Harry Potter and the Deathly Hallows, Part 1

Perfect review James! My sentiments exactly. I was guilty of some of that criticism myself but I’ve learned to love this score and after having seen the film and listening how beautifully it works I’m eagerly looking forward to part II. Desplat nailed it. And the movie critics were more than kind for his score. I don’t know if his music is eligeable for the oscars.

…And it’s another misstep at Movie Wave. Or, to put it more fairly, another discrepancy between my opinion and yours, because I think you’ve got the ratings of Arnold’s Voyage of the Dawn Treader and Desplat’s Deathly Hallows the wrong way around. The former is full of memorable themes, sparkling fantasy moments, rip-roaring action and, to tie it together, a real sense of fantasy. The latter rambles along anonymously, always technically proficient but never memorable.

Like Mikal, I don’t know what you mean by emotional “depth”. Also like Mikal, I think the concept of “buried emotion” is ridiculous. To me, the point of emotion – especially in a film score – is that you’re supposed to FEEL it, automatically, and not have to sift around in the murky waters of Desplat’s score to find it. Also, how you can denigrate Arnold’s score/album for being too long but not mention it here, with an album that is six minutes longer? I’d rate this score **** to **** 1/2 as well if it only consisted of the first five tracks, the Ministry sequence, “Ron Leaves”, “Lovegood” and “Dobby’s Farewell”. You could say that about practically any score, though, so what’s the point?

Also, I don’t think people are expecting “Harry’s Wondrous World” to accompany the sky battle. What we WERE expecting was a bit of development on Williams’ themes to match them to the darker tone, something Williams himself would have easily accomplished given the way he handled the prequels. The end of Filmtracks’ Deathly Hallows review summarizes nicely the way I feel about the continuity issue.

It’s astounding how often I find myself disagreeing with your reviews this year, but I still acknowledge that it’s your opinion, naturally. I like a bit of discussion!

If I could jump in here, it seems like there are some people who object to Desplat’s approach to this film, and to film music in general. To the claim that emotion is something you’re supposed to automatically feel, I vehemently disagree with that. Some composers don’t wear their emotions on their sleeves with their music. They take a more subtle and introspective approach to their work, and demand that you take the time to appreciate it. I don’t consider that “working” or “sifting around in murky waters”, but reflecting upon it and giving the score the full attention it deserves.

Some of my favorite scores didn’t impress me after the first listen. Indeed, when I first listened to a previous score by Desplat, “Lust Caution”, I found it interesting but not very memorable. Now, months later, after having listened to it numerous times, and after seeing the film it accompanies, it’s my all-time favorite Desplat score. It’s a testament to his talent that I can still uncover layers in his music after all this time.

Desplat is not like James Horner or John Williams, composers who definitely wear their emotions on their sleeves. He’s not someone you would enjoy if you’re expecting his music to immediately jump out at you. In that way, he’s a lot like Thomas Newman, another favorite composer. Frankly, I consider his more subtle approach to film music vastly refreshing in a time where depth is considered secondary to breadth and volume.

Actually, “Destroying the Locket” also seems to contain clever references to Hedwig’s theme; in fact, the entire track is built from it. Or am I hearing things? If that was intentional, I must say it’s a genius incorporation of the theme.

Overall this score didn’t really do it for me, however great cues like Obliviate and Sky Battle give me hope that in the more action-packed second movie Desplat will write something that I can really enjoy. Glad you liked it anyway.

Hi dear James!

I’m Enrico and I usually read your great website.
Nice to see that you wrote so many beautiful things about this installment of HP.
I’m a huge fan od Desplat, I’ve almost everything about him from 2001 to now.

I think that DEATHLY HALLOW – PART I rapresent a milestone in his wonderful firmament and I was impressed to see that you consider PART II better (I found PART II a bit too Hollywood-ish in some ways, think to some action cues).

Anyway, great AD on this HP movie! And I’m much happier to see that he outdone himself with some great adventure stuff such as RISE OF THE GUARDIANS.

See you soon!

Enrico

Subject: A Cinematic and Musical Appraisal of “Harry Potter and the Deathly Hallows – Part 1”.

As a devoted admirer of the Harry Potter franchise, both in its literary and cinematic forms, I have followed this journey with profound anticipation. Alongside The Lord of the Rings, these films represent the pinnacle of my cinematic experience. However, the primary catalyst for my deep appreciation has always been the score, pioneered by the legendary master of film music, John Williams. His first three scores are undeniably masterpieces that will resonate for generations to can come.
While the epic conclusion composed by Alexandre Desplat for The Deathly Hallows Part 2 holds a special place in my heart, I wish to offer my perspective on his inaugural contribution to the series: Part 1. Having studied numerous international reviews regarding this score, I find myself in complete agreement with the prevalent criticism, more so than with any other review I have read regarding this particular score, and it brings me great satisfaction.

It is vital to acknowledge the distinct musical lineage of the franchise, shaped by four remarkable composers: John Williams, Patrick Doyle, Nicholas Hooper, and finally, Alexandre Desplat. The score for Part 1 was, for me, more than just a soundtrack; it was my introduction to Desplat’s artistry. After an extensive study of his entire discography, he has earned my utmost respect and has become one of my most esteemed composers. It felt almost like destiny that this particular film would serve as my gateway to his musical world.

This score represents a pivotal moment in the saga, and I believe its complexity deserves a far more nuanced appreciation than it has often received.

The final Harry Potter instalment has been my cherished favourite for years; I vividly recall that upon my first reading, I found myself composing an internal score, inspired by the very words and the unfolding narrative. Consequently, my anticipation to hear the official soundtrack was immense. To recap, for the first part of the final film, I learned that Alexandre Desplat had taken the musical helm. I had not heard a single note beforehand, as I fundamentally disagree with the practice of listening to a score prior to viewing the film. To me, this is a significant error. I believe it is far superior to experience the film first, allowing the music to breathe soul into the imagery and “guide” the story as intended. Only then, if satisfied, should one acquire the album to appreciate it as a standalone piece. This is the principle I followed with this film. I restrained my eagerness, immersed myself fully in the composer’s work, and absorbed every second. There were moments when it felt as though this music had been written exactly as I had envisioned it in my dreams.

The final installment, in particular, was what I anticipated more than any other film. Therefore, it would be impossible for me not to provide an extensive review, given that I have now researched Alexandre’s music with great analytical depth. Let us begin. (My thanks to this page for providing the opportunity for anyone to voice their opinion without imposing its own. I also ask for the readers’ patience).
First and foremost, and most importantly, this is the first time in a Harry Potter film that the primary setting is not Hogwarts. As the protagonists do not return to school, there is not a single shot of the Castle. It is the first film—as anyone who has read the book will know—where the characters are “on the road,” embarking on a quest to find and destroy Voldemort’s Horcruxes. Consequently, it is a film without a fixed central location; instead, as the plot unfolds, the protagonists become increasingly entangled. They are far from their families, far from those who love and support them, and, most crucially, far from the innocence they possessed in all previous films. It is the first time we witness the protagonists’ vulnerabilities and the true trauma each one carries. Three young teenagers who do not know where they are headed; they have no inkling where their objectives might be hidden and, through the plot, will face greater danger than ever before.

These are fundamental elements for anyone wishing to critique both the film and its score. For a composer, such a narrative provides a profound opportunity and inspiration to imbue the work with substance and soul through music. The only constant the protagonists share is their friendship—though even this is shaken by the hardships they endure. Much like the characters find themselves “on the road,” their emotions are equally adrift, clinging to a hope that will eventually guide their way.
Alexandre Desplat is a composer with a distinct foundational musical language, recognizable to anyone who listens to his albums. The hallmark of his work is how it remains rooted in emotion and soul; yet, what renders it truly magical is his originality. Through various orchestral flourishes, he breathes vitality and colour into the characters and the film as a whole.
Desplat approached the story from its inception and, based on the elements I have mentioned, delivered a musical score that—second only to the final Harry Potter installment—possesses the greatest emotional depth, melancholy, suspense, tension, and sense of adventure. This album is the complete package. Much like the music John Williams composed for the first three films, which aligned perfectly with the narrative and gave the films a tangible presence, this score is so fitting it is difficult to imagine a more suitable accompaniment.

Alexandre Desplat achieved precisely the same feat for Harry Potter and the Deathly Hallows (Parts 1 & 2). I have conducted a meticulous study of all the themes and motifs composed for these films. The first new musical theme we encounter is ‘Obliviate’, which also serves as the score’s Main Theme and is a personal favourite. Alexandre himself has noted that the film could not be anchored by a single, static theme because the trio is constantly on the move, transitioning between diverse locations. Consequently, he crafted themes and motifs for characters that are inextricably linked to specific objects and settings.

I have decided to share this analysis to offer fans and soundtrack enthusiasts a deeper understanding of the score, incorporating insights directly from the composer. It is evident that these themes and motifs are interconnected. To begin, ‘Obliviate’ is the Main Theme of the trio (Harry, Ron, and Hermione). It is a significant misconception to label this as “Hermione’s Theme,” as I have occasionally seen. While it is strongly associated with her during the pivotal moment she casts the ‘Obliviate’ spell to erase her parents’ memories for their protection, the theme broadly symbolises the emotion, sorrow, and resolve of all three protagonists.
If I were to give it an alternative title, it would be the “Loss of Innocence Theme”—a sentiment Desplat himself has expressed. This is precisely why it is introduced at the film’s opening, as the protagonists prepare to leave their homes and take full responsibility for their lives and their destiny.

It is a singular musical theme that imbues the entirety of Part 1 with substance; more importantly, it is a standout piece that holds its own, transportive enough to immerse the listener in the final Harry Potter story with every hearing. The second and equally vital theme introduced by the composer is ‘Voldemort’s Theme’. Its presence during the opening title sequence is hauntingly magnificent; the music captivates the audience, drawing them into this new, darker, and more formidable chapter of the saga. It is a somber motif that defines and anchors the entire film. Alexandre Desplat has crafted a remarkably dynamic piece, marked by his signature originality.

Beyond the two primary themes, there is the ‘Band of Brothers Theme’ (as the composer has named it), which is fresh, powerful, and distinguished by its orchestral sophistication. Furthermore, there are various motifs and themes composed for specific moments, characters, locations, or objects. To list them briefly: ‘Dobby’s Theme’ (prominently featuring the mandolin—a nod, perhaps, to Desplat’s Greek heritage through his mother, of the Ladopoulos family), the ‘Horcruxes Theme’ (a rising, “serpentine” motif), ‘Dumbledore’s Past’ (a melancholic melody steeped in sorrow), and ‘Ron’s Theme’. The latter is a new theme focusing on Ron’s emotional arc and the trio’s dynamic; it is a particularly significant composition, as it was this very theme that inspired director David Yates to re-engage Desplat for the epic finale. It is an incredibly emotive piece that underscores Alexandre’s immense talent for breathing soul and authenticity into these characters, highlighting their humanity despite their magical nature.

This reflects Alexandre’s essence and his Greek heritage. Much like the Greek spirit, his music focuses on humanism and culture rather than merely the supernatural. Alexandre delves into the emotional world of the wizards rather than just their exterior—which is already evident, given it is a story about magic.
Continuing my analysis: the ‘Lovegood Theme’ provides a fresh, original, and “groovy” motif for the Lovegoods, fitting as Luna’s father becomes a key figure for our protagonists in this film. Then there is the ‘Deathly Hallows Theme’, a crucial four-note motif mirroring the film’s title. We hear it clearly when Xenophilius Lovegood sketches the Hallows on paper, and it recurs whenever they are mentioned—dark and shrouded in mystery.

Through his score, Alexandre Desplat breathes life into essential objects and locations as much as the characters themselves. He employs exquisite orchestral flourishes with “Middle Eastern” textures and “African” rhythmic influences. Above all, the film is defined by the protagonists’ moments of emotional despair as they face the unknown. Desplat has composed a masterful score that provides immense depth and substance to the entire narrative. He rebuilt the world of Harry Potter from the ground up with his own distinct signature, without imitating anyone. For this alone, we must congratulate and applaud the composer.
I must also mention the new theme for Harry’s parents in the track ‘Godric’s Hollow Graveyard’. It is an incredibly emotive piece where the piano immerses the listener in the profound grief Harry feels during that pivotal moment at his parents’ graves. Simply exceptional, as is the five-minute track ‘Hermione’s Parents’, which allows us to experience the full emotional weight of the composition on the album.

So much happens within seconds that the composer must remain constantly vigilant, capturing every fleeting emotion through his score. Simply listening to “Hermione’s Parents” illustrates my point; it begins with an exquisite flute melody that transports you through Hermione’s memories, followed by numerous delightful musical surprises.

Let us turn to my favourite element when discussing a soundtrack: the epic sequences. As I have mentioned before, I live for epic music. Here, Alexandre Desplat gathers his full musical prowess and knowledge, elevating the score to incredible heights. A personal highlight—though I consider almost the entire album a highlight—is “Sky Battle.” For nearly four minutes, the London Symphony Orchestra delivers a masterclass in epic scoring, showcasing a powerful side of the composer that remains unknown to many. Most recognize Desplat for his understated, intimate, and lyrical dramatic works—always of the highest quality—such as “The Girl with a Pearl Earring” or “The Painted Veil.”
Yet, in the epic tracks of this Harry Potter soundtrack—such as “Fireplaces Escape,” “Bathilda Bagshot,” “Destroying the Locket,” “Rescuing Hermione,” and “The Elder Wand”—Alexandre provides the grandiosity that such a work deserves. He delivers a masterful, epic album that perfectly befits the scale of the story.

Alexandre Desplat said : “I felt equally comfortable with the epic moments. I thoroughly enjoyed having an orchestra roar and being able to push it as high as I possibly could.” This is exactly what he achieved. There is a deeply moving and mournful motif heard at the beginning of the film when Harry looks at his empty house and his belongings, and again upon the death of Dobby—whom Desplat has cited as his favourite character.

The composer also excels at interconnecting his themes and motifs. ‘Voldemort’s Theme’ simultaneously represents the Death Eaters, his loyal servants. Similarly, the ‘Horcruxes Theme’ occasionally reflects Dolores Umbridge, as she possesses the locket. A choral bonus track on the album, a Christmas song as presented in the film, provides a delightful and lighter mood to the score. Other notable pieces include the track ‘Bellatrix’ and the powerful conclusion of ‘The Elder Wand’, where Voldemort finally claims the wand; through the music, one can feel the composer’s sense of intensity, menace, and resolve.

I believe Alexandre Desplat showcased his finest musical self here. This album is a monumental achievement, and I applaud the magic he delivered, creating one of the best scores I have heard in cinema. Through his originality, soul, and charisma, he harnessed his musical powers to produce an exceptional result, giving this grand work the musical life it deserved.

Most importantly, he respected his craft and his own artistic identity, reaching a pinnacle with the final Harry Potter installment. The Deathly Hallows Part 1 was a successful and vital step for him, as his music encompasses the full spectrum of human emotions and musical genres. As the narrator of the story, Desplat captures every facet of life—both human and supernatural—within this diverse and subversive narrative.

Despite the various critiques I have read, I offer my opinion based purely on my heart, my ears, my love for music, and the composer’s own insights. I rely on my musical intuition, which almost always proves correct. When it comes to scores like Harry Potter (1, 2, 3, 7, cool and The Lord of the Rings, I feel as though I were the one who wrote them. I have researched them so extensively that they serve as a profound inspiration for my music and my life in general.

It was through this album that I first discovered Alexandre Desplat as a composer. Just as the trio finds themselves on the road, uncertain of their destination or what they might encounter, I experienced the film and its music with that same sense of discovery. It remains one of the most subversive entries in the Harry Potter saga, thanks in large part to Alexandre, who truly made the wizarding world his own through his score. May this appraisal serve as a catalyst for more film music enthusiasts to discover the artistry of Alexandre Desplat.”

I hold cinematic music and original soundtracks in the highest regard. Furthermore, I am an independent, self-taught composer established through online platforms in youtube.

Alexandre Desplat is my personal favorite composer—second only, of course, to the maestro John Williams. It is worth noting that Desplat is of Greek maternal descent, with his mother’s maiden name being Ladopoulos. I hold film music in the highest regard; unfortunately, in Greece, it is not yet as widely recognized or popular as it deserves to be. However, in recent years, the genre has seen a significant resurgence, with an increasing number of Greeks developing an appreciation for cinematic scores. I am personally dedicated to cultivating a deeper understanding of film music within my country, as I consider it the most venerable form of musical expression.

For me, the value of film music lies not only in the auditory experience but also in the process of ‘musical observation.’ Since a score is specifically composed for a particular narrative, one must explore and analyze it through the lens of the work it represents. It is a truly magical experience. I find profound joy and inspiration in researching every score with as much analytical depth as possible, aiming to produce a comprehensive musical evaluation.

Please accept my apologies if my review was somewhat exhaustive. Given that several years have passed since the release of these soundtracks, it is certainly not my intention to overshadow the esteemed critiques already established on your site. To be honest, I had intended to elaborate further on certain subtle motifs within the score; however, I believe my assessment of Harry Potter and the Deathly Hallows – Part 1 is sufficiently detailed as it stands.

Stars : *****

Regards. Achilleus.