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Peter Pan (2003) Director: P.J. Hogan 
review by Amy Harlib Australian-born director P.J. Hogan, noted for his contemporary comedies (My Best Friend's Wedding and Unconditional Love, among others), tries his hand at fantasy to great success, bringing a character-driven sensibility to a refreshing live-action version of the classic story Peter Pan. Hogan's co-scripted (with Michael Goldberg) adaptation of J.M. Barrie's Edwardian opus - highly successful and beloved in book form and as a stage play first produced in 1924 - comes closer to the original source material than nearly any other of the numerous theatrical and cinematic interpretations, especially the well-known musicals and the 1953 Disney animation (also a musical). Taking advantage of the latest CGI technology, Hogan uses it to make the fantastic elements of the beloved story of the boy who never grew up, dazzlingly believable. This most recent and Barrie-esque Peter Pan, begins in Edwardian London and focuses on three pre-adolescent, lively and bright siblings, offspring of a well-to-do, mild-mannered banker, Mr Darling (Jason Isaacs) and his devoted wife (Olivia Williams). These children: Wendy (an amazing debut by 13-year-old Rachel Hurd-Wood) and her younger brothers John (Harry Newell) and Michael (Freddie Popplewell), love to boisterously romp and play 'let's pretend' games about being pirates or American Indians, activity followed by the boys enjoyment of Wendy's storytelling in which she embellishes familiar fairy tales. Wendy, rapidly maturing, begins to get pressured to grow up by a newly invented character created for this film and who fits seamlessly into the narrative - a certain Aunt Millicent (Lynn Redgrave), an elegant dowager planning to transform Wendy into a refined and proper young woman worthy of note in society. Life takes an unexpected turn when the eponymous flying boy (another remarkable debut performance by 14-year-old Jeremy Sumpter), with an unruly shadow and with a saucy, rambunctious, diminutive fairy named Tinkerbell (Ludivine Sagnier) for a sidekick, make their presence known after they had spent some time secretly hovering outside the window, listening to Wendy's yarn-spinning. Peter offers to take Wendy and her brothers to his otherworldly home Neverland where children never grow up and adventures with pirates, Indians, mermaids and fairies are the order of the day and where Wendy's stories will be sure to delight the Lost Boys, a small group of rescued orphans who, though uncivilised, look up to Peter as their leader.
Complications ensue when the Darling trio get caught up in an ongoing conflict between Peter and Captain Hook and the adventures get downright dangerous. Also, when John and Michael start to forget their former life and their parents, Wendy decides they'd be better off to return home. Tinkerbell's jealousy of Wendy causes more trouble, especially when the pirate antagonist gets involved, actions which the sprite fortunately comes to regret and tries to put right in a powerful and effective part of the climax. This denouement also includes Captain Hook's capture of Wendy, her siblings and the Lost Boys to use as bait to lure Peter into a trap in which he could be defeated at long last. Throughout the above-mentioned events, Peter's "strange feelings" towards Wendy, and Wendy responding likewise in a flowering of innocent first love, adds much depth and motivation to the characters who portray these emotions beautifully, especially when Wendy realises that their relationship can never mature - a bittersweet insight. Besides this tastefully understated, subtly played serious undertone, the film Peter Pan brims with humour and excitement, witty dialogue and magical adventure including plenty of swashbuckling swordplay (frequently cleverly airborne!) for Peter and Captain Hook and, glory be, a bit for Wendy too. Much wonderment and amusement gets added with Tinkerbell's expressive miming and gestures with amazing special effects making her portrayer seem tiny and yet very real. Jason Isaacs, resplendent in 17th century style garb, brings a delightfully wicked, dashing flair to Captain Hook, and adds enough dimension to his role that he arouses some sympathy despite his callous cruelty 'blowing away' displeasing crewmen and when meeting his ultimate fate. It takes impressive acting to pull off a dual part of two such opposite personas - Isaacs' stuffy, reserved banker father equally well done.
Many memorable cinematic, spine-tingling moments occur in this most recent version of Peter Pan, with James Newton Howard's lush, symphonic score contributing greatly to the atmosphere. This film makes a familiar tale seem fresh and new, offering enchanting, charming entertainment for adults and young ones alike - an exhilarating and joyous journey to this Neverland that deserves to be wildly experienced. |
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