#darling pan

[filmmakerdreamst]

P.J.Hogan's 'Peter Pan' is still an underrated masterpiece 20 years later

Peter Pan is a live-action fantasy adventure film directed by P. J. Hogan that reimagines the classic story of Peter and Wendy. The screenplay was written by P. J. Hogan and Michael Goldenberg and was released in cinemas in December 2003. The screenplay is based on the 1904 play Peter Pan, or The Boy Who Wouldn’t Grow Upand the classic novel Peter Pan by J.M.Barrie, which was originally published under the title Peter and Wendy.

The film tells the story of a young Edwardian girl, Wendy Darling (Rachel Hurd-Wood) and her two younger brothers John and Michael. On the night she is told she must grow up, a wild, fairy-like boy called Peter Pan (Jeremy Sumpter) flies into her room with his high-maintenance fairy Tinkerbell. When he learns that she tells stories, he whisks Wendy and her two brothers away to a magical Island called Neverland — where you supposedly don’t “grow up” — so that she can mother his henchmen, the Lost Boys. There she fights pirates led by the evil Captain Hook (Jason Isaacs), meets mermaids, dances with fairies, falls in love and grows up.

I have strong family connections tied to Peter and Wendy and J.M.Barrie. My great, great uncle Nico was one of the sons of Sylvia Llewelyn Davies'. He and his other brothers "the Lost Boys" were adopted by J.M.Barrie; which ultimately inspired him to write Peter Pan. Nico’s daughter Laura — my cousin — who I met for the first time a few years ago, told me that she was flown to Australia for the filming of P.J. Hogan’s Peter Pan because she was J.M.Barrie’s goddaughter. She told me that she was thrilled with the cast, especially Jason Isaacs, who played Captain Hook and Mr Darling. She also mentioned that Jeremy Sumpter, who played Peter Pan, was a lovely boy. However, she said she was very surprised and sad that the film wasn’t a big success as she really liked what they did with the story. I have loved the fairytale of Peter Pan from a young age, and learning that I am literally part of the family that inspired the story was very exciting and I’ve only begun to internalise it more as I’ve grown older.

When I was in my mid-twenties, I was diagnosed with a high level of Autism. One of my main symptoms was labelled “ageless”, which in simple terms means that one half of me is still a child that I can’t mentally leave behind. I can’t do many things that most adults can do, such as pay bills, drive a car, look after my own well being etc. I flap my hands when I get excited. I bounce. I sometimes speak in a baby voice. I overcommit to things I enjoy. I admit that it was hard to come to terms with the diagnosis when I first received it. But over time, I’ve come to believe that the two can coexist in a healthy way. I believe that I am an adult who is able to develop and grow while still carrying the child within me, and that this is not seen as a bad thing. I think Peter and Wendy can be seen as a reflection of that.

I was first introduced to P.J. Hogan’s Peter Pan a few years after it was released (I was maybe nine or ten years old), and I absolutely loved it. It wasn’t only one of my favourite film adaptations, but one of my favourite movies of all time. What surprised me most about the film at that age was how dark and gruesome it was, and full of this underlying sexual tension that I hadn’t expected at all from Peter Pan. Even today, this film still has a special place in my heart. It is made with so much passion and love for the original text that I can automatically put myself back into the story. After watching the film again as an adult, I almost immediately opened my copy of Peter and Wendy and started reading. I would even go so far as to say that I prefer the film to the book. However, part of me wishes that the age rating had been set much higher, as the dark and gruesome moments were some of the strongest parts of the film adaptation. This is possibly why some critics and viewers had difficulty categorising the film at the time.

However, I often consider P.J.Hogan’s Peter Pan to be the same equivalent as Joe Wright’s Pride and Prejudice. (which came out a few years later in 2005, starring Keira Knightley and Matthew Macfadyen). The film moves at the same dreamlike pace. It is light, dark, colourful and deeply romantic.

I also often prefer P.J.Hogan’s Peter Pan to the 1953 Disney Animation of the same name, even though it’s the version I grew up with and liked. I find it much less straightforward and innocent. Also, the 2003 film is much closer to the original source material, which I loved reading as a teenager, and to J.M.Barrie’s original vision. The film manages to reflect the same intellectual subtext and depth of the novel while retaining the whimsy and magic.

Magical Realism

Peter Pan was a perfect blend of fantasy and realism. A lot of media these days focus too much on “realism” and make their sets and CGI look bland and washed out. It’s a common myth these days that no one likes whimsy anymore; it’s somehow seen as too childish. As a result, much of the magic of fantasy is lost. But in this Peter Pan, a lot of colour was used in the set design and cinematography. Everything was so brightly and colourfully lit. Most fantasy films these days, including the new live-action adaptation of Peter Pan and Wendy on Disney+, are all so gloomy and dark. You almost have to light up the screen to make out the actors’ facial expressions or what’s happening in the scene. But this film understands that a viewer who watches fantasy wants to be swept away, but also wants a certain amount of believability. Although the film contained a good amount of darkness, it did not shy away from being cartoonish either (which I think was partly inspired by the Disney animation), i.e. characters blushing or bouncing on the clouds.

The design of Neverland was breathtaking. I think the CGI, although criticised by some, made the island and creatures look more dreamy and fairytale-like. It was a good combination of CGI for the landscapes and real backdrops for the jungle, so there was enough magic and believability to transport the viewer into the story. A bright colour palette was used for the landscapes, while down-to-earth colours such as browns and greens were used on the ground, such as in “The Lost Boys Hide” under the tree, to give a sense of realism. The costume department also reflected this, from the majestic reds and blacks of the pirates, to the earthly colours of blue and red for the Native Americans, to the natural greens and browns of the Lost boys. I noticed that the colours in Neverland were used as a contrast to the Edwardian London back home, which is realistic but dull compared to the island.

One aspect I liked was that the lighting on Neverland always changed depending on the mood of the scene- unlike the naturalistic lighting on Earth. It was almost as if the island was a living being. For example, when there was a fight on the ship, the lighting was red. When Peter took Wendy to the mermaids, who were scary and frightening, the lighting was dark and blue. This created a surrealistic atmosphere, almost like a fever dream or a kind of nightmare.

Sometimes the environment changed depending on Peter Pan’s mood in the respective scene. I particularly liked how Peter Pan influenced the weather on Neverland. Just his mere presence when he flew to the island changed the entire atmosphere in an instant. His feelings also determined whether it was summer or winter. In other words, its suggested in the film that the longer he has been there, the more the island has become a part of him, so that he can no longer leave it. It’s almost as if the island has transformed him into a magical being.

The exuberant musical score by James Newton Howard: I’ll never forget that. I think that was one of the first movies I saw where I actively noticed the music because it was so brilliant. Even today, the “Flying” soundtrack still gives me goosebumps. It perfectly encapsulates the whimsy, joy and imagination of Peter and Wendy. I loved that there were always different variations. One of my favourite pieces from the movie is ‘Fairy Dance’, which starts off cheerfully and moves up and down depending on the characters’ conflict/what they’re saying in the scene.

Cast

The cast of this film adaptation was magnificent. The look of all the actors not only matched the book description, but also the mood, especially with the Darling family. One of the standouts was Olivia Williams as Mrs Darling. She captured the gentleness of the character perfectly. I also loved the new addition of Aunt Millicent, played by Lynn Redgrave. She fitted into the story so well that I was surprised not to find her in the novel. She had the perfect amount of ridiculousness and hilarity that suited J.M.Barrie’s style.

One particular member of the cast we can probably all agree on that was perfect, was Jason Isaacs, who played both Wendy’s father Mr Darling and Captain Hook. He was certainly a star in this film for sure. I just can not think of anyone who could play him better, especially in a live-action film adaptation. He was particularly good in the role of Captain Hook. When I first saw the film as a child, I did not know that Captain Hook and Mr Darling were played by the same person until my dad pointed it out to me because he was so good. I loved how they portrayed Wendy’s dad as shy and reserved, as opposed to Captain Hook who was flamboyant and sinister. Mirror versions of each other in different realities — that’s a common theme throughout the film. As Captain Hook, Jason Isaacs perfectly captured the essence of viciousness, deviousness and brutality that was necessary for the character. But also the deep loneliness and frustration behind it all. I have seen a quote that was supposedly cut from the film (and never should have been) that provides so much context for his hatred of Peter Pan:

“Imagine a lion in a cage and into that cage flies a butterfly. If the lion was free, it would pay no heed to such creature. But the lion is not free…and so the butterfly drives him slowly insane.” — Captain Hook

They did a really good job of showing how Peter Pan and Captain Hook are mirror images of each other. Peter Pan is a child who secretly wants to be an adult, while Captain Hook is an adult who secretly wants to be a child. Both fight each other for different reasons, but the goal is the same. For example, there is a great scene towards the end where Captain Hook uses his wits to defeat Peter in a fight. Here it becomes clear that there is deep symbolism for the inevitability of adulthood and the loss of childhood. Jason Isaacs really showed off his acting talent here. I liked that he wasn’t portrayed as a “dumb villain”, which he easily could have been.

There were also some great performances among the adults. Most notable was Richard Briers as the ‘pirate’’ Smee. But the child actors, especially the lost boys, really held the movie together. Their solid performances made it so believable that the island was ruled by children. I loved Theodore Chester as Slightly. He was very charming and funny in that role.

Another member of the cast I thought was brilliant was Carsen Grey, an indigenous actress of Haida descent, who played Princess Tiger Lily. I liked that they let her speak her ancestral language, Mohican, in this film. Although this film came out in the early 2000s, it is the only version of Peter and Wendy in which Native Americans are neither erased nor white-washed even though the representation is far from great. Considering how they’re treated in the novel, it’s perhaps for the best overall that they limited some of their scenes. However, I liked how firey she was in this adaptation and not the damsel in distress she was portrayed as in the Disney animation. I think it was a wise decision to cut the infatuation she had with Peter Pan, as it was really just one line in the book that would have added unnecessary drama, and all in all, it would have fallen short if all the female characters were jealous of each other.

They also downplayed Tinkerbell’s jealousy in this regard, portraying it more as her trying to protect Peter Pan’s youth from romantic advances, as hinted at in the novel, and also being sad that Wendy is attracting all of Peter Pan’s attention. Ludivine Sagnier has, in my opinion, succeeded well in making Tinkerbell equally repulsive and endearing, as befits the character.

Wendy Darling

Rachel Hurd-Wood was the perfect cast for the role of Wendy Darling.I was actually surprised to learn that this was her first film role ever, because she was a natural. She effortlessly possessed the same caring nature and charm that makes Wendy so endearing. She is exactly how I imagine the character when I read the story. When people talk about Peter and Wendy, they always mention Tinkerbell, Pan or Hook, but personally I am always drawn to Wendy. She is the real heroine of the story. After all, she was the main reason for Peter to bring her and her brothers to Neverland.

What always amazes me about Wendy’s role in the story is the fact that Wendy literally doesn’t spend much time being a “child” in the time she spends in Neverland. When she’s not escaping death at the hands of mermaids or pirates, she acts as a mother to the ‘lost boys’ and her brothers. She asks herself what she really wants from life. In comparison, she was allowed to behave more like a child at home in Edwardian London. Neverland is not a place where you never grow up. It’s the place where she chooses to grow up. Many people have described Neverland as a manifestation of Wendy’s subconscious as a result of trauma, and I’ve never found that to be more true in this adaptation.

One of the reasons why I think P.J. Hogan’s Peter Pan is the best adaptation of the novel is the fact that the film revolves around Wendy’s coming of age. I loved that they expanded on her love of storytelling and also gave her a tomboyish streak. Instead of just being on the sidelines, she’s able to get involved and fight pirates while retaining many of her feminine traits such as her maternal instincts and romantic feelings for Peter. She makes mistakes and sometimes gets dragged into things she knows she shouldn’t do. But in the end, she triumphs.

In many film adaptations of Peter and Wendy that I have seen, Wendy is either only present in passing or not at all. Characters like Peter Pan, Captain Hook and Tinkerbell always take centre stage, which I think is a strange decision as they are part of Wendy’s story and not the other way around. Peter Pan is meant to metaphorically represent the childhood she does not want to give up (which is why the character is always played by a woman in the original play, as he is a mirror image of Wendy). And Captain Hook (J.M.Barrie also wanted him to be played by the same actor as Mr Darling) represents the dark side of her father, or rather what she imagines adulthood to be. This is particularly emphasised in this film adaptation because he is an important factor in her being told to grow up. The father, the concept of adulthood, and Peter Pan, her childhood, are at constant war with each other.

“You’re not supposed to be like Peter, who kept every good and bad aspect of being a child and can’t tell right from wrong. You’re not supposed to be Hook, either. He let go of everything childish and loving about him and became bitter and evil..You’re supposed to fall in the middle, to hold onto the things about childhood that make it beautiful — the wonder, the imagination, the innocence — while still growing up and learning morality and responsibility. You’re not supposed to be Hook. You’re not supposed to be Peter Pan. You’re supposed to be Wendy Darling.” — @maybe-this-time

The 2023 film Peter Pan and Wendy took a different approach, by making Wendy a kind of powerhouse who always saved the day and outshone Peter Pan overall. In my opinion, the 2003 film adaptation emphasised very well that Wendy really is the yin and yang. She's allowed to be romantic, be rescued by others and at the same time determine her own destiny and stand up for herself. Because that’s what her journey in the adaptation is all about. She is pressured by all the adults in her life to grow up. She allows herself to be seduced with the prospect of an eternal childhood by Peter Pan. Then she realises that it is not self-fulfilling. She is tempted by Captain Hook with the concept of adulthood. And finally, she finds a balance between these two extremes on her own terms. By the end of the film, Wendy has made her peace with growing up while still remaining a child at heart. That requires a certain mental strength that we should all strive for.

Peter Pan and Wendy Darling

In most adaptations of Peter and Wendy, such as Hook and Syfy’s Neverland, the focus is on the title character Peter. In the more recent film adaptation Peter Pan and Wendy, the focus is on Wendy. This film adaptation of Peter and Wendy, on the other hand, sticks more closely to the original source material, as the story focuses on Peter and Wendy’s relationship. This is perhaps the reason why I always hesitate when I watch other adaptations, because these two characters are supposed to go together. It’s definitely a relationship that can be portrayed in all sorts of ways because they are symbolically the same person.

Although there is no romance between Peter and Wendy in either the original novel or the play, Wendy quickly develops romantic feelings for Peter which, as a prepubescent child, he does not consciously reciprocate as he has no concept of love other than that of a mother’s. Although Peter cares deeply for her, he ultimately only longs for her to be the maternal figure that is missing in his life. One could go into the symbolism that Peter and Wendy are one and the same, and that this is an expression of Wendy learning to love herself. But in a literal sense, J.M.Barrie had unintentionally created this very strong potential between the two characters. And I personally feel if your'e going to make an adaptation of Peter and Wendy that potential needs to be explored in some way, even if it’s not necessarily romantic.

Hogan recognised this potential and developed the romantic elements, e.g. ‘the “thimble” from the novel, into a very real and tangible plot. In other adaptations, Peter and Wendy’s relationship is rather one-sided. But in P.J. Hogan’s film adaptation, however, it is not at all. Over the course of the film, Peter and Wendy fall deeply in love with each other.

Rachel Hurd-Wood and Jeremy Sumpter had a remarkable on-screen chemistry for young actors, which helped give the adaptation its own identity. Whenever they interacted on screen as Peter and Wendy, it was — like the glittering pixie dust of Tinkerbell — simply magical. The off-screen chemistry between the two definitely helped make the romance so believable as well. When I was younger, I didn’t like romantic subplots in family films. I personally found that they clogged up the main plot because the “romance” tended to be very one-dimensional- but Peter and Wendy in the 2003 film version were simply enchanting.

In the original novel, J.M.Barrie alludes to the possibility of a romance between the two. In the film adaptation, they go all out. Their love story was written so beautifully and profoundly, while staying true to the original text and J.M.Barrie’s themes. This made the conflict hinted at in the novel of “staying in Neverland with Peter or growing up on Earth with Wendy” even more poignant and relevant, because in reality there was only ever one option. They couldn’t find a way to have both. That made the ending even more “heartbreaking” for me as a child, because even though they had the chance to be happy together, she couldn’t give up on growing up to stay. And he couldn’t give up being a child to leave, even though it was a natural progression for him.

Peter Pan

Jeremy Sumpter delivered a fantastic performance as Peter Pan. Not only did he perfectly match the illustrations, but he also managed to perfectly capture the essence of the charismatic, mischievous little boy from the novel. What’s more, of all the versions I have seen so far, he is by far the most accurate, right down to the clothes made of skeleton leaves, the dirty fingernails, the feral mannerisms, the traumatised soul behind the charm and the downright creepy insinuations. By today’s standards, you could almost take Peter Pan for a grown man who consciously decides not to behave like this.

However, when I watch the film again as an adult, I can now understand why he has reservations about growing up in Edwardian England and would rather remain a “child” in Neverland forever. As Peter says in the film, “Would they send me to school? And then to an office?” I feel like most of us today have so many choices as we get older, but back then it was much more limited. The choices were very restricted in that “heterosexist” environment. You could only be a certain thing, and it was much harder to hold on to the pleasures of life. I can now also understand the initial reactions of Michael and John to Peter: He must have seemed scandalous to people at the time. His bright colours, his inappropriate clothing and his behaviour are repulsive to the boys, but Wendy is immediately fascinated and attracted.  I think it was a deliberate choice that he is the only character with an American accent to set him apart from the rest of the cast; to emphasise the wildness of the character and his non-conformity to the people of Edwardian London.

Another small aspect I liked was the suggestion that the Lost Boys, although they lived with Peter and obeyed his commands, lived in constant fear of him and did not worship him as in other adaptations. (A fear that is justified as Peter tries to kill them more than once in the film). What the 2003 film adaptation captured perfectly about Peter's character was: how terrible of a person he really is. Peter Pan is a hero when he goes on adventures and fights pirates. You could argue — via the quote “Leave Hook to me” (which Peter says to her in the film) — that Peter is Wendy’s split self who can fight her father (Captain Hook) for her, just like antibodies do with germs when we can’t handle them ourselves.

However, when it comes to understanding emotions, caring about others, even his henchmen, the Lost Boys, and doing anything that inconveniences him, Peter Pan is possibly as bad as Captain Hook. This makes Wendy’s decision to leave him all the more powerful. Although she was initially seduced by his adventurous life, she soon realises that his “life” of joy and adventure is not fulfilling at all. Because in reality, there is no real joy. There is no real adventure. In reality, his life is empty because it is not earned. In addition, she realises that she is gradually losing her memory of the outside world, including her parents - a sign that she is “slowly awakening from the dream”. This leads Wendy to realise that she wants more than what he can give her in Neverland (e.g. romantic love) and decides to leave. Being alive means feeling, accepting and growing. However, as long as Peter remains a boy, he can never truly be alive. Peter Pan conveyed this important message, whereas earlier film adaptations, including the Disney animation, did not.

One of the reasons why good adaptations of Peter and Wendy are so hard to come by, especially in this day and age, is not only because they adapt a performative story that exists in layers of subtext. They also work with a protagonist who doesn’t change. Who doesn’t develop in any way, neither negatively nor positively. Not even just physically, but also mentally. (Even Eli from Let the Right One In, the child vampire, changes in the course of the story). At the end of day, Peter Pan is ultimately there to serve someone else’s story. It works in a fairy tale format. But it doesn’t usually translate very well to the screen because it often leads to one-dimensional storytelling. Even if it seems so natural, it doesn’t come naturally.

However, this adaptation allows Peter Pan to grow. The writers expanded on the small aspect from the book, which is the moment when Wendy enters Peter’s life; he begins to feel emotions. Not just love. But anger. Fear. Sadness. Pain. Disgust. And above all: self-awareness. Almost like a version of puberty in condensed time, as if the change suddenly caught up with his body. When Wendy brings this up, Peter immediately rejects it out of fear. I think most of us can all relate to this when we were in the midst of growing into a young adult. We experience feelings that are scary and new, that we can’t yet fully understand or even want to. For Peter Pan, falling in love is exactly what he is afraid of: growing up and no longer being a child. This adds to an interesting conflict that arises between the two when she asks him to leave with her.

“The thing about Peter Pan is, he’s a coward. Had the chance of a lifetime and he bottled it. Just fucked off back to Neverland. All alone, forever he was, by his own hand. Poor old Wendy, she had to grow old without him.” — Skins, 6x07 “Alo”

In the original novel, the reason Wendy can’t take Peter Pan with her (apart from the fact that he refuses to grow up) is the same reason Lyra in His Dark Materials can’t take Pan — the animal manifestation of her soul — on the boat to the land of the dead. She has to split in order to grow up and leave a part of herself behind. She can’t keep both in order to move on. But that does not mean I always agree with the ending either. In which Peter remains a child and takes Wendy’s future descendants to Neverland and back to look after him. It leaves an icky aftertaste, but at least it fits in with the story J.M. Barrie wanted to tell.

Even though the adaptation conveys the same message, that Peter Pan is the manifestation of Wendy’s youth, even to the end. In this version of Peter Pan, that is no longer the case. By the end of the film, the way he holds himself is different. The way he looks wistfully through the open window and solemnly says, “To live would be an awfully big adventure,” : a sign of self-awareness, while Wendy happily reunites with her family. So much so that Tinkerbell has to pull him by the hair to stop him from joining them and reconsidering his decision. Peter is now old enough to know that he loves Wendy. Maybe he’s also mature enough to know what he’s missing, but he knows he can’t have her the way he wants, so he does the most selfless thing he’s ever done in the whole film by letting her go.

There is no such conflict at the end of the 1953 Disney animated film. Peter Pan is described by Wendy as “wonderful”. In reality, everyone else gets their happy ending, except him, because he deliberately chooses not to. Peter Pan very much turns himself into a tragic figure because he is afraid of the most natural thing in the world. He is afraid of life. And I feel like this version of the story knew that and expressed it strongly, which makes me conflicted now as an adult. I’ve seen endings like this before, where two people fall in love but do not end up together because they grow apart or they are both interested in different things, and it’s very important to reach those points in different ways. It very much reflects real life and is also reminiscent of first love. How that love never really fades. It reminds you of simple times, even when you’ve grown up and moved on. That a part of you is still at that age when you look back on it. These endings happen because people grow — which Peter Pan does not.

“Peter in the books lives in oblivious tragedy. He may suspect that he’s not fully happy, but he tends to forget about it… yet this Peter doesn’t… Wendy leaving him and growing up to be a wife of another man is his unhappy thought…It’s the loss of innocence since Peter could not forget this…It’s the process of growing up…all but confirms that Peter’s character arc in the film is one of accepting the fact he too must grow up to be happy.” —  @rex-shadao

And I think that’s the real reason why his character is both the strongest and the weakest part of the adaptation. The writers didn’t make it clear enough that Peter Pan forgets in their version of the character. In the novel, Peter Pan forgets everything automatically, which is why he can exist in this limbo of childhood and not go mad. However, as mentioned earlier, this version of Peter Pan is old enough to remember and, more importantly, to feel. Even though he is the closest to J.M. Barrie’s original vision, unlike his counterpart in the book, he is capable of evolving. That’s why the ending sometimes feels strange to me as an adult.

It was hard to say why I had a strange feeling at first, but I realised that a lot of my mixed feelings stemmed from having seen the film adaptation fresh after reading the novel. Since Peter Pan fully reciprocates Wendy’s love in this version, he ends up being a different character than in the book, which is why I now disagree with them keeping the original ending instead of having him grow up with Wendy. It would symbolise that childhood can co-exist with adulthood, that you don’t have to leave a part of yourself behind. That you can be your true and complete self if you find the balance between the two extremes.

The original ending still works however, in all its bittersweetness. I know what it means and understand what it stands for. Wendy basically says goodbye to her childhood and promises never to forget it. There’s a reason it made such an impression on me when I was younger. It could just be because I’m trying to pick up all the pieces of my broken heart from the floor. But personally, as an adult, I just find it weaker compared to the novel. Sometimes I like to imagine an ending to this version of the story where Peter Pan comes back, having quickly realised that he has outgrown Neverland, but doesn’t meet Wendy again until they are both much older, at a time when Wendy is coming to terms with womanhood and the idea of marriage. Or she even meets his real earth counterpart (if we were to delve into the psychology of Neverland being Wendy’s dream). And their relationship is subjected to the natural test of time and growth.

Peter Pan is an almost perfect adaptation. It matches the humour, the tone and the vision of J.M.Barrie. But I can certainly understand why the film didn’t do so well at the box office. In the month it was released, there was an unfair amount of competition, namely the film Lord of the Rings — The Return of the King. And as an adult, I can now understand why it’s not the film people think of or remember when it comes to Peter Pan adaptations. And it’s not just because it doesn’t fit the elfish, jolly trickster persona that Disney has created.

The film adaptation suffers more from what it doesn’t do — such as maintaining a stable tone and consistent editing — than from what it does. It’s one of those films that would have benefited from being much longer. That way, the inconsistent tone and some of the rushed parts of the adaptation would be much more balanced. It feels like it was missing an extra twenty minutes. For example, the film is narrated by an older version of Wendy, but without the deleted ending where it becomes properly clear that it’s her telling the story to tie everything together, the ending feels a little abrupt. Say what you will about Tim Burton’s adaptation of the Series of Unfortunate Events, but the audience could see where the film’s narration was coming from the whole time. I think if they knew the alternate ending wasn’t going to work (that scene is a classic example of something working well in the novel but not in the film), they should have removed the narrator altogether with the deleted ending and adjusted the film accordingly. They should have extended some scenes so that parts of the film weren’t rushed, such as the introduction, and the story would have been left more up to interpretation as there was no voiceover throughout.

Despite its weaknesses, P.J.Hogan’s Peter Pan is still an underrated masterpiece 20 years later. It is an irresistible film that captivates and warms the heart. The film adaptation has certainly stood the test of time, staying true to the original while adding its own flavour to the story. It is full of magic, wonder and heart. It was clearly made by people who loved the origins of the story and explored where they came from, while also digging deep into the text to reshape the character arcs in a fresh and meaningful way. They succeed in capturing J.M.Barrie’s original message, which is that growing up is a natural progression of life, but that doesn’t mean leaving childhood behind entirely. That it is important to maintain a healthy balance between the two: Taking responsibility while appreciating the joys of life. From the vibrant colour palette to the goosebump-inducing music to the solid performances and gorgeous chemistry between Jeremy Sumpter and Rachel Hurd-Wood, my love for this adaptation will never end, no matter how old I am.

[the-starry-skye]

peter pan & wendy darling from dark paradise by @ladykikyo1792

"Forget them, Wendy. Forget them all. Come with me where you'll never, never have to worry about grown up things again."

[doverstar]

Even 1991's Hook showed that Jack and Peter fell for the allure of Neverland while Maggie never forgot and just wanted to go home. Implying, the way 2003's Peter Pan outright said, girls are much too clever. Disney is stomping all over this story.

Listen to me, Hook is a genius Peter Pan adaptation/reimagining. In so many ways. I know as a film, it apparently had its disappointments, but just speaking as a Peter Pan fan (of the book and the play), whatever Jim Hart/Nick Castle were doing when they were making story decisions for that movie, it worked. I could gush.

I'm going to gush. This is going to be long. If you like Peter Pan, keep reading.

Disney is stomping all over the story with their new movie in so many ways. And Peter Pan 2003 is an almost one-to-one, 108% accurate adaptation of the original book/play, so I'm gonna talk about that in regards to Hook- First of all, yes, the whole Maggie thing is SO smart and SO accurate to how Barrie chose to portray women in general in the original story. All the major female characters have their silly, petty, foolish moments like real women of all ages do, yes, but when Barrie portrays what's naturally good about good women, he knocks it out of the park. Wendy is selfless and compassionate, Tink dies for someone she loves, Mrs. Darling is a graceful nurturer and her husband's rock. Like, when Barrie uses Peter to say "girls are too clever to fall out of their prams", that's not just Peter being manipulative, that's the kind of thing Barrie really thought about females. It's in all of his plays and all of his books. He doesn't ignore women's general faults, but he does love to showcase why it's not good for man to be alone. In the original story, when you're in the Neverland, the longer you stay there, the less you remember of your life on the mainland. John and Michael just totally forget they ever had real parents and start acting like Wendy, who is playing pretend, is their only mother figure. Wendy is realizing she's forgetting real life too, and makes it a nightly thing to tell all the boys the same story - of how they got to Neverland and how they're eventually gonna go back, and why, and how their real mother specifically will always be waiting for them and she has no doubt about that because that's real love. And that's what Hook is about, second of all. Peter forgets who he used to be as a child, and it's actually normal for Peter to forget important things - finite memory in an infinite existence - but this is him forgetting who he is. And that's a big deal because he forgets not only what it was like to be young and what he personally was missing (parents, a family, the gaping hole in his magical life that created a lack of consistent real love), but he forgets what made him as a character the hero of the story. As sword-fighting leader of the Lost Boys, Peter Pan was confident, honorable, and unafraid.

This is who Peter Pan is. He's selfish and arrogant and kind of a butt sometimes (like little boys often are) but the thing that makes him special isn't that he can fly or never age (though those things are cool). The other Lost Boys can fly and don't age, either, in the original story. Peter is a born leader. Peter protects the Lost Boys. Peter doesn't kill a pirate while he's sleeping; he waits for the guy to wake up. Peter won't strike Hook while he's unarmed and tries to help him up onto solid ground in the middle of a fight before continuing the duel because that's the right thing. Peter won't keep a girl in Neverland against her will. Peter lets the kite take Wendy to safety and sits wounded on a rock alone, waiting to die without being scared. Peter Pan is a hero. Peter Banning forgot all of that. Peter Banning doesn't remember what it's like to be young, or to want parents, or to crave real love. He doesn't remember that to die will be an awfully big adventure. He's terrified of death. He's terrified of heights. He's scared of everything. He doesn't protect his kids or care about their interests or watch when they're putting on a play or attend a single baseball game or spend any time with them at all. The one thing Peter Pan had to be forever barred from, Peter Banning got to have - a family - and he forgets what it feels like not to have that and neglects them. So Jack gets to Neverland and is scared (and manipulated by pirates, the thing his great-grandmother before him went through and never fell for), and he's spent his young life craving the attention and affection of his workaholic Peter Banning dad and never gets it, literally watches Peter give up on saving him and Maggie because he's too scared (Peter Pan never gave up) and that hurts, so of course he starts forgetting who he is and where he came from because that's easier and he's his father's son. But Maggie!! is Wendy's great-granddaughter!!! and like the other women in the Peter Pan canon, she doesn't forget for one second who she is or where they came from or what's important, and she knows the pirates are bad and Peter is good, and she knows her family loves her, and she knows her dad loves her, and even though she watched Peter give up too, she begs Jack not to forget and tries actively to remind him of the truth. She rejects the pirate life. She never loses faith. She's just a little kid but she's polite and she's a good girl and she won't do what mommy said not to even in Neverland. Wendy wrote "dirty pig" on the greasy windows of the Jolly Roger because she wasn't scared of pirates and she was disgusted that grown men never took care of business on that ship and it was filthy. Maggie is cut of the same cloth, just much younger on her first trip to Neverland.

LisTEN. There are no girls in the Lost Boys because GIRLS in the Peter Pan canon have something that little boys don't right away, because girls are different from boys. Girls are naturally more in touch with emotions. Girls are often (not always) more mature. They understand things little boys sometimes (not always) don't understand. Girls are sometimes (not always) smarter than boys in certain areas. Girls are much too clever to fall out of their prams, and girls don't forget what's important and that they must grow up someday, and girls - mothers - will always keep the window open for their children. There are no girls in the Lost Boys! DEAL WITH IT. It's OKAY.

Hook is amazing. It takes little details in the margins and paragraphs of Barrie's story and incorporates them in this one zany film. It takes some of the clearest messages and themes in the book and yells it through a megaphone. "Don't forget the great things about being a child! Don't forget what true love is! Don't forget why it's necessary to grow up! Don't forget what's bad about staying a kid forever! Grow up, but keep the childlike faith and the childlike confidence and remember what kids need, and give those things to your own children!"

Hook says this stuff with Tootles. It says it with Rufio. It says it with Jack and with Maggie in two different outcomes. It says it most of all with Peter. 

I LOVE HOOK. I watch it all the time, especially on rainy days. I will die on this hill. Go watch it. It's on HBO Max and you can watch it free right here with no ads you're welcome, and I myself own two copies of it on DVD just in case. 

Thank you for listening and drop me a line with your own thoughts if you have any; I don't want to be rambling in a vacuum XD

[kyraxyrespace]

Day Twelve - Peter Pan/Wendy Darling, Darling Pan (Peter Pan)

[furbiwashere]

Peter loves his pookie !! 🔥🔥

[beyonderland]

One day I'll figure out side profiles. Unfortunately I don't think today is that day

[dee-ry]

redraw :333

[ladykikyo1792]

Not me having a Darling Pan Halloween short story

Not me at all

[a-strange-inkling]

Yes to Darling Pan (before THAT reveal which was.... 😬) though! Don't forget even with your shipping choice.... ily 🫶🏿

Omg Exactly! EXACTLY!! DarlingPan before THAT happened was perfection. This fic seriously is sooooo good and it does not follow THAT plot twist blah, there’s also two sequels. It’s one of my favorites! I reread it all the time!

Lol ily too! 🫶🏻🫶🏻🫶🏻

[fandom-fae]

older!wendy darling bc why not uwu

the idea is her seeing peter pan again for some reason a few years after her adventure in neverland uwu

[preciouslittletoonette]

I decided to put the ai Peter and Wendy in a chat room together to see what comes of it.

Half an hour later, a couple of dialogues past, they are now engaged at 13 years old.

Congratulations you two

[furbiwashere]

Did a silly redraw !! :3

[ryik-the-writer]

WIP ask game

tagged by @martianbugsbunny --- omg thanks

Rules: In a new post, list the names of all the files in your WIP folder, regardless of how non-descriptive or ridiculous. Let people send you an ask with the title that most intrigues them and then post a little snippet of it or tell them something about it! And then tag as many people as you have WIPs.

Audacious 4 (chapter 4 of a rumbelle fic I'm working on (The Audacious Storybrooke Mirror Advice Columnist (Wednesday Paper Edition)

PS 34 (A darling pan fic - Papers and Sluethers ch. 34)

Periscope 3 (part of a Scrutinized fic I'm probably never going to finish.

God I've been out of the loop lately

tagging: @emospritelet, @kelyon and @thestraggletag

[dee-ry]

Oof

[ladykikyo1792]

Darling Pan Halloween Fic, Part 1

A/N: no editing. We die like men. This is a completely self-indulgent AU (Rated M) and isn't related to "Dark Paradise," other than characters and ships. Enjoy and let me know what you think! ~

Prologue

            Older people always told Wendy there was a time when anyone could leave town.  It was as easy as getting in a car and driving past the sign that read “Storybrooke.”  You could walk, too, if you wanted- though it would take far longer than to drive in the wilderness.  But either way, there were no guards.  No walls.  No checkpoints. 

            There certainly hadn’t been a promise from the government to be killed on sight for leaving.

            Wendy herself only had flashes of memory of that time.  She remembered a trip to the mountains.  She thought her parents might have taken her and her brothers skiing.

            But that had been before the Infestation.

            Before the National Guard had surrounded Storybrooke, and all the forest around it, for a hundred miles in any direction.

            Before the President had told the citizens they could never leave again.

            Well, technically, he had told them they were under a “curfew.”   Still, Wendy likened it to house arrest (or, perhaps, town arrest).  Some people- delusional though they were –thought it would end someday.

            Wendy doubted it.  After all, vampires were immortal.  It would be far more likely for Storybrooke’s citizens to die out before the vampires did.  Once the citizens were all killed off, the vampires would have no food source.  They’d turn on each other or starve to death- maybe both. 

            Then, and only then, would the curfew be lifted.

            It was too bad she wouldn’t be alive to see it.

Chapter 1

            Wendy was never supposed to open the window.  Among the rules imposed on the town after the Infestation, Mayor Mills had insisted on a strict curfew. While the town’s denizens could roam as they pleased during daylight, after sunset, they were completely confined to their homes.  Doors were locked, curtains were drawn, and windows were shut tight.  For just as a vampire could not walk in sunlight, a vampire could not enter a home uninvited. 

            This, Mayor Mills promised (both in her initial speech announcing the curfew and on the curfew reminder Sidney Glass played on the news each night), was the only way to keep them safe.

            Of course, it was likely far easier for the mayor to say these things when she didn’t live in a two-hundred-year old house.  Wendy’s home had been passed down through generations, and while it had plenty of charm and was what New England Living Magazine had called “quaint”- an issue forever treasured by her mother –it sorely lacked central heat and air conditioning.   While this hadn’t been a problem before the Infestation- when the siblings had merely opened their windows to allow for a zephyr on hot summer nights -this meant that with the Infestation, Wendy, John, and Michael either roasted or froze, depending on the season. 

            Their parents had been incredibly cautious about the Mayor’s rules, with their father barring the windows and doors himself each night to ensure their security.  He also kept watch in an armchair in their living room, makeshift stake in one hand and a shotgun in the other.  He spent hours gazing at the front door, waiting for some demon of the night to smash it to pieces.  His gun was forever cocked, and as Wendy observed his vigil over the years, she thought a vampire would indeed be very sorry to encounter George Darling.

            However, in the end, it wasn’t a vampire that killed him.  Instead, the stress of staying awake all those nights drove him to a heart attack when Wendy was twelve years old.  Mary Darling, in the wake of his demise, became a ghost of her former self.  Grief-stricken, she stopped speaking six months later, and when it became obvious she was entirely unable to tend to her children, it was Wendy who had to step up.  While Mary spent her days and nights sat in the same armchair George once occupied during his nocturnal watches- staring at the wedding photo she clutched to her chest as if George himself might walk out of it and into her arms –Wendy assumed the role of Mother.  She cooked and cleaned for her brothers, making sure they were fed, helping them with their homework, and listening to the outlandish stories that followed them from school (for children has to distract themselves somehow). 

            “Michael,” Wendy rolled her eyes, “don’t be ridiculous.  Hansel’s out of line.”

            “But Wendy!” Michael whined, “He said he saw one!”

            “A werewolf?”  Wendy clucked her tongue, putting potatoes on his plate, “Hansel saw a giant, gray wolf prowling about his backyard? When did Hansel say this, exactly?  Before your math test today?  And if he did actually see one- which I doubt -why is he telling you, Michael Darling, and not the Mayor?  Or the police?”

            “Maybe he thought I could help,” Michael insisted.  He sounded somewhat offended that Wendy didn’t think him more fearsome, but Wendy was merely practical. Of her two brothers, Michael had yet to hit his growth spurt, even though he was fourteen.  It was something he was deeply insecure about- and something his classmates tended to take advantage of. 

            “Wendy,” John mused, spooning his own potatoes onto his plate, “Hansel could have seen something.  There’s definitely been stranger things in this town.”  John, at seventeen, towered over his older sister. Wendy stood a mere five four to his five nine, and just as she had to fill the role of Mother with Mary Darling lost to madness, John did his best to fill the role of Father.  Still, while he physically might echo their father, he was still a child.  Wendy, at nineteen, knew that better than anyone. 

            So she stood up to his posturing and raised an eyebrow: “If you’re referring to the Infestation, I highly doubt it.  If we suddenly had werewolves on top of vampires, I don’t think even Mayor Mills would be able to save us.”  The last part of her sentence went unsaid:             They’d just nuke us.

            John frowned, though he didn’t rebuke her.  Many of the citizens had wondered why the President had yet to to destroy Storybrooke.  It would be the quickest, most efficient way to end the Infestation- though it would murder innocent civilians in the process.  There seemed to be a stalemate in the matter in Congress (where Regina had friends in high places), and of course the Church had given its opinion that the death of innocents was never acceptable.  Wendy herself privately wondered if the nuclear option might have been better.  At least that death would be quicker, rather than the slow waiting they all endured as vampires roamed the town, searching for victims. 

            Though of course she’d never voice that opinion to John and Michael.

            Instead, Wendy tried to put on a hint of hope for them over the years.  After dinner, when they’d all showered and readied for bed, she’d told them stories.  Stories of the world outside, stories of the lives they’d lead when the curfew was lifted, the places they’d go.  Tales of college, and travels in the Caribbean.  They’d ski again, and sail ships, and visit jungles so vast and teeming with flowers that one could hardly fathom the myriad scents.  Yet as they all grew older, sometimes, the hope felt more and more like fantasy.   At that point- about a year ago now -John and Michael asked her for stories about the vampires.

            So Wendy told them.  Some of the stories she’d borrowed from the town’s library, enlisting the librarian’s help in finding new legends (Isabella, for all her kindness, apparently had a fondness for horror).  Others she simply made up on her own, adding details here and there.  She had no idea where they came from, but John and Michael were always an enthusiastic audience until they fell into an exhausted, fitful sleep.

 That fateful night, after Michael had been sufficiently distracted from werewolves and instead told stories of vampires prowling about, a heat wave seemed determined to keep the siblings awake.  The news had advised the townspeople to use their air conditioning for the next week (the National Guard, in addition to keeping the town citizens trapped, also ensured their electricity, water, and food did not dwindle- a poor trade, Wendy suspected, for keeping them imprisoned with vampires), but of course that hadn’t been an option for the Darlings.   And while the Guard kept existing work functioning, they had never permitted new construction or contractors into Storybrooke.  Even if they wanted air conditioning, it would never be allowed.

Wendy and her brothers had fans, but they merely served to push hot air over their beds.  She’d eventually grown frustrated, turning hers off.  John and Michael had left theirs running, the air in their room humid and sticky.  Sweat beaded down Wendy’s skin, forcing her nightgown to cling to her body.  A light cotton, it was the thinnest clothing she owned- something that ought to keep her cool.  But even it was struggling in such extraordinary circumstances.

She did her best to imagine that she was in the Arctic- another place her brothers had once fantasized about going to; Michael had always wanted to see a polar bear –but for once, even her powers of pretend were meager.  Thinking of snow only served to emphasize how boiling the room actually was.  

Then, blasphemously, Wendy had an idea:

What if she opened the window?

It was an idea she should have discarded immediately.  Opening the window was not just dangerous, it was forbidden.   Their family- their entire town –hadn’t opened a window a night for nearly fifteen years.  It was how they were safe.  If they couldn’t keep vampires out of the town, at least they could be kept out of their houses.  The window had to stay closed.  It had to. 

Yet instead of reminding herself of this critical tenet, Wendy found herself rising to her feet.  The white sheet was already a tangled pile rumpled at the base of her bed, and she didn’t bother reaching for her robe (lest the heat get any worse).  Instead, she approached the window nearest her bed, bare feet creaking on the old wooden floors.  As if she were following a siren’s call, she stepped closer and closer, until her nose was nearly pressed up against the old glass.

The leaves on the tree outside were moving. 

There was a breeze.

She swallowed the sob that threatened to escape her at that temptation.  How much better would fresh air be than those horrid fans?    Could she even fathom it?  Wendy’s fingers paused at the windowsill as she cast quick glances back at her brothers, each doing his best to curl up in bed.  Michael had cast his blankets to the floor, while John had stripped down to his shirt.  Each had his eyes squeezed tightly shut, stuck in some tortured in-between where perhaps their dreams might be better than the nightmare that was their reality.  But they had to have a restful sleep to get even a chance of that.  John and Michael’s faces were openly perspiring.  Nothing sounded more comforting than a cool summer’s wind, the secret ingredient, she was sure, to a good dream.  But the rules that had been drummed into her were hard to let go of:

            Always lock the doors.

            Bar the windows.

            Never open either until sunrise, and keep them closed all night.

            “That’s the only way to keep safe,” Wendy whispered to herself.  But as her fingers brushed against the brass lock, the wood itself seemed to moan in protest.  It was sweltering, and this heat couldn’t be good for John or Michael- let alone their ailing mother.  Would the briefest of openings really be so bad?  Just a tiny sliver, enough to let in a wisp of fresh air?

            It sounded heavenly.

            Besides, vampires could not enter uninvited.  Cracking a window was hardly an invitation.  And if she kept the lights down…maybe they wouldn’t notice. 

            Rumor said they were typically preoccupied this time of night anyway.

            Heart pounding, hardly daring to breathe, Wendy undid the latch.  She pushed the window slightly, and the squeak it emitted sounded loud as a bomb to her.  But while her pulse thundered in her ears, no vampires came running.  There was only the great oak tree rustling outside her window.  The moon shone against the black sky behind it, stars glittering as if they knew a secret she’d yet to discover. 

            And as the wind swept across her cheek like a lover’s caress, sweet relief flooded her.