Harry Potter and the Prisoner of Azkaban: masterpiece or betrayal?

The debate rages among the worshipers of the little wizard with glasses. With each rebroadcast, spectators and readers struggle to determine which of the eight films does the most justice to the imagination of JK Rowling and even more broadly to fantasy. The writing of the WorldOfSoftware is itself divided on the issue, with some arguing (wrongly) that the third film is the worst ever offered in the Hogwarts universe.

We can’t let such nonsense be spread here and there, we had to reset the T’s. Yes, Harry Potter and the Prisoner of Azkaban is the best film in the entire franchise (by far). Julie, who is full of praise for the third part of the saga, faces Robin for whom Alfonso Cuarón’s film is a real affront to JK Rowling’s imagination. It’s time for the duel.

Julie : “It’s the only real cinema proposition”

The importance of Chris Columbus in the novel adaptation process Harry Potter is undeniable. The father of Mom, I missed the plane, brought to life a rich universe to accompany the young wizard’s first adventures at Hogwarts. It is to him that the saga owes its very particular aesthetic, from the objects which are sold today as derivative products to the striking settings such as the model of Hogwarts, the Great Hall or even the dormitories of our heroes. A colossal amount of work was accomplished by the artistic teams. But if you look closely, it is in the third film that the license truly enters the big leagues.

It is thanks to Alfonso Cuarón, the first director to question the way in which the universe must transform to support the evolution of young people Harry Potter. If certain choices have caused debate among insiders, it is clear that Le Prisoner of Azkaban is the first real cinema proposal at Hogwarts. While Columbus relied far too often on the writings and Rowling’s descriptions to recount Harry, Ron and Hermione’s first two years at Hogwarts, Cuarón was not afraid to rework history to make it more cinematic.

This is particularly true regarding his way of playing with time, of twisting it again and again. The Whomping Willow scene, which we see transform over the months, is the perfect example of how Cuarón and his teams let their images speak for themselves. Until now, it was too often a question of relying on dialogue.

In the same way, Harry Potter 3 manages to build a real atmosphere with a radical change in colorimetry as well as staging choices that support borrowings from the fantastic. The arrival of the werewolf offered the director an opportunity to pay homage to horror cinema.

An impossible job without the expertise of cinematographer, Michael Seresin (Planet of the Apes) and which makes each scene even more striking. It’s hard to imagine that the Dementor scene on the train would have had the same impact on Columbus.

Robin : “The change in tone breaks the coherence of the universe”

Fan of books from the start Harry Potter as well as their adaptations to the cinema, I find on the contrary that The Prisoner of Azkaban directed by Alfonso Cuarón is one of the worst in the saga. I have never been fan of brutal changes in direction which make a universe less credible, like what happened with films 7 and 8 of Star Wars. In wanting to impose his mark, Cuarón takes us out of the enchanting universe of Harry Potter established by Chris Columbus in the first two films. The most obvious example is probably seeing the Hogwarts students so suddenly dressed in Muggle clothing rather than in school uniforms, which dilutes the magical visual identity of the saga.

Julie. “It’s the most accomplished story”

On the storytelling side too, The Prisoner of Azkaban far surpasses its peers. From the first moments, the film (like the book) multiplies good ideas to surprise your audience. From Aunt Marge transformed into a balloon to a very effective game of cat and mouse in Hogwarts, screenwriter Steve Kloves knew how to make the right choices to create suspense. While Columbus delivered a very faithful adaptation of the first two novels, Cuarón and Kloves liberated themselves more widely from their model to skillfully prepare the second half of the film.

It’s simple, the twist in the screaming cabin is one of the best controlled in the entire saga. The stones sent to Hagrid’s hut, the screams, Harry Potter and the Prisoner of Azkaban is based on a playful concept which does not forget to also be the emotional engine of the story.

This is particularly true regarding Sirius, who immediately becomes an important figure in mythology. The Time Turner’s trick adds to the tragedy that Peter Pettigrew’s escape represents for Harry and Sirius. Despite all his efforts, Harry will not be able to live with this loving godfather who is still seen by the rest of the world as a criminal on the run.

Robin : “Processing time travel is laborious”

The most annoying aspect of the film is undoubtedly its depiction of going back in time. Cuarón first unwinds 30 minutes of film devoted to the events surrounding the release of Buck the Hippogriff and the rescue of Sirius Black. However, the director then decided to show us the same scenes from the point of view of Harry and Hermione having gone back in time, with very slight variations. As a result, you have to endure the previous 30 minutes again. A way of doing things that is far too long, boring and repetitive, where a more skillful narration could have alternated points of view or condensed the action.

Robin : “There is a factual error from the first seconds of the film”

The film begins with a major factual error. In the first scene, Harry practices magic outside of Hogwarts in his room at the Dursleys, which is strictly forbidden in the magical world for underage wizards. This transgression of the rules established in the first film shows a lack of respect for the coherence of the universe created by JK Rowling.

One of the most problematic choices and still mocked on social media 20 years later is the one where Sirius screams at his wanted poster. While he is innocent, this representation makes him seem like the demented and dangerous criminal decried by the Ministry. Certainly, this choice helps the story by reinforcing the threatening atmosphere, but it makes absolutely no sense.

Julie : “Just for the work of John Williams, it’s incredible”

Harry Potter would be nothing without the few notes composed by John Williams. The man to whom we owe the most emblematic musical themes of the seventh art had surpassed himself in the first films, still remaining within the highlights of what he had already done for Star Wars or Indiana Jones. With The Prisoner of Azkaban, well helped by the radical change in tone of the saga, delivers a much more varied and exciting set of compositions. It invites new instruments to accompany the many creatures and events our heroes face. This third film will also mark his swan song, since he will then pass the baton to the music. While we can applaud the work of his successors, none will have had an impact comparable to that of Williams.

Robin : “A fitting final scene for such a disappointing film”

Even if it means bringing a darker tone to Harry Potter, you might as well go all the way. The departure of Lupine would have represented a good end to this opus, however, Cuarón decided to end on one of the least powerful scenes in the history of the saga. Harry riding his Firebolt, with a frozen close-up of his face as the final image. Certainly, the film is not getting noticed for the right reasonsand we can’t wait to see if the HBO series will learn from Cuarón’s mistakes to bring more rhythm and coherence to the Prisoner of Azkabanthe central point of the saga.

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