Harry Potter Movies

The objections raised by some fundamentalist Christians to the Harry Potter books continue to make the news.

The Christian attacks on the Potter series aren’t an attack on witchcraft and magic, so much as an attack on the imagination and freedom of expression – and by extension an attack on literature. The Harry Potter books aren’t ‘How To’ manuals on witchcraft, nor is the author, J.K. Rowling, advocating the practice of witchcraft.

The themes in the Harry Potter stories pit the good against the dark side. Magical themes happen to be an effective way to play out the drama in a manner that is engaging, especially for younger readers.

Professor Dumbledore, the Hogwarts headmaster, is clearly the personification of good and urges Harry to use the power of love when dealing with the dark side personified by Lord Voldemart. On one level the Potter books are morality tales that happen to take place in a make-believe world that is magical – but then a lot of literature contains magical themes, including books by famous Christian authors.

C.S. Lewis and J.R.R. Tolkein are examples of Christian authors who created magical worlds with plots that at root are moral and even Christian in philosophical intent. The Lion, The Witch and The Wardrobe by Lewis creates an intermediary zone between the real and imaginary worlds using a prop – the magical wardrobe. Enchantment and make-believe allow the ‘other world’ beyond the wardrobe to become a possibility. Similarly Tolkein in Lord of the Rings invokes the powers of wizardry and magic. But it is used as a device to enable characters and events that couldn’t feasibly exist in the ‘ordinary’ world. This doesn’t mean that either Tolkein or Lewis were promoting magic or attempting to ‘corrupt’ the minds of young readers.

The problem with the criticism coming from a section of the evangelical community is that their interpretation of the books is much too literal. They seem to think that young readers are incapable of divining meaning and truth beyond the trappings of the tale. They get hung up on the trappings themselves rather than probe the deeper meaning of the stories. When they do look a little deeper, they often misconstrue the author’s intent and try to spin the plot as evidence of literary evil doing. Fortunately, a few leading voices in the evangelical community have had the good sense to take a more objective view of the content, and have resisted the temptation to try and subvert a fictional fantasy in order to smoke out the devil.

In attempting to ban the Harry books or in other ways suppress them, the detractors ironically succeed in adding to their allure and power. When something is ‘forbidden’ it becomes a lot more tempting. When the D.H. Lawrence novel Lady Chatterley’s Lover was banned, it did more for the sale of the book than any promotional campaign could ever have done. The same went for Ulysses by the great Irish writer James Joyce.

Moreover when you consider the amount of material on magic and witchcraft that is freely available in book stores these days, on the internet, in magazines, via certain video games or just by word-of-mouth – it makes it almost absurd to try and suppress Harry Potter books.

If Harry Potter gets banned in the bailiwicks of the offended – what’s next on the list? Grimm’s Fairy Tales? Rupert the Bear? Teletubbies? We live in a society in which diversity of opinion is an integral part of our fundamental freedoms. People who for personal or religious reasons attempt to create a chill by pushing for a ban of material as innocuous as Harry Potter, cater to a mean spirited approach that diminishes us all. Objectors can refuse to buy the books or have them in their home, and that’s as far as it should reasonably go.

We are talking about tales for young readers after all – not Anton La Vey’s Satanic Bible.

Many articles have been written on the subject of Harry Potter and his remarkable appeal to the mass market, but that’s not going to stop me putting in my five cents on the subject.

I came to Harry Potter late myself, having dismissed the books as something for children for several years. It was a silly dismissal on my part since I can name several children’s books that I still happily read. However, a couple of years ago the staggering media coverage of the movies forced me to read the books to see what all the fuss was about. Since then, like most everyone else, I have been captivated.

I have read all of the Harry Potter books in order, watched the movies and read many articles about various aspects of both Harry and J.K. Rowling and I believe that I have identified two key elements in the success of Harry Potter. I make no claims that these are the only elements, but I believe they are central to its appeal to both children and adults.

GROWING UP ALONG WITH THE READER

One obvious feature of the Harry Potter novels is that Harry ages. With each book, a year goes by. While this is not unique to Harry Potter, it is unusual for a writer to stick with a single feature character over so many years. Particularly when those years encompass the key ages of ten through seventeen.

As a result of this, and the fact that the books have come out over an approximately nine year period (most likely ten by the time the final book is published), the children who read the Harry Potter and the Sorceror’s/Philosopher’s Stone have effectively grown up with Harry Potter.

Whether by accident or design, it seems that J. K. Rowling has reflected that increasing maturity in both Harry and her audience by telling tells that become progressively darker and more complex in their characterization.

This reflection of Harry’s growth towards adulthood conveniently mirrors the same growth that Rowling’s core audience was experiencing. It also has the side benefit of attracting the interest of adults, many of whom became aware of the books through their children but discovered something with a little more depth than the average children’s tale.

So the increasing sophistication helped Harry Potter capture an ever larger audience, but what was it that appealed to them in the first place?

THE IMPORTANCE OF ARCHETYPES

The Harry Potter books are packed full of archetypes. From the Dursely’s, a family that will be very familiar to anyone who has read the works of Roald Dahl, to Lord Voldemort (Tolkien anyone?), to the boarding school environment (a setting used in many older British children’s books) to the magical creatures which inhabit Harry Potter’s world.

Now, it’s important to be clear on this point. I am not suggesting plagiarism. Those allegations have been made and in each case, clearly showed to be false. No I am talking here about archetypes:

“the original pattern or model from which all things of the same kind are copied or on which they are based; a model or first form; prototype.”

Like all writers (like everyone), J K Rowling has been influenced by her own experiences, by what she has seen and by what she has read. In creating Harry Potter she has called on much of that and made use of (knowingly or unknowingly) many archetypes from both fantasy and children’s literature. Archetypes are present to some degree in almost all fiction and used well can create extremely satisfying stories.

They also tend to create stories that have a mass appeal, because archetypes are things that we are all familiar with to some degree and humans by nature (whether they will admit it or not) like the familiar. Don’t believe me? Look at one of the most popular movie series of all time.

Star Wars was heavily influenced by Joseph Campbell’s The Hero with A Thousand Faces which maps out the common underlying structure of myths using archetypes. It is the use of that very structure which allowed Star Wars to break out from the sci-fi niche and become a cultural phenomenon. The use of archetypes made the alien situation less threatening to audiences.

Rowling is in good literary company on her journey. J. R. R. Tolkien’s The Lord of the Rings can also be mapped against the same mythic structure and it has more than stood the test of time and popularity.

Of course following Campbell’s roadmap the story should end with “The Hero’s Departure”…

But that’s a whole other discussion.