I rewatched the film Harry Potter and the Philosopher’s Stone, the first film of the saga and, once again, confirmed how exceptional it is. In fact, it is one of those films that, without exaggeration, could support an entire course on narrative and audiovisual language using only this universe as a foundation.
From the very first minute, the film demonstrates technical mastery and narrative sensitivity. For this reason, even after countless revisits, its impact remains.
Screenplay and Direction
Chris Columbus directs the first film of the saga. He was already known for his work with family and youth-oriented films, with Home Alone being his most iconic work—a landmark for those who grew up in the 1990s, like myself.
Precisely for that reason, Columbus’s selection proves strategic. The film involved nearly 300 children on set, which required a director accustomed to working with young actors, guiding performances with patience, and maintaining a controlled environment. In this regard, Columbus delivers exactly what the project needed.
Moreover, his direction prioritizes narrative clarity and emotional accessibility—something essential when introducing such a complex universe without alienating the audience.
Narrative Structure
The film runs for 2 hours and 32 minutes, distributed in a well-balanced way. We can divide the narrative into three major blocks:
- First hour: introduction to the magical world
- Second hour: development of the adventure and central conflict
- Final 30 minutes: action, confrontation, and resolution
At first glance, this structure may seem long. However, since the universe created by J. K. Rowling is extremely rich, time flows smoothly. In this way, the audience absorbs information, characters, and world rules without fatigue.
Although it would be possible to analyze the film scene by scene, I chose to highlight three key scenes—one from each act. This allows me to illustrate how the screenplay is structured and how the narrative evolves cohesively.
Before that, it’s worth clarifying that I use the term “scene” here in its dramatic sense—that is, as a unit of narrative transformation, not merely a technical segment of filming.
Scene 1 — “Honey, I’m home”
The quality of a screenplay is largely revealed through the relationship between its first and last scenes. The protagonist must undergo a clear internal transformation between these two points.
Right at the beginning of Harry Potter and the Philosopher’s Stone, the opening scene fulfills two central purposes: presenting the magical universe and establishing the protagonist’s dilemma.
Albus Dumbledore arrives on the street of Harry’s relatives at night. He then uses a device that turns off the streetlights one by one. This simple yet prolonged gesture immediately communicates that something extraordinary is about to happen.
Here, the direction chooses slowness. The audience needs to acclimate. While fans of the books manage their accumulated anticipation, new viewers gradually absorb the rules of this new world.
Next, Minerva McGonagall transforms from a cat into a human, and Rubeus Hagrid arrives on a flying motorcycle carrying baby Harry Potter. With this, the film solidifies its fantastical universe.
Soon after, the focus shifts to drama: Harry appears as an orphaned baby, destined for something great, yet condemned to grow up in a hostile environment. Finally, the close-up of the lightning-shaped scar closes the scene, fixing the central symbol of the saga.
Scene 2 — The punishment
The final scene of the film’s second hour marks a crucial turning point. It is at this moment that the main adventure is definitively established.
Throughout the second act, the screenplay gradually builds tension. Small clues emerge until the protagonists discover the existence of the Philosopher’s Stone and realize the risk Hogwarts faces. After leaving their dormitories at night, they receive a severe punishment.
The punishment consists of a nighttime patrol in the Forbidden Forest. Before that, the caretaker mentions older, much harsher punishments. With this line, the screenplay establishes a parameter of danger. Entering the forest no longer feels trivial.
At Hagrid’s Hut, the film introduces the dragon hatchling. Here, it’s important to note that this subplot shows some weaknesses and stands as one of the less solid points of the screenplay.
Still, the narrative moves forward. The group enters the forest and finds the blood of a unicorn, a creature associated with purity. Then, the group splits up, allowing further development of Draco Malfoy, revealing his cowardice and arrogance.
When Harry finds the dead unicorn, a hooded figure appears. His scar hurts again. Malfoy runs away. Harry falls. The danger becomes real, and the atmosphere tightens.
At that moment, a centaur appears and reveals the truth: Lord Voldemort still exists—weak, dependent on unicorn blood, and obsessed with the Philosopher’s Stone. From that point on, the final tension is firmly established.
Scene 3 — Final climax
After two hours immersed in the magical world, the decisive confrontation takes place.
Harry faces Professor Quirrell, revealed as the film’s true antagonist. Hermione Granger and Ron Weasley are left behind, reinforcing the hero’s isolation at this crucial moment.
At the center of the room stands the Mirror of Erised, capable of revealing one’s deepest desires. The Stone appears in Harry’s pocket because he does not wish to use it for himself. This detail sustains the entire symbolic logic of the scene.
Soon after, Voldemort reveals himself, parasitizing Quirrell’s body. He attempts to manipulate Harry, but fails. The physical confrontation begins, and Harry discovers that his touch destroys the professor’s body.
Finally, Voldemort flees, and Harry faints.
In the following scenes, Dumbledore explains that the protection comes from his mother’s sacrificial love. Thus, the boy who began the film as an orphan ends it protected by a bond that transcends death.
Final considerations
Therefore, Harry Potter and the Philosopher’s Stone not only introduces a fantastical universe but also establishes a clear, coherent, and accessible emotional journey.
Consequently, the film remains relevant not only as entertainment, but also as high-level material for studying narrative and audiovisual language.
