Didn't you say that we would lose money after filming?

The online discussion was in an uproar.

Without exception, almost 90% of the audience gave it positive reviews, and the film's reputation reached an extreme.

Of course, it wasn't just ordinary viewers; as the box office soared, professional film critics also flocked to the scene.

After all, Xia Yuan's movies now mean viewership and opportunities.

Even the most professional film critics wouldn't allow themselves to miss this opportunity.

Consequently, various professional film and television journals began to publish reviews and analyses of Xia Yuan's film.

It can be said that the appearance of "Harry Potter and the Philosopher's Stone" completely triggered a wave of magic craze.

Especially after Time magazine published a film review by legendary filmmaker Albert Roberts, it truly took everyone by surprise.

I watched a movie review: [About Magic, Courage, and Immortality: The Timeless Revelation of Harry Potter and the Sorcerer's Stone]

"This is a work that combines a novel and a film."

An owl carrying a letter of acceptance burst through the Dursleys' door, opening a door to the magical world for all to see.

As the opening work of the "Harry Potter" legend, "Harry Potter and the Philosopher's Stone" has constructed a fantasy universe that has captivated audiences worldwide to this day with its astonishing artistic integrity.

Although there is only one novel and one film at the moment, and many details are hard to glimpse, this does not prevent it from leaving too many mysteries for the audience, and it is enough to be called the prototype of a long epic.

It's hard to imagine that before I went to see the movie after reading the novel, this was the first time I had ever been so excited about a film. After so many years working in the film and television industry, I had almost forgotten how long ago it was before I became interested in movies.

However, as it turns out, my expectations were correct.

As the camera pans across the castle's spire and the floating candles, and Hagrid says, "You're a wizard, Harry," one of the greatest dream-making projects in film history begins.

First of all, I believe this is a narrative innovation in special effects art.

It is of epoch-making significance.

Unlike contemporary fantasy films that focus on piling up visual spectacles, this film creatively integrates magic into the narrative: the "cat turns into a witch" scene in the opening ten seconds instantly anchors the tone of the magical world through the hidden connection between cats and witchcraft in Western culture.

In the scene where the wand chooses the wizard, the cool tones of the first two wands, which create chaos, contrast sharply with the warm orange glow of the third wand, silently illustrating the core concept of "the wand choosing the wizard." When Harry rides the Nimbus 2000 and soars into the sky, the dynamic aerial shots of the Quidditch arena revolutionized audiences' imaginations of flight scenes at the time—the actors were actually performing on fixed props, and post-production special effects gave them a sense of realism as they soared. The trajectory of the Golden Snitch and the collision of the bouncing balls created a precisely calculated aesthetic of motion.

These special effects never overshadowed the main theme; rather, like the silverware in Dumbledore's office, they silently served the grander subject: how courage is forged in darkness.

The character arc of Harry Potter is the perfect vehicle for this theme.

From an orphan in the cupboard to a hero of Gryffindor, his growth did not depend on magical talent—he never even cast a spell in the entire film—but was rooted in three key choices: releasing the python in the zoo was an instinctive resistance against oppression, rushing into the Chamber of Trolls was a vow to protect friendship to the death, and finally reaching out to burn Voldemort was a steadfast defense of justice.

Xia Yuan uses the Mirror of Erised to embed a philosophical metaphor: "Mirrors cannot provide true knowledge or truth; humans always waste their time in the mirror, even going mad. One cannot live in a dream, nor should one abandon life in reliance on dreams." This mirror, reflecting inner desires, is in fact the ultimate dividing line between Harry and Voldemort: the former embraces the responsibility of reality, while the latter indulges in the illusion of immortality.

The film's celebration of collective values ​​is also worth telling.

Through the interactions of the trio, a web of emotions is woven. Hermione reveals her academic prowess with the "Restore" spell, while Ron is crowned with loyalty when he shouts "The one who should be there is not me, but you" at the giant wizard chess game.

What's even more moving is the portrayal of non-blood-related kinship: Hagrid gives Harry not only a birthday cake and a university acceptance letter, but also the rebuilding of dignity shattered by the Dursleys. When this giant, holding a pink umbrella, knocks open the rocky cottage, he becomes a guiding star in Harry's emotional universe—"not a father, but more than a father." This emotional power is elevated to the ultimate weapon in the fight against Voldemort—Lily's bloodline protection, sealed with her life, foreshadows the core theme of the entire series: love is the highest magic.

The deep cultural codes in "The Philosopher's Stone" subtly reveal the last vestiges of British tradition.

The shield-shaped coat of arms and animal totems of the four houses of Hogwarts embody the legacy of medieval chivalry: the lion of Gryffindor symbolizes bravery, and the raven of Ravenclaw represents wisdom. These designs are imbued with the ancient British aristocracy's belief in honor and responsibility.

Nicolas Flamel's decision to destroy the Stone of Immortality reveals Xia Yuan's poetic interpretation of death—when the six-hundred-year-old alchemist calmly faces Death, he forms an intertextual connection with the third brother in "The Tale of the Three Brothers": "He departs happily with Death as an equal." This composed attitude towards death is the opposite of Voldemort's obsession with immortality: fear makes the Dark Lord grovel at the hem of Death's robe, while those who face death with equanimity ultimately gain true freedom.

The little wizard running through the castle's long corridors, his flowing black robes carrying the weight of time.

We finally understand Dumbledore's warning when gazing into the Mirror of Erised: those who indulge in dreams become Voldemort, while those who embrace reality become Harry Potter. When John Williams' "Hedwig Theme" plays again at the end of the film, it's not just the prelude to the magical world, but also an eternal question for every viewer—when a troll from the real world looms before you, will you choose to be a dreamer before the mirror, or a Gryffindor wielding a wand?
Before the Mirror of Erised, Dumbledore's white beard cascaded like a waterfall of thought, his whispers piercing through twenty years of time to strike this moment:

"Only the happiest people in the world can see their true selves."

It turns out that a soul that confronts its imperfections is the magic stone to immortality.

Secondly, there's Xia Yuan's use of light and shadow, and his cinematic language. He uses montage to depict the differences in the growth processes of the characters.

He cleverly adjusted the lighting to 4/85, making the overall tone of the film bright yet adding a touch of the unreal world of magic, a magical hazy feeling that doesn't feel like the picture quality is unclear.

Perhaps it can bring a dreamlike feeling to people. (End of this chapter)