This version of Peter Pan and Wendy is realistic enough but does it lose some of what we long for in Disney magic? Director David Lowery co-wrote the script with Toby Halbrooks based on J.M. Barrie’s classic tale making it more realistic than the animated and stage musical versions. But we found Lowery’s take much darker, lacking in childlike wonder.
Lowery, or maybe his Disney bosses, are sensitive to not assigning character traits based on gender. Ever Anderson’s Wendy is also no shrinking violet. She hasn’t landed in Neverland to be anyone’s mother, but to stand up to both Hook AND that persnickety Peter Pan. Anderson portrays Wendy with warmth, but also with intelligence and a drive to make her life a force for good in the world. Her Mother, (Molly Parker) sees all that and encourages her daughter’s aspirations. Molly Parker gives just enough warmth in the role without being too emotional.
The casting is pretty good. A little more diverse group of kids aside from The Darling kids and Peter. Tinkerbell gets a lovely makeover played by Yara Shahidi, a young woman of color. But we think the effects department missed the boat blessing her tiny frame with anything approaching visual magic. She could have had a cuter way of communicating. Even her bell sounded tinny. Tink is such a beloved character, and was so distinct in the original animated version, even if fashioned after Marilyn Monroe. But we did like the attitude of Tiger Lilly (Alyssa Wapanatâhk) who is presented as a stalwart, strong, independent, indigenous woman devoted to her family. She is no one’s side-kick.
Alexander Molony manages his Peter Pan with the expected amount of arrogance and swagger, but could have had more personality. Molony shows it best when he belts out quite a melodic version of Pan’s “crow. Molony is a British young actor just a couple years away from his 20’s, but he’s still believable as the boy who won’t grow up. Lowery also instills this Peter Pan with some self-reflective vulnerability, especially in his past relationship with Hook
But it’s Jude Law’s Hook who stands out. His characterization is more human, playing with plenty of rage, but also pain. We learn more about Hook’s background in addition to how he lost his hand to that hungry crocodile. What’s interesting is that Law decided to stay in character as an angry meany throughout the shoot so the Neverland boys were really whimpering with fear anytime they acted with him. Law never broke character and it shows. But at the end of production, the actor felt so full of remorse for scaring the kids, he literally drove up in an ice cream truck treating everybody with treats and smiles.
Jim Gaffigan as Smee is capable of more bungling, fun humor playing off mean Hook and all of those kids. His kind of comedy was needed for more contrast to lighten what becomes a little too scary tale, especially for the little ones.
Cinematographer Bojan Bazellis’ main task is to bring the emotion into the frame since so much of this has to be shot in front of green screen. But the effects showing the massive pirate ship in the air fill the screen. Neither the Pirates nor the Neverland boys are much more than window dressing to have a background the main characters. His close-ups get the job done when honing in on Hook and Wendy.
The narrative lacks spark to excite interest in resolving the Pan/Hook face-off. There is a great deal of melancholy and regret in this story, making us wonder if it’s worth the trip to “fly straight on til morning.” The themes of childhood wonder, imagination and friendship all play out in a predictably mundane storyline. While Peter Pan and Wendy is worth streaming, this new re-telling of the well-worn fable may not make you want to crow.
Disney+ 1 Hour 46 Minutes PG
