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The childish wonder of J.K. The Rowling series is difficult to reproduce when the protagonists are adults and are accustomed to the world of magic.
[Cettehistoirecontientdesspoilerspour[Thisstorycontainsspoilersfor[Cettehistoirecontientdesspoilerspour[ThisstorycontainsspoilersforFantastic Beasts: The Grindelwald Crimes]
Every year between 1998 and 2011, with the exception of 2006 and 2008, meant a new entry into the Harry Potter series, whether on the page or on the screens. Each new entry meant the possibility of returning to the Potter world, a hidden but autonomous environment (until its peak) in the real world, and each return meant, in a nutshell, everything: an opportunity to escape the real world, an opportunity to revisit Hogwarts and the subsidiary sets of the narrative series, a chance to spend more time with characters that we know and enjoy as the story develops, and most importantly, at least temporarily, to find youth.
At their best, the Harry Potter Stories work as both a time chain and a portal to a dimension that is not ours, but that we know well as frequent visitors. If the books required a passport, an overwhelming number of the Earth's population would have pages littered with stamps for trips to Hogwarts and back. Once upon a time J.K. Rowling did more than write a story and create a plot. She has mapped an entire ecosystem so that readers are lost and see themselves.
He's just waiting fantastic beasts and where to find them, the first film of the Potter prequel spin-off series, and its follow-up, Fantastic Beasts: The Grindelwald Crimes, fresh out this weekend, to meet the public in the same spirit. They do not do it, though. Frankly, they can not. Basically, these movies are divorced from this mind; they are Potter adult movies, unaware that Potter, even in early childhood, was for adults almost as much as for children. You would do well to draw an equivalence between these demographics. Rowling wrote the books thinking of an audience of children. But she wrote them in terms that spoke to us, no matter our position on the spectrum of age, too. Rowling has created a universe and has it endowed with a universal language.
2016 fantastic beasts and where to find them had an ephemeral knowledge of this language, a surprising but acceptable offense given its novelty and the five-year gap that separates it from Rowling's original narrative. Perhaps his awkwardness-his stoic approach to the character, his awkward intertext mix (the title derives from a book taught at the Hogwarts School of Witchcraft and Witchcraft) with intrigue – was more indicative of rust than waste. The attrition of habit has a way of devolving craft. But in Fantastic Beasts: The Grindelwald Crimes, craftsmanship is encompassed in the maintenance work of the franchise, which sacrifices consistency and quality at the altar of ambition. This is a movie with big drawings for the Potter world, but there is no heart to see them pass.
That's about as much generosity as these two films deserve. in the Potter series, the imagination is the atmosphere. Magic, as a narrative and intriguing pretense, feeds the imagination, but Rowling imagined her protagonist, once unaware of the existence of magic, she rushed into spaces where magic is only 'a daily fact. Wands are as ubiquitous as smartphones and infinitely more useful, and the company's favorite modes of transportation, including brooms, are flesh-eating. Filtered through the eyes of a child, the wonder so intrinsic to the Harry PotterThe identity of the author immediately gains a tremendous creative momentum. You experience and discover the unlimited and flexible power of magic with the same fear as Harry.
Awe does not appear in The crimes of Grindelwald. It is replaced by "aw", this nasal expression of disappointment made when expectations are crushed by the hard fluctuations of money franchising. Wonders because they do not even start. Adults, in the Potter world, make boring heroes; their perspective is informed by the daily. The first Fantastic beasts film, at least, incorporates the point of view of a non-magical character, and this view infuses the film with a foamy amazement around its margins. Here he is just another person accustomed to the wonders of magic. Adults are best suited as guides and mentors, making the adventures of Rowling's children easier. The meaning is given in Harry Potter that, having left childhood, adults reach a plateau. They stop growing.
It's not that they are unable to change us or surprise us. Even Severus Snape (Alan Rickman), after his heel turned around The Half-Blood Prince, presents himself as heroic. But Snape's bravery is not really a development. This is the key to whom he isbefore the major events of Rowling's novels. Adults in Harry Potter tend to be who they are. They are immalable. Fantastic Beasts: The Grindelwald Crimes submits to being immalleable. His characters are inert. As a result, the plot becomes inert.
You can look into movie crimes committed in The crimes of Grindelwald. But his biggest affront is his abandonment of all that youth energy that makes Harry Potter It's worth investing time to start.
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