Rowling’s eagerly-awaited seventh book, Harry Potter and the Deathly Hallows, was released in July 2007 and broke a myriad of records for book sales.
Of course, us Potter fans know The Deathly Hollows Part 2 will call for some bigger and brasher sounds, with its much more action-heavy scenarios.The conclusion of the Harry Potter saga is as much of a cinematic event as it was a literary one when J.K.
Desplat's melancholy themes, while not always as hummable as Williams', are exactly right for this film and story. On one hand, it's a bit sad to not hear the wonderful Potter theme much, yet on the other hand, this is, after all, a somber story. The famous themes of John Williams are barely used here – there are tiny traces of "Hedwig's Theme" in three of the earlier tracks, but for the most part, Desplat concentrates on his own, original themes. And "Farewell to…" (I'm censoring the spoiler-filled name) track captures the sense of loss that accompanies a surprisingly impactful death in the film. Other highlights include "Lovegood," a track which, unfortunately, is barely heard in the film, but perfectly captures the eccentric, off-kilter feel of the family for which the track is named, without going too far into a silly or overdone sound. The second track, " Snape to Malfoy Manor" introduces a refrain that will also be heard in the track called "Death Eaters," which acts as a sort of theme for those villainous characters and is very evocative and stirring. Desplat's score starts off extremely strong with "Obliviate," which immediately sets the scene for a sad, mournful story – which is entirely appropriate, given the content of The Deathly Hallows Part 1.
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