Ryan McNeil
The Wizarding World – the universe that tells tales of Harry Potter, Lord Voldemort, Hogwarts School, and the like – is approaching its eighteenth birthday. It’s at this stage that any human would begin to shed many of its immaturities and show signs of who they are truly destined to be.
With that in-mind, FANTASTIC BEASTS: THE CRIMES OF GRINDEWALD is demonstrating more introspection and intricacy than we have come to expect from a modern blockbuster. It has seemingly grown-up quickly…but perhaps that speaks more to the world we now live in than the world portrayed on-screen.
At the outset of this newest story from The Wizarding World, Gellert Grindewald (Johnny Depp) escapes from capture and resumes his plans of turning the magical world against itself. He keeps his plans close to the vest, but his next move seems to revolve around the recruitment of the Credence Barebone (Ezra Miller). When last we saw Credence, he was an abused orphan in New York, and we learned he could control a dangerous parasite called The Obscura.
Whatever Grindewald wants his talents for, one gets the impression it isn’t good.
In an effort to bring him back to justice, The Ministry of Magic tries to enlist the help of Newt Scamander (Eddie Redmayne). Newt is a “magizoologist”, and generally a pacifist. He has made it his life’s work to protect the magical world and the wonderous flora and fauna it contains, rather than fight over who gets to run it. Many try to convince him that his talents are needed in the fight against Grindewald. One of the many is his own brother Theseus (Callum Turner): a well-respected auror hot on Grindewald’s trail. Another one of the many is Leta Lestrange (Zoe Kravitz): A witch Newt was in love with in their time as students, and now engaged to Theseus.
Steadfast in his principles, Newt refuses them all. Then Albus Dumbledore (Jude Law) comes calling.
He praises Newt for his neutrality, and admires his disinterest in power. However, he assures Newt that the magical wolves are at the door, and that he is key to keeping peace and order. In a way that only a former mentor can, he convinces Newt to enter the fray.
As he does, Newt comes across a few old companions – specifically Queenie Goldstein and Jacob Kowalski (Alison Sudol and Dan Fogler). Queenie has bewitched Jacob into falling desperately in love with her, a charm Newt strongly disapproves of. The removal of it sends a rift into the couple, which is not something one wants when looking for allies.
Newt also senses that he is in close proximity to Tina Goldstein (Katherine Waterston). The two grew close during Newt’s previous adventures in New York, but the American witch has since grown distant under the misconception that Newt is the Scamander brother engaged to Leta.
Soon the circles converge, with all eyes on Credence. His past is a mystery that seems poised to tip the balance of power in the magical world…but which of the scales is he destined to land upon?
At a glance, CRIMES OF GRINDEWALD might seem like a chapter in a very large volume – act two of five or even two of thirteen depending on how you are counting. To suggest those who haven’t perused the rest of the pages in the publication wouldn’t be interested in the told here is a fair statement. It would also be unfortunate, as this instalment of The Wizarding World might offer the most emotionally complexed tale yet.
Films the size of this one tend not to allow much time for character development or reflection on the world around them. It would take precious time away from cars that need chasing, lips that need kissing, villains that need punching, and bombs that needs exploding. That’s what brings people in, and that’s what makes them come back for a tenth serving. But like an old friend who goes way back with us, CRIMES OF GRINDEWALD opens up and tells us what’s really on its mind.
The biggest thing on its mind is regret, and how it can become our travelling companion for much of our life’s journey. We see it in the eyes of Newt, as he shows a continuing talent for not speaking up at the right moment. From his youth up to the present day, we can see that he holds a deep fondness for Leta…and yet he never found the conviction to truly act on it. Might he go back do things different if he could? We’ll never know, because now the woman he truly loved is in love with his brother, and Newt won’t let himself think that way anymore.
One thinks he might have learned his lesson, but he spends much of the film poised to make the same mistake with Tina. Regret is a difficult burden to carry – equal parts guilt, anger, sadness, and remorse. It can sometimes be lessened but it is never completely lowered, and if we let it, it can take a heavy toll from our very being. This is especially true of Leta, whose hands have a mark of regret upon them that she cannot seem to wash out no matter what. Despite pleas and cautions, she has struggled through much of her life to let go of her regret – and yet she can’t. Like so many of us, Leta struggles to forgive others; forgiving ourselves is damned near impossible.
In the face of all of this self-doubt, regret, and search for truth walks Grindewald. In clandestine times, he quietly speaks the truth. He does it all in the name of elevating one race over another, and likewise in a quest for his own place of power at the top (sound familiar?). And yet, he does it by embracing the honest and hard-working. He speaks of the fissure that exists in the human world, and asks his magical audience how long it will take for humans to stop fighting each-other and instead start fighting them.
This is how the darkness creeps in; it preys upon regret, offers a way back to simpler times, tells a selected version of the truth, and offers someone to blame. Grindewald is not another black-cloaked demon hellbent on taking over. No, he’s something much more dangerous. Grindewald sees a way to bring a way of life to heel; all it takes is a silver tongue.
THE CRIMES OF GRINDEWALD is a plea for empathy and grace with its every word and gesture. It is a prayer that more of us can see past our own selfish desires and regrets and ask ourselves “Is this right?”. It maks a complicated suggestion – that promises can be made, and promises can be broken all in the name of good. We want to believe that to keep a promise is the ultimate show of character, but sometimes betrayal of one’s word is necessary to counter a larger betrayal of decency.