Harry Potter and the Deathly Hallows

Harry Potter and the Deathly Hallows

July 21, 2007

Without the guidance and protection of their professors, Harry (Daniel Radcliffe), Ron (Rupert Grint) and Hermione (Emma Watson) begin a mission to destroy the Horcruxes, the sources of Voldemort's immortality. Though they must rely on one anothe...

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Without the guidance and protection of their professors, Harry (Daniel Radcliffe), Ron (Rupert Grint) and Hermione (Emma Watson) begin a mission to destroy the Horcruxes, the sources of Voldemort's immortality. Though they must rely on one another more than ever, dark forces threaten to tear them apart. Voldemort's Death Eaters have seized control of the Ministry of Magic and Hogwarts, and they are searching for Harry -- even as he and his friends prepare for the ultimate showdown.

Harry Potter and the Deathly Hallows is a fantasy novel written by British author J. K. Rowling and the seventh and final novel of the Harry Potter series. It was released on 21 July 2007 in the United Kingdom by Bloomsbury Publishing, in the United States by Scholastic, and in Canada by Raincoast Books.

Joanne Rowling CH, OBE, HonFRSE, FRCPE, FRSL born 31 July 1965, better known by her pen name J. K. Rowling, is a British author, film producer, television producer, screenwriter, and philanthropist. She is best known for writing the Harry Potter fantasy series, which has won multiple awards and sold more than 500 million copies, becoming the best-selling book series in history. The books are the basis of a popular film series, over which Rowling had overall approval on the scripts and was a producer on the final films. She also writes crime fiction under the name Robert Galbraith.

Awards and honours

Rowling, after receiving an honorary degree from the University of Aberdeen


Rowling has received honorary degrees from St Andrews University, the University of Edinburgh, Edinburgh Napier University, the University of Exeter (which she attended),the University of Aberdeen, and Harvard University, where she spoke at the 2008 commencement ceremony. In 2009 Rowling was made a Chevalier de la Légion d'honneur by French President Nicolas Sarkozy. In 2002, Rowling became an Honorary Fellow of the Royal Society of Edinburgh (HonFRSE) as well a Fellow of the Royal Society of Literature (FRSL). She was furthermore recognized as Fellow of the Royal College of Physicians of Edinburgh (FRCPE) in 2011 for services to Literature and Philanthropy.


Other awards include:


    1997: Nestlé Smarties Book Prize, Gold Award for Harry Potter and the Philosopher's Stone

    1998: Nestlé Smarties Book Prize, Gold Award for Harry Potter and the Chamber of Secrets

    1998: British Children's Book of the Year, winner Harry Potter and the Philosopher's Stone

    1999: Nestlé Smarties Book Prize, Gold Award for Harry Potter and the Prisoner of Azkaban

    1999: National Book Awards Children's Book of the Year, winner Harry Potter and the Chamber of Secrets

    1999: Whitbread Children's Book of the Year, winner Harry Potter and the Prisoner of Azkaban

    2000: British Book Awards, Author of the Year

    2000: Officer of the Order of the British Empire (OBE), for services to Children's Literature

    2000: Locus Award, winner Harry Potter and the Prisoner of Azkaban

    2001: Hugo Award for Best Novel, winner Harry Potter and the Goblet of Fire

    2003: Premio Príncipe de Asturias, Concord

    2003: Bram Stoker Award for Best Work for Young Readers, winner Harry Potter and the Order of the Phoenix

    2006: British Book of the Year, winner for Harry Potter and the Half Blood Prince

    2007: Blue Peter Badge, Gold

    2007: Named Barbara Walters' Most Fascinating Person of the year

    2008: British Book Awards, Outstanding Achievement

    2008: The Edinburgh Award

    2010: Hans Christian Andersen Literature Award, inaugural award winner.

    2011: British Academy Film Awards, Outstanding British Contribution to Cinema for the Harry Potter film series, shared with David Heyman, cast and crew.

    2012: Freedom of the City of London

    2012: Rowling was among the British cultural icons selected by artist Sir Peter Blake to appear in a new version of his most famous artwork – the Beatles' Sgt. Pepper's Lonely Hearts Club Band album cover – to celebrate the British cultural figures of his life.

    2017: Member of the Order of the Companions of Honour (CH) at the 2017 Birthday Honours for services to literature and philanthropy.

    2019: For their first match of March 2019, the women of the United States women's national soccer team each wore a jersey with the name of a woman they were honoring on the back; Rose Lavelle chose the name of Rowling.


The novel chronicles the events directly following Harry Potter and the Half-Blood Prince (2005) and the final confrontation between the wizards Harry Potter and Lord Voldemort.


Deathly Hallows shattered sales records upon release, surpassing marks set by previous titles of the Harry Potter series. It holds the Guinness World Record for most novels sold within 24 hours of release, with 8.3 million sold in the US and 2.65 million in the UK. Generally well received by critics, the book won the 2008 Colorado Blue Spruce Book Award, and the American Library Association named it a "Best Book for Young Adults." A film adaptation of the novel was released in two parts: Harry Potter and the Deathly Hallows – Part 1 in November 2010 and Part 2 in July 2011.



Main articles: Harry Potter and the Deathly Hallows – Part 1 and Harry Potter and the Deathly Hallows – Part 2


A two-part film adaptation of Harry Potter and the Deathly Hallows is directed by David Yates, written by Steve Kloves and produced by David Heyman, David Barron and J. K. Rowling. Part 1 was released on 19 November 2010, and Part 2 on 15 July 2011. Filming began in February

 2009, and ended on 12 June 2010. However, the cast confirmed they would reshoot the epilogue scene as they only had two days to shoot the original.Reshoots officially ended around December

  1. Part 1 ended at Chapter 24 of the book, when Voldemort regained the Elder Wand. However, there were a few omissions, such as the appearances of Dean Thomas and Viktor Krum, and Peter Pettigrew's death. James Bernadelli of Reelviews said that the script stuck closest to the text since Harry Potter and the Chamber of Secrets, yet this was met with negativity from some audiences as the film inherited "the book's own problems".



Harry Potter and the Deathly Hallows was released simultaneously on 21 July 2007, in both the UK and the United States. The UK edition features the voice of Stephen Fry and runs about 24 hours while the US edition features the voice of Jim Dale and runs about 21 hours. Both Fry and Dale recorded 146 different and distinguishable character voices, and was the most recorded by an individual on an audiobook at the time.


For his work on Deathly Hallows, Dale won the 2008 Grammy Award for the Best Spoken Word Album for Children. He also was awarded an Earphone Award by AudioFile, who claimed, "Dale has raised the bar on audiobook interpretation so high it's hard to imagine any narrator vaulting over it."

Video games


Two action-adventure video games were produced by Electronic Arts to coincide with the release of the film adaptations, as with each of the previous Harry Potter films. Part 1 was released on 16 November 2010, and Part 2 on 12 July 2011. Both games received a mixed to negative reaction from critics.

The Tales of Beedle the Bard

Main article: The Tales of Beedle the Bard


On 4 December 2008, Rowling released The Tales of Beedle the Bard both in the UK and US. The Tales of Beedle the Bard is a spin-off of Deathly Hallows and contains fairy tales that are told to children in the "Wizarding World". The book includes five short stories, including "The Tale of the Three Brothers" which is the story of the Deathly Hallows.


Amazon.com released an exclusive collector's edition of the book which is a replica of the book that Amazon.com purchased at auction in December 2007. Seven copies were auctioned off in London by Sotheby's. Each was illustrated and handwritten by Rowling and is 157 pages. It was bound in brown Moroccan leather and embellished with five hand-chased hallmarked sterling silver ornaments and mounted moonstones.





Catherine Bennett


There are still one or two questions left unanswered at the end of Harry Potter's last adventure. It cannot be giving anything away to reveal that we never discover how Eloise Midgen can be a martyr to acne at Hogwarts, a place where bones can be grown back and complex orthodontics effected with the wave of a wand.


With JK Rowling it has generally been niggling little questions of internal logic that give the reader pause, rather than the mysteries of her grander scheme in which that prime specimen of embodied evil, Lord Voldemort, slowly acquires the power he needs to defeat Harry Potter, his only adequately qualified adversary. By book seven, if you are familiar with Rowling's vast, ever-expanding parallel universe, it seems only to be expected that this wizarding terrorist should, by now, be close to completing a fascist-style takeover of the UK (both material and magical sections), in the course of which non-wizards and half-wizards are being rounded up for questioning by "pure bloods" and sent off - if they survive their show trials - to a wizard-run concentration camp. Now that the 17-year-old Harry has abandoned school for his dreadful, extramural quest, only he can determine whether the lights will go out all over the democratic wizarding world.


To anyone unacquainted with the epic so far, the latest tale will be incomprehensible. In earlier volumes, Rowling made heroic efforts to initiate new readers, but since this process would now require, at a minimum, a glossary, rule book and catalogue of magical objects, she seems to have given up the task as hopeless. But some regular readers may also be disconcerted by a tranche of Hogwarts in which there is neither Quidditch nor lessons. All the familiar Harry scenes have gone missing, from the inaugural, always comforting comedy inside No 4 Privet Drive and the annual bullying bout on the Hogwarts Express, to Mrs Weasley's Christmas jumpers and - more mercifully - Hagrid's inevitable adoption of some tiresome magical creature whose assistance will later prove critical. There was a time when you could set your clock by it.


To go into detail about the questing and battles that have replaced the usual timetable would probably be unfair: even a week after publication there may still be one or two children as innocent of Harry's fate as the American crowds who gathered at the New York harbourfront in 1841 to ask disembarking passengers from England, "Is Little Nell dead?" But only Quidditch fans could complain about the outcome: Rowling has woven together clues, hints and characters from previous books into a prodigiously rewarding, suspenseful conclusion in which all the important questions, including the true nature of Severus Snape, the fates of Crabbe and Goyle, and the presence of the dark wizard Grindelwald on a Chocolate Frog card in book one, are punctiliously resolved.


The author was surely right, on the eve of publication, to implore journalists not to spoil the surprise for a generation who have enjoyed something unique in children's literature (where the characters tend to stay the same age, like William Brown, or, if they do mature, to do so as hobbits, Romans or Aslan worshippers): a chance to grow up, in real time, with their heroes. But Rowling was duly accused of colluding with a ruthless marketing operation, which led to 2m copies of her book being sold within 24 hours of publication.


Although her sales techniques do contrast sharply with arrangements in Harry Potter's Nintendo-free world, it is curious that Rowling should be so harshly judged for her engagement with the book trade. Didn't most eminent Victorian novelists fight just as greedily for their profits, become, in several cases, international celebrities, and see their better cliffhangers and denouements stimulate the nation into moments of collective delirium?


But as her critics point out, Rowling is no Dickens. That the welfare of Harry Potter should, each year, become a question of national importance has only deepened a suspicion, in some quarters, that Rowling's writing is not merely mediocre but contaminated by her participation in a crass celebrity culture. In 2000, Harold Bloom despaired for her readers. "In an arbitrarily chosen single page page 4 - of the first Harry Potter book", he objected, "I count seven clichés, all of the 'stretch his legs' variety".


If his computations had continued, Professor Bloom's cliché tally might by now have run into the thousands; the books have got so long and Rowling's style has remained unsophisticated, with an irrepressible tendency to show and tell. You feel that simply by cutting intra-paragraph repetition and the number of times she describes an angry Harry saying something angry angrily, Rowling and her editors might have saved 10,000 trees.


But colossal energy and wit have gone into other things: writing at speed, almost before her readers' eyes, Rowling has willed into fictional being, in every book, legions of new characters, places, spells, rules and scores of unimagined twists and subplots. This is altogether a towering fictional edifice whose vividness and sheer scale are enough to compensate, for many of us, for any deficiencies in design. Anyone who, as a child, never wanted a favourite book to end, must envy the Potter cohort a magical world that has grown by hundreds of pages a year; a world whose arrangements Rowling has depicted in such sublime, almost manically generous detail, that for 10 years her readers could more or less live inside it.


Equally enchanting for younger readers, Rowling appears genuinely to like and respect children, to cherish them, almost, for their moods, faltering courtships, naive political ideas, mistrust of adults and, in the new book, a vocabulary that includes the word "toerag". Only her teenagers can save their parents' generation from Voldemart's schemes for a master-race - in itself the consequence of the older wizards' conceit and their cruelty to supposedly inferior beings, the gnomes and house-elves. As well as saving adults, Harry the freedom fighter subjects them to homilies, in which he urges remorse, courage, good parenting: "Parents", Harry tells an errant father, "shouldn't leave their kids unless - unless they've got to."


His, then, is a most instructive mission that might be as nauseating as anything in Heidi, were Rowling not free with deflating asides from various members of the Weasley family. "Overkill, mate", remarks Ron, just as Harry's bonding session with a mistreated elf teeters on the brink of mawk.


It is a key element in Rowling's own myth that she plotted the entire Potter series before she started, and on its completion, you can see that the protagonists, the principal families and their allegiances, the design of Hogwarts public school, and the grand plan for a final confrontation between goodness and badness were, as alleged, always in place. But since book three there has been more and more evidence of (occasionally helpless) ad hoc-ery. Everything must have changed once it became clear to Rowling and her publishers that her readers - adults as well as children - would gobble up as much Potter as she could bear to produce. Hence such things as the tri-wizard tournament and an excursion to Downing Street to meet a Muggle prime minister whose original has also disappeared without trace. Even the newly arrived Hallows, some nifty plot accessories that allow for all kinds of crises, personal challenges and protracted revelations, point at a desperate struggle, once Rowling had arrived at the middle of the last book, to hold off the final act.


By itself, the cheeky Hogwarts motto (Draco dormiens nunquam titillandus) that ornamented the title page of The Philosopher's Stone is enough to suggest that Rowling did not, back in 1997, plan to end her series with a protracted meditation on death, prefaced by a few lines from Aeschylus: "Oh, the torment bred in the race, the grinding scream of death." The Potterati, scanning the text for learned allusions (and there are plenty, from Dante and Orwell to Jesus Christ and Tinky Winky), may well see in its genocidal, dystopic shadows the intrusion of a real world that became, not long after Harry Potter arrived in it, a far more frightening place. But the book's resounding melancholy may derive from something simpler. Whatever happens in the last of these brilliant adventures may matter less, for the millions of children who grew up with Harry Potter, than the end of his companionship and with it, the end of their childhood. Which is a much more wholesome story than Peter Pan's, but sad, all the same.

Reading age: 12 and up.


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