The last Harry Potter film has finally come to homes and it has given me a chance to re-watch and think again about the difference between the films and the books. For the most part, I have been able to understand the changes that haven been made for the cinema; but in the last film, the last few minutes, really left out some of the most important elements and themes that, I believe, Rowling has poured into her masterpiece.
“And his knowledge remained woefully incomplete, Harry! That which Voldemort does not value, he takes no trouble to comprehend. Of house-elves and children’s tales, of love loyalty and innocence, Voldemort knows and understands nothing. Nothing. That they all have a power beyond his own, a power beyond the reach of any magic, is a truth he never grasped. ” Rowling goes on to explain this in the final showdown. Harry taunts Voldemort and fully explains his failings and deep misunderstanding of the world around him. Harry’s death has much more meaning than the end to an evil dictator, he has bought life from death. “You won’t be killing anyone else tonight,” said Harry as they circled, and they stared into each others eyes, green into red. “You won’t be able to kill any of them, ever again. Don’t you get it? I was ready to die to stop you hurting these people-”
“But you did not!”
“-I meant to, and that’s what did it. I’ve done what my mother did. They’re protected from you. Haven’t you noticed how none of the spells you put on them are binding? You can’t torture them. You can’t touch them. You don’t learn from your mistakes, Riddle, do you?”
This pivotal moment in the book is missing from the movie and cheapens the power of Harry’s death. Harry’s love is greater and more powerful than Voldemort’s ambition, hate and cruelty. And it is not just Harry’s love, but the love of his mother and Snape that have played Voldemort for a fool. Another moment that leaves a character not as strong as he is in the book is the moment that Harry explains how Snape’s love has made all of this possible. “Severus Snape wasn’t yours,” said Harry. “Snape was Dumbledore’s, Dumbledore’s from the moment you started hunting down my mother. And you never realised it, because of the thing you can’t understand.”
“I would venture to say that approaching the Christian Story from this direction, it has long been my feeling (a joyous feeling) that God redeemed the corrupt making-creatures, men, in a way fitting to this aspect, as to others, of their strange nature. The Gospels contain a fairy-story, or a story of a larger kind which embraces all the essence of fairy-stories. They contain many marvels—peculiarly artistic, beautiful, and moving: ‘mythical’ in their perfect, self-contained significance; and among the marvels is the greatest and most complete conceivable eucatastrophe. But this story has entered History and the primary world; the desire and aspiration of sub-creation has been raised to the fulfillment of Creation. The Birth of Christ is the eucatastrophe of Man’s history. The Resurrection is the eucatastrophe of the story of the Incarnation. This story begins and ends in joy. It has pre-eminently the ‘inner consistency of reality.’ There is no tale ever told that men would rather find was true, and none which so many sceptical men have accepted as true on its own merits. For the Art of it has the supremely convincing tone of Primary Art, that is, of Creation. To reject it leads either to sadness or to wrath.”
The Apostle Paul speaks of these things that Harry dimly reflects,
“For as by the one man’s disobedience the many were made sinners, so by the one man’s obedience the many will be made righteous. Now the law came in to increase the trespass, but where sin increased, grace abounded all the more, so that, as sin reigned in death, grace also might reign through righteousness leading to eternal life through Jesus Christ our Lord.”