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31 of 31 people found the following review helpful:
5.0 out of 5 stars
Wholly convincing and unsentimental, 22 Nov 2004
This superb three part series, written by Andrew Birkin in the 70s, uses a wholly convincing and unsentimental combination of documentary evidence and imaginative reconstruction to explore the psyche of the Peter Pan playwright JM Barrie. Ian Holm is unforgettable in the central role and overall there is a sense of decency, and an absence of sensationalism, in this attempt to give shape to the complex and painful story of this unusual man's emotional needs. I haven't seen the recent movie covering similar ground so can't make comparisons although it's worth mentioning that Birkin says he realised his originally intended one-off drama would compromise the complexity of Barrie's character and held out for a three part series (would the Beeb be as flexible today?). Once you've seen Ian Holm, it's certainly difficult to imagine a better performance: Nico, the last surviving brother was, apparently, "undone" when he first watched Holm as "Uncle Jim." Incidentally, Nico wrote angrily to a newspaper when a columnist referred to Barrie as a closet pederast - he thought Barrie was incapable of "stirrings in the undergrowth" for anyone - but what the series delicately suggests is that simply being the focus of Barrie's emotional needs could itself be a considerable burden, whatever the comforts or bribes - holidays, gifts - in its wake. The moment I remember most vividly from first watching the series is when Barrie, having frightened off a friend (read: rival) of the adult Michael, is reciting from his play Mary Rose and we see a look of wry amusement on Michael's face, not unmixed with affection; but we've also been given enough material by then to make sense of Michael's later fate. Overall, this is a fascinating story told superbly well with an astonishing central performance - witness the moment Holm as Barrie learns of the death of one of his "boys" at the front, or his reaction to his wife's intention to divorce him. The earlier scenes with Barrie and the children alone, for which no documentary evidence exists, wrote themselves, according to Birkin, and they are extraordinary. And given the mass of unecessary, anecdotal commentaries on so many DVDs, it's also a relief that no one is talking over those scenes or any others - watch them and engage with them yourself, as Nature intendeded. Birkin speaks in a short, separate piece to camera about the genesis of the project. A minor point: it might have been useful also to include Andrew Birkins Without Walls piece on Barrie from some time in the 80s or 90s, but I can't remember how much that might have duplicated what he has to say today.
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7 of 8 people found the following review helpful:
5.0 out of 5 stars
Sometimes Words Are Not Enough, 18 Feb 2008
How does one entitle a review of a television drama series that is so absorbing and thought-provoking that one cannot possibly describe it without becoming mired in the platitudinous swamp of review-speak? As true as the words "hauntingly beautiful," "brilliantly scripted," and "splendidly acted" might be, they nevertheless fall flat in respect to "The Lost Boys." Similarly, the words "subtly nuanced performance" sound cheap in respect to Ian Holm's remarkable portrayal of Sir James Barrie. Nor can words do justice to Maureen O'Brien, Ann Bell, Tim Pigott-Smith, Anna Cropper, and the dozen or so boys of different ages who portray the five Llewellyn Davies brothers.
The story centers on a paradox of words and loss of words. Ironically, Barrie, who writes hundreds of thousands of words in his plays, his books, his letters to his adopted family of five boys, cannot express himself in actual words either to them or to his wife. Partly because of his failure to communicate, his desire to protect those he loves results too often in loss. The title, "The Lost Boys," is particularly poignant, since it connotes far more than the evident allusion to Peter Pan. It connotes not only loss of youth, loss of friends, parents and children, but also loss of innocence embodied in the loss of an entire generation of young men in the Great War that was supposed to end all wars. In the final estimation, the title connotes the most poignant loss of all: the loss of something imagined that never existed, nor ever could exist.
I must say that I am impressed with Koch Vision--the NTSC distributor (of which I had not previously heard)--although they might want to rethink the plastic double-carrier of the two DVDS, one hinge of which was broken. The Box names the actors in letters that one can actually read, and the DVD has an enlightening interview with the author of the script. Each episode is a riveting hour-and-a-half long. The costumes and settings are magnificent; and now I have sunk once again into the Swamp of Critical Platitudes!
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11 of 14 people found the following review helpful:
5.0 out of 5 stars
THE REAL PETER PAN, 6 Feb 2005
This story is warm, funny, tragic and heartbreaking.J.M.Barrie WAS the REAL Peter Pan, a little boy who yearned for a lost childhood that he never had, now grown old in a man's body that he never came to terms with. His love of children was an extension of his own child-like self. The present day cynics who try to paste a sexual overtone onto this story show themselves as misguided and misinformed and were rebuffed by the surviving brother who was adamant to J.M's totally innocent love of the children. Ian Holm gives his greatest performance as J.M. Barrie, he is heartbreakingly lonely. Although lorded as a writer and living an affluent lifestyle his world is without joy. Then he meets 'his lost boys' to whom he becomes by degrees, playmate, guide and father figure until the world he contsructs, his 'NEVERLAND' gradually is invaded by the real world and begins to unravel with tragic consequences. A memorable experience.......film making at its very best. If you want to be uplifted and touched.... buy this series.
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