops his abilities, gets into difficult situations, and gets out of them with agility. Furthermore, the author and director of the book describe him as a brave, kind, and courageous boy.

Although the idea and the main points are the same, there was much controversy. Readers and viewers had a completely different understanding of the story because “Harry Potter” is full of screaming inconsistencies. The first difference in the plot is that the movie omits the entire first chapter of the book when wizards around the world meet and raise their glasses to the surviving boy. Instead, the movie shows Professor Albus Dumbledore and Professor Minerva McGonagall meeting, and then the events of Harry’s hapless relatives begin to unfold.

The next difference concerning this aspect is that the movie omitted important details about the creation of the Marauder’s Map. However, the book does say that Tail (Peter Pettigrew), working for the Dark Lord, was the Keeper of the Potter Mystery (Kostelej and Bagić 19). After all, he was one of those who had a hand in creating the magical thing. It was through him that Voldemort found James and Lily that ill-fated night and Sirius had nothing to do with it. Another difference is that the professor effortlessly shakes his hand when Harry meets Professor Quirrell in Diagon Alley in the first book (Kostelej and Bagić 19). However, he politely refuses to make contact with Harry in the movie. This is troubling, for he could only burn his palms if Voldemort had already taken possession of his flesh (Kostelej and Bagić 28). Furthermore, that happened after the Philosopher’s Stone was discovered.

The next aspect of comparison are the details of the narrative. Harry’s farewell to Dudley looks dramatic in the book, and the reader even begins to feel compassion for the boy raised by such stingy and arrogant parents. On the other hand, the film deprived the audience of this emotion, thus distorting the relationship between the boys. The next difference is that the books explore the story of Tom Riddle becoming the ruthless Voldemort in much greater depth. According to the movie version, the dark lord is just an orphan with a penchant for evil.

Nevertheless, the novels show that his fate is incredibly complicated and creepy. In Harry Potter and the Half-Blood Prince, Albus Dumbledore showed Harry a memory of the Mrax family. In the flashback, Potter saw the home of Marvolo Mrax, Voldemort’s grandfather (Kostelej and Bagić 25). The Mraxes lived poor, having used up their wealth over several generations. However, the most important detail readers learned was that Tom Riddle’s father was under the influence of a love potion, so the future dark lord lost his capacity for love at birth. Marvolo Mrax’s hut later became where Voldemort hid one of his Horcruxes, which Dumbledore found a few years later (Kostelej and Bagić 20). These details change the villain’s perception, which is impossible to achieve based on the movie.

The third aspect of comparison is the representation of the characters. Several times in the film, the audience hears phrases indicating incredible heredity; it is claimed that Harry has his mother’s eyes. Rowling rewarded Lily with a green shade of eyes if we believed the manuscripts. However, the screen shows Harry as a blue-eyed boy, which may mislead people who have read the book. Another difference is that some of Dobby’s merits were attributed to Neville in the movie. For example, the house elf was the one who got the gill for Harry during the Tournament of Three Wizards. However, the film’s writer let his classmate do it, and the same thing happened with the Room of Requirement.

Thus, the book “Harry Potter” and its film adaptation have many differences, but there are also similarities. This can be frustrating and misleading for people who read the story in the book version first and then watch the movie. However, given that the book’s author and the film’s director are two different people, it can be understood that it is impossible to achieve a complete identity. People have different views and can implement ideas differently, which is a significant factor when comparing these narrative versions.

Kostelej, Martin, and Marina Bagić Babac. “Text Analysis Of The Harry Potter Book Series.” South Eastern European Journal of Communication 4.1 (2022): 17-30.

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IvyPanda. (2024, February 24). The "Harry Potter" Movie vs. Book Comparison. https://ivypanda.com/essays/the-harry-potter-movie-vs-book-comparison/

"The "Harry Potter" Movie vs. Book Comparison." IvyPanda , 24 Feb. 2024, ivypanda.com/essays/the-harry-potter-movie-vs-book-comparison/.

IvyPanda . (2024) 'The "Harry Potter" Movie vs. Book Comparison'. 24 February.

IvyPanda . 2024. "The "Harry Potter" Movie vs. Book Comparison." February 24, 2024. https://ivypanda.com/essays/the-harry-potter-movie-vs-book-comparison/.

1. IvyPanda . "The "Harry Potter" Movie vs. Book Comparison." February 24, 2024. https://ivypanda.com/essays/the-harry-potter-movie-vs-book-comparison/.

Bibliography

IvyPanda . "The "Harry Potter" Movie vs. Book Comparison." February 24, 2024. https://ivypanda.com/essays/the-harry-potter-movie-vs-book-comparison/.

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