This is a rather amusing question. Indeed, it turns out that Prisoner of Azkaban is both the most adored and the most hated film in the Harry Potter saga . Several reasons are involved.
First of all, let’s focus on the book. It is clear that the latter is adored by readers for many reasons.
Indeed, the story becomes more complex, while still remaining quite light. Lord Voldemort is not the main antagonist. The story marks a turning point in the saga and new, beloved iconic characters appear for the first time. The characters are growing, but it’s not too decisive yet. The story remains mysterious and thrilling, and contains many emblematic scenes from the saga.
Regarding the film, that’s another story.
If there is one point of contention between some Harry Potter fans , it is the third opus, Harry Potter and the Prisoner of Azkaban .
Some people hate the film because of the many changes that were made. Hermione no longer looked like Hermione, the history of the Marauders, so important, was put aside, just like that of Scabbers and Crookshanks. In addition, the very marked aesthetic has upset more than one, which is perfectly understandable.
However, despite all these changes, why does it remain adored and recognized by the general public? Clearly this is because this is the most aesthetically ambitious film in the entire franchise.
Indeed, the first two films, directed by Chris Columbus, were adorably faithful adaptations of the first two books. The latter knew, without difficulty, establishing the bases of the saga, and still put in place the entire main cast. But, after two films, he wanted to pass the torch to another director, and it was Alfonso Cuarón.
At this point, two options were available to the producers, either force Cuarón to imitate Columbus’ style, or allow him the freedom to establish his own style in the franchise. Fortunately, they chose the second option.
Ultimately, this desire to change visual approach, without betraying what was done before, will become a pillar of the franchise. Thanks to Alfonso Cuarón, Mike Newell and David Yates were then able to take advantage of this freedom to impose their own style. A style which will nevertheless be much less pronounced than that of Cuarón.
It is obvious that those who love this film ultimately love its ambitious production. In fact, Cuarón’s aesthetic approach was very marked.
While Chris Columbus’ visual style was quite classic, featuring bright lighting and a more traditional style, Cuarón decided to bring a darker palette and more ambitious camera movements, which served to emphasize the common thread theme of history, namely, change .
At the same time, the change of time, superbly illustrated by the seasonality of the Hulking Saul, but also the transition from childhood to adolescence. Besides, who better qualified than the director of Y tu mamá también to tackle this theme?
Clearly, we feel that Cuarón worked a lot for this film. In truth, he didn’t just adapt one of the Harry Potter books, scene by scene, but he made a full-fledged film, from A to Z, creating a visual style. Moreover, it is because he was more ambitious than the others that he is adored by moviegoers.
Several genres of cinema were mixed in this film.
Take for example the scene of the arrival of the Dementors, in the Hogwarts Express. This scene is worthy of a horror film.
It’s all about the growing tension. Everything is crescendoing. The light is warm, the trio talks among themselves. Then the train stops, the lights go out, people shiver, the water in the glass suddenly freezes. Finally, imposing hooded figures glide almost as silently as death towards the door, slowly opening it and a monstrously skeletal hand appears.
The images are beautiful, complex and effective, which truly convey a feeling of cold and fear.
Watching this film, we see that Cuarón’s camera is constantly moving, and he never hesitates to take long takes, which immediately creates a real sense of space-time. In fact, we have the feeling of being truly with the characters when they move and speak. Of course, his talent lies in the fact that we never realize it. It’s subtle but effective.
Indeed, take the sequence shot at the Leaky Cauldron, in which Harry and Hermione find the Weasley family.
The way he rotates the camera around the table to naturally capture Mr. Weasley and Harry. Sirius Black’s wanted poster highlighted in the back, while they are talking about him.
The separation between Harry and his friends is also skillfully orchestrated and superbly produced. While the tone gets darker and darker on Harry and Arthur’s side, there’s still fun in the background. The fact that there is no cut makes the scene increase in tension as they get closer to the camera. Not to mention the music which is superbly mastered.
In addition, it is the first film in the Harry Potter saga to have a melancholic tone. Indeed, rain was frequently used to emphasize depression and despair. The lighting is then darker and the shadows are much sharper than in the first two films.
In the latter, the tones were warm, and symbolized the innocence of childhood and the happiness of finding, in this new magical world, a home. The stories were definitely lighter back then.
The contrast is much clearer in the third film. We understand that they are no longer children, but adolescents. The films, the spectators and the characters evolve at the same time.
Cuarón therefore wanted to take a fresh look at these young people. Clearly, he could only produce the third opus, that of this transition from childhood to adolescence, because he had perfectly understood its essence and the uneasiness.
A change that was also shown visually among the students of Hogwarts. All these characters are growing up and trying to understand where and how they will fit into the world. So, goodbye to well-worn uniforms, hello to neglected uniforms.
“By researching English schools, I noticed that no two students wore uniforms in the same way. Everyone managed to add a little touch, revealing their personality. So I asked the young people to do the same and wear their uniform as they would outside of their parents’ presence. »
From the opening sequence, Cuarón’s direction underpins these themes of change. Indeed, Harry will leave alone after making Aunt Marge fat, and it will be the first time he explores the world on his own.
Plus, we also have the iconic time travel that so many people loved. A challenge for a director. One scene was surely hard to achieve convincingly. However, he knew how to make it unique and innovative.
Cleverly, Cuarón chooses to show the passage of time, with the superb camera shot hovering over Harry and Hermione’s heads passing through the giant clock at Hogwarts Castle.
Without forgetting the incredible performance of the cast, which really highlights the production. Emma Thompson is weirdly amazing as the zany Divination teacher, Sibylle Trelawney. Without obviously mentioning Gary Oldman, David Thewlisn and Timothy Spall, respectively Sirius Black, Remus Lupine and Peter Pettigrew.
The performance of the three actors, with the great Alan Rickman, in the Howling Shack, exudes a lot of chemistry. In fact, the talent of these actors no longer needs to be proven, and their interpretations make us love these characters even more.
So, it is for all these reasons that the film is so loved by the public, but also by moviegoers. He is both ambitious and sought after. In truth, Harry Potter and the Prisoner of Azkaban is more than a blockbuster sequel, it’s a film in its own right.
In these times of franchises pushed to the extreme, it is good to remember these works which have succeeded, thanks to the unique vision of a director, in becoming references. Both within a franchise, and sometimes in the film industry, or even in the collective unconscious.