The childish wonder of J.K. Rowling's series is difficult to replicate when the main characters are adults and habits in…
The childish wonder of J.K. Rowling’s series is difficult to replicate when the main characters are adults and habits in the magic world.
[ThisHistoryContentPoilersFor Amazing Animals: Grindelwald’s Crimes ]
Every year between 1998 and 2011, except 2006 and 2008, a new post in Harry Potter meant whether it’s on the page or on the screens. Every new post meant the chance to return to the world Pots an environment that was hidden but independent (until its climax) in the real world, and every return meant in everything: a chance to escape from the real world, one chance to return Hogwart’s and daughter’s stories of the story of the series, a chance to spend more time with characters we know and grow funds from when the story expands, and most of all, at least temporarily, to be young again.
Harry Potter stories work best as a time shift and a portal to a dimension that is not our own but as we are familiar with as frequent visitors. If books required passports for access, an overwhelming number of people in the world would have pages filled with stamps for travel to Hogwarts and back. Once upon a time, J.K. Rowling did more than write a story and produce a plot. She charted a whole ecosystem to make readers lose themselves and see themselves.
It’s Fair to Expect Amazing Animals and Finding The First Movie in Potter ] The Prequel Spin-Off Series and Its Follow-Up, Fantastic Beasts: Grindelwald’s crime recently released in the theaters this weekend, to meet the audience with the same spirit. However, they do not. Frankly, they can not. The reason is that these films are separated from the Spirit; they are Pots movies for adults, and ignore the Pots even in infants, for adults almost were as much as for children. You would be kidding yourself to draw an equality between demographics. Rowling wrote the books with an audience of children in mind. But she wrote them in terms that talked to us regardless of our position in the age range too. Rowling created a universe, and she blessed it with a universal language.
6s Amazing animals and where to find them had an enchanting familiarity with that language, a surprising but permissible crime given both novelty and five-year intervals, which distinguishes it from Rowling’s original story. Perhaps its inconvenience – its carbonic approach to character, its clumsy blend of intertext (the title derives from a book taught at Hogwarts School of Witchcraft and Wizardry) with plot-spits more to praise than rubbish. Wasting with habit has a way to consider crafts. But in Amazing animals: Grindelwald’s crimes craft submerged by the mill of franchise maintenance, which sacrifices consensus and quality at the ambition alder. This is a movie with big patterns for Potter world, but it’s absent in the heart to see them through.
It’s about the generosity that these two films deserve. In the series Potter the imagination is the atmosphere. Magic, like a storytelling conceit and plot device, feeds fantasy, true, but Rowling lowered the imagination of her protagonist, once oblivious to magic existence, hurriedly began in spaces where magic is just a daily life in life. Acclimating to a culture where the dishes are washing, wands are so ubiquitous as smartphones and infinitely more useful, and society’s preferred modes of transport include broomsticks, catnip is the mind itself. Filtrated through the eyes of the child, the wonders that are so true to Harry Potter his identity immediately gains overwhelming creative oomph. You experience and discover the boundless and flexible power of magic with the same reverence as Harry.
Anxiety does not occur in Grindelwald’s crime . It is replaced by “aw”, the nasal expression of disappointment was made when expectations were pushed by the hard vagaries of cash grab franchising. Wonder because they do not even start. Adults, in Pots The world makes boring heroes; Their perspective is informed of everyday life. The first Fantastic Beasts film contains at least one non-magical character’s point of view, and that view infuses the movie with a surprise boasting around its margins. Here he is just another person who is inured for the wizard’s wonders. Adults are better suited as guides and mentors, which facilitates Rowling’s children’s adventure. The sensation is given in Harry Potter who, after leaving childhood, adult plateau. They stop growing.
It’s not that they can not change or surprise us. Even Severus Snape (Alan Rickman), after his healing Half-Blood Prince appears as heroic. But Snape is brave is not a development. It is the key to whom he is before the overall events in Rowling’s novels. Adults in Harry Potter tend to be who they are. They are unsolved. Amazing animals: Grindelwald’s crime declares that they are unresolved. Its characters are inert. Consequently, the plot grows inert.
You can pore over the violations committed in The Grindelwald’s crime. But the biggest avenue is its abandonment of all the youthful energy that makes Harry Potter worth investing time to start with.