KINGSMAN: THE GOLDEN CIRCLE
We Need to Talk About Harry
There's no getting around it. Harry Hart is dead. Killed by Richmond Valentine
outside the Kentucky church where Harry had just laid waste to a hundred or so
people in Kingsman: The Secret Service's most celebrated action sequence. And,
just to remove any doubt, he was shot in the head. Fairly definitive.
"I remember feeling sick when Harry died," says Vaughn. "But the way I shot it,
you never saw him die." And it's true - Harry's death scene is shot from a
distance, the audience spared the gory details. Almost as if subconsciously
Vaughn was leaving the door open, even just a crack, for Harry's return.
Which is what happens in Kingsman: The Golden Circle. Harry Hart is back. Vaughn
and Goldman remain tightlipped on the details of Harry's return (all Vaughn will
venture is that Harry has "a cracking headache"), but both are adamant that they
couldn't envisage a sequel without the dapper, debonair gentleman spy. And
certainly not without his reuniting with his protege, Eggsy. "The dynamic
between him and Eggsy is so interesting," says Goldman. "I found it was
incredibly touching in the first movie. And we wanted a story and arc for them
here that was impactful. We've had a lot of fun exploring their relationship and
putting it under pressure."
Vaughn is even more emphatic about the need for Harry's return. "He is the
Kingsman," he says. "The franchise is the two of them. It's extraordinary how
much people loved their relationship in the last movie. The chemistry is there.
I've always loved movies where it's a double act, and they're my double act."
There is one thing about Harry that is immediately noticeable: as hinted at in a
teaser poster that featured a pair of glasses with different lenses, "he's lost
an eye," concedes Vaughn. This afforded the director and costume designer
Arianne Phillips an opportunity to play with Harry's look. While he does don the
classic Kingsman suit at some point in the film, his new spectacles "are a
permanent reminder of it," according to Phillips. "The idea of having a
blocked-out lens was Matthew's brainchild, and really helps remind the audience
that Harry is back, but different. Better than ever."
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