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The live-action adaptation of “Peter Pan & Wendy” is essentially what you would expect from one of Walt Disney’s timeless animated films, of which there are now many. A sizable portion of the audience will see this movie anticipating to see live-action recreations of scenes from the 1950 Disney animated classic simply titled “Peter Pan.” In terms of nostalgic familiarity, co-writer and director David Lowery doesn’t fall short, though some viewers (like this one) would have wished that he had pushed harder against it. There have been numerous Peter Pan remakes, reboots, and rethinks, but none that completely alter or dissect the narrative—not even Steven Spielberg’s “Hook,” which eventually returns to the phrase “Never lose touch with your inner child.”
Beginning with a play session featuring swashbuckling sword fights between Wendy Darling (Ever Anderson) and her young brothers John (Joshua Pickering) and Michael (Jacobi June), the story then features some sweet interactions between the kids and their parents (Molly Parker and Alan Tudyk). Soon soon, Tinkerbell the miniature fairy (Yara Shahidi of “Black-ish” and “Grown-ish”) and Peter Pan (Alexander Molony) arrive from another world. Through a wormhole not far from the legendary Second Star on the Right, they are transported to Neverland. The Native American princess Tiger Lily (Alyssa Wapanatahk, a member of the Bigstone Cree Nation), who was a pawn-prize stereotype in the Disney cartoon but gets an action-heroine makeover here, literally rides to the rescue on numerous occasions, and the Lost Boys (apparently modelled on the Benneton catalog urchins in “Hook”) are also encountered and gotten to know on the other side.
Captain Hook, Pan’s archenemy, is portrayed by Jude Law, who is entering his “I’m just here to have a good time!” character acting phase. Law portrays the character as less of a terrifying antagonist and more of a neurotic comic figure with Personal Issues (although young viewers may still want to hide under furniture when he orders the Darling kids killed). Hook has been given a little of the Magua or Killmonger villain-as-anti-hero treatment by Lowery, which involves making the character’s Bad Guy Origin Story so relatable that he appears more sympathetic than repulsive. Jim Gaffigan, who is quickly establishing himself as a John Goodman-caliber supporting actor, portrays Hook’s sidekick Smee as an emotionally battered, irate underling. Although he is a schlump with flaws, Smee is stressed out primarily because of having to appease a boss who believes that the best way to improve low morale is to fire more employees. The Peter and Tinkerbell relationship has also undergone some revision. It’s obvious that she is in charge of the pair, occasionally appearing to give him psychic orders or, at the very least, implanting instructions or tasks in his mind in a way that gives the impression that he is acting independently.
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Little can be said against the filmmaking, which ranges from calendar-art handsome to genuinely inspired (although there is a significant issue with one aspect of the lighting/color grading; see below). Every performance in this movie is good, sometimes even better than good. With visions of dreamy eeriness and a gratifying exit for Law that fits this iteration of Hook, the action-packed finale serves as both therapy for the main characters and a climactic scene. However, there’s a sense of missed opportunity throughout the whole thing, and occasionally you wonder if Lowery and his co-writer Toby Halbrooks wanted to go deeper than Disney’s copyright-tending, merchandise-selling executives would have permitted. Tinkerbell is a tiny, mute woman who essentially can’t accomplish anything unless she employs a charismatic youngster who refuses to grow up as her instrument, which makes for a very subversive “Peter Pan” parody.
Peter Pan And Wendy Quiz
The Peter Pan film by Lowery replicates well-known moments and bits of scenery and costuming, in ways that scratch the audience’s “just give me what I already know I wanted” itch, similar to Disney’s recent CGI-heavy “live-action” remakes of their traditional animation back-catalog favorites—”The Jungle Book,” “Beauty and the Beast,” “The Lion King,” and so on. In contrast to what his “Pete’s Dragon” done, it does not undermine or recreate its direct corporate precursor. It also differs greatly from films like “The Green Knight,” which, by the standards of mainstream cinema, were radical in their use of a certain amount of art-house druggy mysticism and prompted spectators to debate the significance of certain scenes and visuals.
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With its bedtime story morals and conclusions, young children will certainly appreciate this one. But it should also be noted that nighttime scenes on my consumer-grade (but professionally calibrated) TV set were so dark and hazy that, without the dialogue track (and subtitles), it would have been difficult to understand what was even happening. The first sight of Neverland at night is a coffee-filled snow globe. In the streaming era, this has been an issue with many special effects-driven blockbuster movies, including the final season of “Game of Thrones,” and at a certain point, I don’t think “You need a more expensive television” or “the problem is low bandwidth” is an acceptable response. However, I digress.
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Lowery began directing features with independent dramas about plausible real-life characters, such as “St. Nick” and “Ain’t Them Bodies Saints,” and he has continued to make movies in this style (including the hilarious “The Old Man and the Gun”). But he has also established himself as a re-interpreter of myths and fairy tales. Some of them are based on pre-existing corporate IP (Intellectual Property) that already has a multigenerational audience, like this film and “Pete’s Dragon,” and he also produced another that is based on real mythology, “The Green Knight.” His interpretation of “Peter Pan” is the least of this trio, hinting at turning the Peter Pan tale upside down and shaking it until every last piece of untapped subtext comes out but never actually doing so. The conclusion of “Peter Pan & Wendy” is that “everybody misses their mother,” which is a feeling that is true for the majority of people but is a thin reed to hang such a massive film on, especially one with additional issues.
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For more personality quizzes check this: Breeding Difficulty Quiz.
