Feature: Harry Potter Marathon, Part 4

YEAR FOUR
Harry Potter and the Goblet of Fire (2005)

Another year, another director. This time Mike Newell takes the reigns - another slightly surprising choice given he had previously mainly done small dramas and comedies. Like his predecessor, though, he proves adept at stepping up into the blockbuster realm. Again, he brings a slightly different tone; there are fewer visual tricks and the slightly Gothic aura has been replaced by something a bit more anonymous but not particularly detrimentally so. Newell's talent, as hinted by his background, comes in the character interaction, from which he draws much humour. This is certainly the funniest of the films yet, but not to the extent that the laughs come at the expense of character.

Straight from the opening WB logo you can sense something different is afoot. This is the first film in the series not to start at Privet Drive; instead, we open with a shadowy, suspenseful scene that sets an engrossing tone immediately. The music - Patrick Doyle replaces John Williams' more whimsical style, only reusing the signature Hedwig's Theme - adds a fresh flavour. It turns out to be Harry's dream, from which he's woken up by Hermione, and it's off to the Quidditch World Cup with the Weasleys. I almost cheered when I realised the Dursleys had been omitted.

The scale is impressive immediately, but there's hardly time to take it in: within minutes (and without even a single game of Quidditch) we leave the World Cup and head to Hogwarts once more. It's certainly exciting and eventful - there's more action in the first ten minutes than the whole first film - but seems a little rushed. The same could be said of a lot of the film. The book was the first in the series that could be described as a doorstop, so the adaptation had to be much more ruthless to fit it all in, and even someone who hasn't read the books can tell that there's a jot of condensation going on. Most scenes are Big Important Moments; plot is the driver of the narrative first and foremost. I can hardly complain - just two films ago I was despairing at the lack of plot and the sluggish pace.

The catalyst for most of this year's events is the Triwizard Tournament, an inter-school competition which comprises three rounds that are more than a little hazardous. Not only does it give the film a clear structure, preventing any aimlessness, it also allows several new characters to be introduced and a little bit of scope to be added to the world. This the first time we've had a sense that Hogwarts isn't the only school of witchcraft and wizardry out there. The scene where the other two schools enter the main hall is a little clunky - the pupils come in with a choreographed dance performance for no particular reason - but their addition to the cast is definitely beneficial.

The three stages of the competition (in which Harry, naturally, finds himself competing) are the action centrepieces of the film. The first in particular stands out, Harry, riding his broomstick, being forced to face off against a rampaging dragon. The others are no less suspenseful and there is a genuine sense of threat which indeed is borne out by the end of the third trial. The death of a character ups the stakes immeasurably; hopefully, this is a sign of daring plot twists to come. Most will know by now that the end of the film finally sees the introduction of the big bad, He Who Must Not Be Named (but often is), Lord Voldemort, played by Ralph Feinnes minus his nose. I must admit I'm still a little hazy on Voldemort's history, and I wonder if that is intentional at this point or a result of some omission of a few details from the books.

The other big thing that happens in this film is the dreaded onset of puberty. The growing up of the characters is really well woven into the story and naturally played by the actors, who clearly relish having some relatable feelings to portray, like the terror of asking a girl to the school dance. Indeed the Yule Ball is a highlight of the film, giving worthwhile time to the characters while the tournament dominates the plot.

This year's new Defense Against the Dark Arts teacher is Brendan Gleeson's Mad-Eye Moody, and like all his predecessors he gets a fantastic role to chew on, not to mention this time a cool physical accoutrement (a very well done combination of practical and digital effects). It's a shame that few of the returning cast like Maggie Smith and Alan Rickman get much of a look-in, but there has to be some trade-off for running time's sake, and this is still the second longest in the series.

Overall I'd say that Goblet is a less intricately plotted affair than Azkaban and doesn't quite boast its predecessor's clever construction or dramatic fireworks, but is another highly competent entry in the record-breaking series. I'm beginning to see why this Potter thing caught on.