Like most Norwegian grown-ups, my relationship with «Peter Pan» largely stems from the Walt Disney movie released in 1953. I never read or saw the play, so I never knew there was more to the story than a charming boy defeating a mean pirate.
Then I saw P. J. Hogan's 2003 release, and became so blown away that I for a moment considered sueing Disney for theft. Yes, theft! Hogan presents a story so full of emotions, with so many intertwined stories and deeper meanings that I felt that James Matthew Barries original script must have been thoroughly abused for half a century, and the general public had been cheated out of a complete appreciation for the genius of «Peter Pan».
The first clue that this film had something else to offer lay three minutes into the film, in the subtle hinting to an increased sexual awareness that was offered through the curiosity about the «secret kiss» that Wendy knows her mother can never give her, and then gets told she herself has developed. The filmmaker's fidelity to the original script elegantly display that her father is not turning her out of the nursery just because of convention, but because Wendy really is crossing a treshhold that will leave innocence behind very soon.
I am now reading through the original play, and find that this version is very close to the words of J. M. Barrie, and captures the wide-eyed gleam of the author much better than the Disney version. The characters' depths are finely portrayed, and they come across as much more believeable than the one-dimensional cartoons in the other movie. Peter Pan, though still undeniably a boy, is clearly very attractive to any young girl as a prospective partner. Kind, strong, swift and very much in control, but still vulnerable and damaged by his concealed longing for parents. Wendy is not just sweet, but a lively and mischievous girl with a voracious appetite for life and the love she expects will find her soon. And Captain Hook! Really, Disney should be prosecuted for character assasination! P. J. Hogan's Hook, portrayed aptly by Mr. Darling, a.k.a. Jason Isaacs, is truly terrifying, as Hook should be. But he is also hurt, scared, lonely, and starting to lose hope of ever being able to dominate his young enemy. Like everyone else in Neverland (with the distinct exemption of Tinkerbell), he admires Wendy and wishes to be close to her, and is flattered that she apparently holds him in high esteem.
Tinkerbell is worth a chapter on her own, with all her physical comedy and strong emotions. My five year-old prefers the sweetness of the Disney Tink, but all the older people that have watched this movie with me prefers the vivacious, charming, not just pretty but downright mean Tinkerbell played by the French actress Ludivine Sagnier. She is thoroughly convincing as a tiny spirit with a huge will.
The flying scenes in this movie are amazingly well made, it is hard to tell that the characters are not flying for real. The costumes are nice and work especially well when Wendy's two young brothers are captured and dangle upside-down. Wait and see! But the most striking part of the movie, characters aside, are the stunningly gorgeous sets. The Darling house is beautiful, as are the scenes from London, but they are in no way comparable to the amazing colours of Neverland. Even the route to Neverland, the "second to the right and straight on until dawn", is so out of this world that there can be no doubt there is magic in the air.
Thank you, P. J. Hogan, for reading Barrie's script again, and for sharing your vision with the world! With this movie, magic has been reintroduced into my universe to such a degree that i at times find myself mumbling: "I do, I do, I do believe in fairies!"