November 17, 2005
By Matt Savelloni
“WORDS ARE ONLY PAINTED FIRE; A BOOK IS THE FIRE ITSELF.” – Mark Twain
Should I even try to write new accolades for J.K. Rowling? Is it even possible? Her Harry Potter series is already legendary and justifiably so. Who would have thought that the cute, somewhat slight, HARRY POTTER & THE SORCERER’S STONE would manifest itself into the best fantasy series of all time? Who knew that Rowling was just setting up one curtain call after another with each succeeding book, maturing the series alongside the readership, refusing to pander to the same demographic, choosing instead to tie the adventures to a particular generation? Not content to simply conjure the next A to Z mishaps at Hogwarts, Rowling tightens the focus on character with each new tome. THE GOBLET OF FIRE is her first entry that can rightly be called a dark literary masterpiece.
The fourth volume of Potter-mania sees the world’s favorite little wizard struggling with burgeoning puberty at the same time that the seminal Tri-Wizard’s Tournament arrives at his school. Mysteriously, Harry’s name comes flying out of the Goblet of Fire, the magical chalice that names the contestants from competing schools, after the three champions have already been nominated. This unexpected event turns suspicious—and envious—eyes on Harry, one of Rowling’s first dire changes in tone.
Previously, Harry’s friends were his friends, tried and true and dedicated. GOBLET OF FIRE depicts, however, a bitter estrangement between Ron and Harry and a distraction that pushes Hermione in directions other than mere sidekick. Yes, we suspect the three heroes will rally to the cause but Rowling pays this conflict more than mere lip service, diving unapologetically into the unease of maturity and bitterness of identity that all early teens endure. She also introduces the concept of youthful attraction with Harry’s comical awkwardness around the apple of his eye, Cho Chang, and Ron’s muffed attempts to ask Hermione to Hogwarts’ version of the prom. The plot—the unknown force behind Harry’s entry into the Tournament—is largely forgotten as these events and many other character-driven beats are exposed and manipulated into meaningful fashion.
“AH, I HOPE TO LIVE TO 87 AND DRINK FROM THE GOBLET OF LIFE TO THE DREGS.” – Van Gogh
And that is really what sets GOBLET OF FIRE apart from its predecessors—Rowling’s endearing characterization offset by the stormy subtext of discordant emotions, bloody revenge and ominous conflicts. Yes, her hilarity is well preserved, certainly more mature, but Rowling seems freed up, neither as measured nor as whimsical as before. Make no mistake: this is a turbulent novel with great measures of dread even in the midst of Harry’s triumphs. This is also the first time where the cavalry—Dumbledore, Sirius, McGonagall, Snape or some other adult presence—does not come to the rescue. Harry is alone in the final confrontation and spared only through an ultimate sacrifice. He doesn’t win; merely escapes.
The GOBLET OF FIRE ends on a cliffhanger. There are more unresolved issues in this entry than any of the others. It is of whopping, Clancy-esque length and yet every word seems necessary, Rowling’s singular economy of words commanding the narrative even while she etches wonderful new set pieces, especially the encounter with the mer-people in the lake and Harry’s duel with the dragons during the Tournament. With these new illustrations, GOBLET OF FIRE expands its setting away from the usual catacombs and dark forests into frightful new environs in which Harry must wage war to survive. I was unquestionably surprised by the consistent malice clinging to this fourth year at Hogwarts and for the first time, I am tempted to jump right into the next novel rather than timing it with the release of a new film.
Previously, I would have noted that Harry Potter was a worthwhile and significant offering of young adult fiction. THE GOBLET OF FIRE confirms that Rowling’s scope is much larger than that, her novels more consequential, her writing eclipsing the work of those we blithely call “artists.” This isn’t young adult fiction; it’s a caprice for any age reader that just happens to be about young adults. I for one am glad I was born during Rowling’s tenure, in her space, here to anticipate the next layer she peels back on this astonishing world.
“INDIFFERENCE AND NEGLECT OFTEN DO MUCH MORE DAMAGE THAN OUTRIGHT DISLIKE.” – J.K. Rowling
The film adaptations of Rowling’s work gained a drastic change in potential after the saccharine Chris Columbus gave up the director’s chair. His first two adaptations ran on the rails of a bland and shallow Hollywood theme park ride. Alfonso Cuaron turned the tide back somewhat in THE PRISONER OF AZKABAN but that film was still too long by half and lacking the same tight narrative focus as the book. Mike Newell now takes the helm and it should be noted that he is the first director from across the pond on a series that is distinctly English.
Personally, I like the idea of a new director for each new Potter film; it reinvigorates the visuals and avoids the uniform staidness plaguing other franchises. Consider how the first three STAR WARS each carried the stamp of different visionaries against the stylistic homogeny of the X-MEN and LORD OF THE RINGS films. Don’t get me wrong, I like Bryan Singer and Peter Jackson, but once you saw the first film, you knew exactly what you were going to get in terms of tone, pacing and imagery in subsequent offerings. GOBLET OF FIRE has the chance to be THE EMPIRE STRIKES BACK of the Harry Potter chain and if the Mike Newell of ENCHANTED APRIL, DONNIE BRASCO, FOUR WEDDINGS & A FUNERAL, AMAZING GRACE & CHUCK and DANCE WITH A STRANGER shows up, that potential could easily be realized.
“Good fame is like fire; when you have kindled you may easily preserve it; but if you extinguish it, you will not easily kindle it again.” – Francis Bacon
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