Harry Pot Of Fire Essay

Mike Newell, director of Harry Potter and the Goblet of Fire, had a difficult decision when overtaking the production of the fourth Harry Potter installment. The first movies had been completely faithful to the novels; however, the third had a new director who decided to bring his own creative vision into the movie, a change that led to a dynamic and refreshed masterpiece (Nel, 2009, p. 276). Newell ultimately he decided to also take artistic license with the beloved series. Films often need to make changes to fit the medium’s constraints as well as to make up for the lack of imagery and extensive descriptions that written works can have. Being aware of this necessity, Newell tweaks Dumbledore and Voldemort’s depictions to add depth and dimensions to the characters in order to

First, the film transparently illustrates Dumbledore’s temper, stress, and frustration. These changes atone for the film’s lack of exposition and access to his inner feelings, making Dumbledore more relatable to the audience than he would have been otherwise in the film. Philip Nel (2009) considers Newell one of the most successful Harry Potter directors at “making the characters’ interior lives visible” because Newell “compress[es] [the scene] to bring out its emotional intensity” demonstrating the importance of human expression (p. 279). Dumbledore is portrayed as more emotionally expressive and vulnerable in the movie, whereas in the novel, Dumbledore is a complete character with known emotions and shortcomings in large part due to small details, such as when Hagrid mentions to Harry how he had never seen Dumbledore so worried before (Rowling, 2000, p. 563). Externally, Dumbledore is kind and fair, so if the film were to be loyal to that trend but also cut out