Feature: Harry Potter Marathon, Part 3

YEAR THREE
Harry Potter and the Prisoner of Azkaban (2004)

From the 25 directors who were apparently vying to helm the first Potter, the studio eventually plumped for one of the safest bets in Chris Columbus. The same cannot be said when he decided to step down for the third instalment. Alfonso Cuaron was a bold, rather leftfield choice, the director having made Mexican film Y Tu Mama Tambien previously - an excellent film, but a decidedly more adult one than a Harry Potter adventure. He's since made the extraordinary Children of Men, one of my favourite films. So could he add something similarly special to Hogwarts?

Yes. Yes, he could.

Living up to its reputation, Azkaban is by some way the best film in the series to this point. It's the first that actually feels like a film rather than a slavish transcription of a novel. Steve Kloves returns again on script duties, so much of the success must to be down to Cuaron. There's an energy far beyond what we've so far seen, with a real sense of urgency throughout and a moody, imposing atmosphere thanks to a darker visual palette and some creepy plot additions (like the black-cloaked Dementors). With its intricate and actually quite gripping plot I'm guessing that Azkaban is one of the better books too, which surely helps the film.

But first, there is a hurdle to overcome, and once again, its in the form of the dreaded Dursleys, on whom this film again spends some awkward opening scenes. This time an aunt visits, who ends up inflated like a balloon thanks to Harry's anger. It just jars with the rest of the film, and had me initially uneasy. Then Harry takes a ride on the triple-decker Knight Bus: a neat idea but one that is again a little out of place in execution (the broad slapstick belongs in a different film). Thankfully, when the film leaves the muggle world, we're instantly on firmer ground.

The visual invention that Cuaron brings to the table is evident in the early scene in the common room of the Leaky Cauldron Inn. There are so many touches simply in the background, such as a waiter carrying an impossibly tall pile of plates, that add immensely to the sense of this being a magical world. This is where we learn of the prisoner in the title too, and again, there's a degree of foreboding introduced early. Cuaron takes advantage of the world being well established now to use some shorthand, which lets him get to the point much more quickly; he knows, for example, that we don't need to see how the kids board the Hogwarts Express this time.

When events reach Hogwarts itself, there's definitely a subtly different feel to everything, while remaining in keeping with Columbus' efforts. There's more dynamism to the direction and a more intricately constructed narrative with a natural flow not previously seen. We get far more of a sense of the geography of Hogwarts' surroundings too, as they are properly visited for the first time, making it into a believable place rather than a fairytale fantasy castle. The apparently extensive use of Scottish locations helps a lot. The creative visuals recall the styling of Guillermo del Toro, so it's no surprise to learn that del Toro was originally offered the film (and he's the one who urged Cuaron to make it).

While the first half has a measured but careful pace, the last hour is practically a breathless sprint. The build to the finish line is superb, and far more thrilling than anything in the two earlier films. The acting takes on a degree of intensity from both the youngsters and the experienced thespians. Azkaban adds yet more great names to the roster, including the superb Gary Oldman as Sirius Black - the prisoner of the title - and David Thewlis as Professor Remus Lupin (the clue to his abilities is in his name). The peak in terms of drama occurs when these two share a scene in the Shrieking Shack with Timothy Spall and Alan Rickman. The acting is electrifying, and the reveal of backstory satisfying.

A bit later, the film introduces the plot device of time travel, which can be brilliant when used well. Here it is used very well indeed, allowing Harry and Hermione to revisit previous events and see them from a different angle. It's pretty thrilling to see everything slot into place, including a few unexplained earlier events. My only real criticism is that some expositional connecting tissue from the book seems to have been lost, so it is difficult to keep up with the plot developments sometimes. Fortunately, the hurtling momentum of the film by this point quickly dissipates such concerns.

The CGI continues to move on leaps and bounds; Buckbeak the hippogriff is a wonderful creation and the Quidditch match in the pouring rain is brilliantly atmospheric. Indeed there's a lot more inclement weather this time round, which just adds to the oppressive mood. Funnily enough, this was the first Potter to be released in summer, and despite its quality, it remains the series' lowest grossing instalment. Figures.