When David Yates stepped back onto a film set in 2015 to direct Fantastic Beasts and Where to Find Them, he wasn't just making another wizard movie. He was trying to catch lightning in a bottle twice. Honestly, it shouldn't have worked. We were years removed from the high-stakes drama of Harry, Ron, and Hermione. People were skeptical. Yet, when Eddie Redmayne first shuffled onto that 1926 New York pier with his battered suitcase, something clicked. It felt like coming home, but the furniture had been rearranged in a way that actually made sense.
The movie isn't just a prequel. It’s a period piece that happens to have dragons.
The Newt Scamander Problem: Why He’s Not Your Average Hero
Most blockbusters want their lead to be a "Chosen One." You know the type. They're loud, they're brave, and they usually end up punching a god in the face. Newt Scamander is... well, he’s basically the opposite of that. He’s awkward. He won't look you in the eye. He'd much rather talk to a giant invisible bird than a human woman.
Katherine Waterston’s Tina Goldstein is the perfect foil because she’s trying to follow rules that Newt doesn't even bother to acknowledge. They aren't "falling in love" in that choreographed Hollywood way. It’s messy. It’s weird. It’s human.
What really anchors the film Fantastic Beasts and Where to Find Them is the relationship between Jacob Kowalski and Queenie Goldstein. Dan Fogler played Jacob with this incredible, wide-eyed sincerity that represents the audience. When he sees a Niffler for the first time, he isn't just shocked; he’s delighted. That’s the secret sauce. The movie treats magic as a source of wonder again, rather than just a weapon used in a war.
A Different Kind of Wizarding World
The United States setting was a massive gamble. We spent a decade in a drafty Scottish castle, so moving to Jazz Age New York felt risky. The MACUSA (Magical Congress of the United States of America) wasn't just "American Hogwarts." It was darker. It was more bureaucratic. It reflected the real-world tensions of the 1920s—segregation, fear of the "other," and a rigid legal system that felt genuinely dangerous.
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Think about the death cell scene. It’s one of the most haunting visuals in the entire franchise. No wands. No flashy explosions. Just a chair and a pool of memories. It’s chilling because it feels institutionalized.
Breaking Down the Beasts: More Than Just CGI
The titular creatures in Fantastic Beasts and Where to Find Them aren't just there to sell toys, though they certainly did that. Each creature serves a specific narrative purpose.
- The Niffler: This little guy is the catalyst for the entire plot. If he hadn't escaped in the bank, Newt and Jacob never would have swapped suitcases.
- The Erumpent: That scene in Central Park? It’s pure slapstick, but it shows Newt’s expertise. He isn't a warrior; he’s a naturalist.
- The Thunderbird (Frank): This is the emotional core. Newt’s entire journey is about getting Frank back to Arizona. It’s a conservation story disguised as an adventure.
Critics like Peter Travers often pointed out that the movie’s biggest strength was its tactile feel. Even though there's a ton of CGI, the textures of the beasts—the feathers, the scales, the weird glow of the Occamy—felt grounded in Newt’s world. It didn't feel like a green-screen nightmare.
Why the "Fantastic Beasts" Magic Faded Later On
It’s impossible to talk about the first film without acknowledging where the series went next. Fantastic Beasts and Where to Find Them worked because it was contained. It was a whimsical hunt for escaped animals with a dark subplot about an Obscurus.
Then came The Crimes of Grindelwald and The Secrets of Dumbledore.
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Suddenly, the beasts didn't matter anymore. The story shifted toward a convoluted geopolitical wizard war. Fans were confused. The focus on Credence Barebone (Ezra Miller) became so heavy that Newt felt like a supporting character in his own franchise. If you go back and watch the first one today, you’ll notice how much more "breathable" it is. There’s room for a scene where a giant rhinoceros-thing chases a baker through a zoo. We lost that later on.
The Obscurus and the Theme of Repression
Let's get serious for a second. The concept of the Obscurus is probably the most sophisticated bit of lore added to this universe. It’s a metaphor for repressed identity. Credence isn't a villain; he’s a victim of a society that told him he was broken. Samantha Morton’s performance as Mary Lou Barebone is genuinely terrifying because she represents a very real kind of human cruelty.
It’s a stark contrast. On one side, you have Newt, who nurtures and protects life. On the other, you have the No-Maj world (and MACUSA), which seeks to suppress and destroy anything they don't understand.
Technical Mastery: Costumes and Soundscapes
Colleen Atwood won an Oscar for the costumes in this movie, and she earned every bit of it. Newt’s blue coat isn't just blue; it’s a specific peacock shade that stands out against the sepia tones of 1920s New York. Every extra on the street looks like they walked out of a history book.
James Newton Howard’s score also deserves a shout-out. He didn't just lean on "Hedwig’s Theme." He created something jazzier, more frantic, and ultimately more melancholic.
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What You Should Actually Do Now
If you’re planning a rewatch or diving in for the first time, don't treat it like a prequel to Harry Potter. Treat it like its own thing.
Watch the background details.
The production design by Stuart Craig is legendary. Look at the newspapers, the magical advertisements in the subway, and the way the wizarding world integrates into the No-Maj architecture. There is a layer of world-building here that many modern movies skip over in favor of faster pacing.
Pay attention to the Niffler. Seriously. It’s a masterclass in character animation. You can tell exactly what that creature is thinking without a single line of dialogue.
Recognize the stakes. The ending of the film is actually quite tragic. Jacob has to lose his memories. Even though there's a "wink" at the end, the weight of that sacrifice is heavy. It grounds the magic in a reality where actions have consequences.
For those looking for more lore, the original textbook by Newt Scamander (the one J.K. Rowling wrote for charity years ago) is a fun companion piece, but the movie does the heavy lifting of making those entries come to life.
Ultimately, Fantastic Beasts and Where to Find Them remains the high point of the spin-off era. It caught a specific vibe—a mix of 1920s optimism and magical dread—that the subsequent films couldn't quite replicate. It reminded us that the wizarding world is much bigger than just one boy with a lightning scar. It’s a world of outcasts, collectors, and people just trying to find where they belong, suitcase in hand.