April 2004 in den deutschen Kinos. Il réussira à s'échapper, et se mettra à la recherche des Fées en espérant qu'elles l'aident à retrouver sa mère. Jeden Abend erzählt sie ihren Brüdern von geheimnisvollen Welten, bösen Piraten und anderen Fantasiewesen. De grote krokodil is volledig door de computer gemaakt en speelt slechts mee in enkele scènes, waar hij meestal maar wat moet bewegen of zijn ogen of muil open moet doen. Barrie had not yet published the definitive dramatic text of, , a black and white silent film was directed by Herbert Brenon. 18Finally, P.J. Also, in Steven Spielberg Mythe and Chaos (Paris: Horizon Illimité, 2003), Jean-Pierre Godard reports: « Il [Spielberg] veut refaire  »du vieux« , revenir aux films […] avec des décors tout studio. J. M. Barrie’s Peter Pan In And Out of Time: A Children’s Classic at 100. In chapters 13–18, titled "Peter Pan in Kensington Gardens", Peter is a seven-day-old baby and has flown from his nursery to Kensington Gardens in London, where the fairies and birds taught him to fly. This biopic focuses on the period when the playwright found the inspiration for, in his games with the Llewelyn boys and highlights some key moments in the preparation of the premiere at the Duke of York Theatre. 25The director, while describing the state of mind required to enjoy properly his film, implicitly alludes to the more general concept of “suspension of disbelief” which was already at the center of the English poet Samuel T. Coleridge’s attention as soon as the beginning of the 19th century. It may be yet another strategy to leave more room for Hook who definitely steals the show. Second Star to the Right: Peter Pan in the Popular Imagination. At times, Hoffman might be doing a parody of those effete, decadent British villains of the '50s and early '60s. Peter kan haar redden door te zeggen dat hij wel in elfjes gelooft. In de film bezoekt een jonge jongen, Peter Pan (Jeremy Sumpter), van tijd tot tijd zijn geboorteplaats Londen. (N.J.: Rutgers University Press, 2009) 196. Pan is a 2015 American fantasy film directed by Joe Wright and written by Jason Fuchs. 21 In the novel, J.M Barrie elaborates on each pirate, giving them a background and a few striking features. Hanson, Bruce K. The Peter Pan Chronicles – The Nearly One-Hundred-Year History of the Boy Who Wouldn’t Grow Up. Wendy bietet Peter an, mit ihnen zu kommen, aber er hält daran fest, immer ein Junge bleiben zu wollen. Nach und nach begreift Wendy jedoch, dass es nicht nur Vorteile hat, für immer ein Kind zu bleiben, da man dann wohl nie Gefühle wie Liebe verstehen wird. 1 In the film, the camera remains static and offers a pre-eminently frontal and panoramic vision of the scenes placing the viewers in a remote position similar to the one of the audience in the orchestra of a theatre. Gleiberman describes Hoffman in his role of Hook: « Dustin Hoffman is hidden under pounds of ornate costuming – flowing black musketeer curls, a 17th-century mariner's coat with lace shooting out the cuffs, blocky-elegant shoes with shiny red heels. Haak kan hem bijna verslaan maar Wendy laat zien dat ze van hem houdt en zo wordt Peter sterker dan ooit. Robin Williams, Dustin Hoffman and Julia Roberts. MLA International Bibliography. While his crew of pirates is hauling a chest, Hook comes out from behind the crest of a hill, strides into the frame, and scatters them. Er erlangt dadurch neue Energie, die er nutzt, Hook endgültig zu besiegen. Another example from this latest cinematographic adaptation is the image of Peter lying against a statue during the fight which takes place in Marooner’s Rock26. Hogan regisseerde de film geschreven door Michael Goldenberg en gebaseerd op het boek Peter and Wendy van J.M. Darling, Wendys Vater. Kindermädchen Nana, eine Bernhardinerhündin, darf nicht mehr ins Haus und ab dem nächsten Tag wird Wendy von ihrer strengen Tante erzogen. People pretend that they don’t realize it was impossible that it was there, that maybe someone built that and it’s just fine29. This sight generates pathos but also visually reminds viewers of Shakespeare’s character Puck with his pipes, or even of a pastoral painting. People pretend that they don’t realize it was impossible that it was there, that maybe someone built that and it’s just fine. '[…] The camera swings around to view the man from behind, as the mantra continues and the captain takes a deep bow. The Man Who Was Peter Pan (1998) by Allan Knee. “Peter Pan turns 100”, Smithsonian Washington: Dec 2004. vol. Academic Research Library Proquest Mar.19, 2009. It was an immediate and unanimous success everywhere it went from the very beginning. In traditional drama, it would have been considered a transgression of decorum although it was not unusual: in Shakespeare’s plays, for instance, characters were often ferociously amputated or slain on stage. In Brenon’s silent film, the Captain’s entry is undeniably less prolonged and elaborated but it is the only cinematic version in which, respectfully to Barrie’s text, the character does not first appear on his boat but ashore. Jackson, Wilfried , Hamilton Luske and Clyde Geronimi dir. Barrie. Indeed, for the creator of Peter Pan, the then revolutionary medium of cinema should have been able to project his fairy tale still further into a world of magic and illusion: he thought that the flying sequence and Never Land, in particular, deserved to be depicted more vividly. » Andrew Birkins, « Peter Pan and his Creator », http://www.jmbarrie.co.uk/boycastaways/ab_on_JMB_RSC.html, « The most cinematic example of the former [time's passage] emerges in director Steven Spielberg's lavish production of. (RL), Jetzt auf Sky Ticket und 2 weiteren Anbietern anschauen, Die besten Streaming-Tipps gibt's im Moviepilot-Podcast Streamgestöber, Peter Pan - Die vielfältigen Versionen des Kinder-Stars, Ostersonntag im TV - Unsere Film-Tipps für Ostern 2018. Peter will die Kinder retten und es kommt zum finalen Kampf zwischen Hook und Peter. He is grandiloquent – he rolls his r’s the old English way, which perfectly fits Barrie’s description of the character as educated and even sophisticated – and he unleashes his wrath against Peter Pan, throwing a table away and threatening the clumsy Smee. Washington: Nov 8, 2004. vol. Il était une fois Walt Disney. So let's give him a very big hand 'cause he only got one. See illustrations 13,14. It is epitomized in the opening of Hook in which the hero, Peter Banning, a grown-up yuppie version of Barrie’s Peter, attends the school play of his daughter Moira, who performs the role of Wendy – her grandmother in the film. Scott, A.O.“Even in Fabled Neverland, A World of Contradictions”, The New York Times (Late Edition (East Coast)). Der Film startete am 1. Es kostete ihn Monate hartes Training (inklusive Fechtstunden) bis er der Rolle auch sportlich gerecht wurde; um „fliegen“ zu können (d. h. stundenlang an einem Drahtseil zu hängen), brauchte er kräftige Rückenmuskeln. Ernest Torrence was a Scottish actor who appeared in several Hollywood films, both silent and talkies. He is never more sinister than when he is most polite, and the elegance of his diction, the distinction of his demeanour, show him one of a different class from his crew, a solitary among uncultured companions […]. The amazing setting Barrie has prepared completely transcends the tale being told, but it is only after Sylvia, her reticent mother and the children declare their faith in fairies – and by extension in the play and storytelling in general – that they are rewarded with an extraordinary utopic landscape inhabited with gracious winged women, some of them dancing and others swinging peacefully on lianas. In this version, it is James Hook’s sinister and virile facets which are accentuated. But, of course, as Susan Ohmer points out, the animated medium offers the possibility to go beyond what was presented on stage and to transcend these theatrical features: Similarly the confrontation at the end of the film is a tour de force of cinematic techniques: rapid editing, multiple and constantly shifting perspectives of the ship, the rope and the deck, characters leaping and flying and the music synchronized with them. Le scénario est basé sur la pièce de théâtre et le roman Peter et Wendy (dont le titre complet est Peter Pan, ou le garçon qui ne voulait pas grandir), de l'écrivain écossais J. M. Barrie.. “Peter Pan Complex: Marc Forster Enters J. M. Barrie’s World with ’Finding Neverland’.” Film Journal International 107.10 (Oct. 2004): 14. He has an iron hook instead of a right hand, and it is with this he claws. “The pain behind Peter Pan”, U.S. News & World Report. 225. It is only one of many objects Spielberg uses to underscore the passing of time9. In the play much of the action takes places inside a cabin, an offstage space, and the dramatic climax of the fight is achieved largely through sound effects. So trifft sie die Entscheidung, mit ihren Brüdern Nimmerland wieder zu verlassen. The same applied to the following quotations. Charlotte Wensierski, « Theatrical aspects in the cinematographic adaptations of Peter Pan: reminders of the initial form of the story », Belphégor [Online], 10-3 | 2011, Online since 10 January 2013, connection on 28 September 2020. Barrie. It brings to mind J.M. (108). It is probable it was partly due to material and technical reasons at the time, but the director might also have purposefully wanted this. In dem Film aus dem Jahr 2003 führte P. J. Hogan (Die Hochzeit meines besten Freundes, Muriels Hochzeit) Regie. And in my dream I was magnanimous, full of forgiveness.” He pauses to drink from a gilded cup, his long black hair cascading down his naked torso. 5The film critic concedes that the artificial look of the sets, whether it is considered a success or not, was probably something done intentionally. Even though Forster’s effort has often been described as a toned down and romantic depiction of Barrie’s existence3, it is undeniable that the young director created a poetic film which defends the power of invention, dream and creativity – notably by using sophisticated visual effects which are meant to visualize the mechanisms of Barrie’s imagination. Der Film als Bestes Familiendrama und Jeremy Sumpter gewannen im Jahr 2004 den Young Artist Award. Auf einmal stehen die Verlorenen Jungs auch noch in der Tür und Wendy überredet ihre Eltern, sie behalten zu dürfen. Im Nimmerland angekommen spielt Wendy die Mutter für die verlorenen Jungs. The same applied to the following quotations. Le tournage a lieu en Angleterre, notamment dans les Studios Leavesden, dans la Stowe School de Buckingham, à Bedford et à Londres (South Kensington, West Kensington)[13]. (N.J.: Rutgers University Press, 2009) 196. Finally, P.J. Hence appearance and clothes seem to take special values and functions just like in drama. Actually, this scenery is so sophisticated that one can hardly believe it fits in the garden, nor can one imagine that it was possible to achieve such realistic sets at the time. Reading: Penguin Books, 1995. "- Peter Pan. Hook. Hogan, the production designer Roger Ford and the cinematographer Donald M. McAlpine (who also shot Baz Luhrmann’s”Moulin Rouge“) conjure a Neverland of lurid purple shadows and thick brightly colored foliage.”A.O. In the novel, J.M Barrie elaborates on each pirate, giving them a background and a few striking fea, In Disney’s animated film, Captain Hook looks more like a dandy buffoon than a comic character which encompasses subtle elements of pathos. It is also a conspicuous way for the directors to make their presence felt and hint at the fact they organize information and display actions in a certain way. He is wearing a lace shirt with frilly sleeves, a long coat, a tricorn hat and a pistol tucked prominently into his belt. Spielberg must have wanted everything to look cheesy on purpose…, The film critic concedes that the artificial look of the sets, whether it is considered a success or not, was probably something done intentionally. En décembre 2013, Warner Bros. déclare avoir acheté le script et annonce une sortie pour le 26 juin 2015, avec Joe Wright comme réalisateur[5]. He symbolically dresses Peter Banning’s son Jack exactly like himself when he holds him under his influence and yearns to become a father-like figure. Perf. 15 « In the 1850s elements of burlesque theatre were introduced into pantomime […] new stock characters like the comic Dame played by a man in drag. This position is reinforced by the framing which isolates him with medium shots, underlining his facial expressions and overdone gestures. Captain Hook, in particular, is rigged out in long curls, foppish and ornate clothing like the red and gold braided waistcoat he has on in this scene, and his eyes are underlined with mascara, . At the end of the scene, Sylvia walks into the magical world her garden has become, and the director uses this moment metaphorically to suggest her death. Another effective way to insist on the dramatic inheritance in all the adaptations is to look at Captain James Hook: the way his first entrance is managed and the actor’s performance itself are the most important histrionic element in the films. Actually, this scenery is so sophisticated that one can hardly believe it fits in the garden, nor can one imagine that it was possible to achieve such realistic sets at the time30. New York: Carol Publishing Book, 1993. Retrouvez tout le casting du film Peter Pan réalisé par P.J. Peter Hollindale, a lecturer specialized in literature for children who wrote the preface from the 1999 Oxford Classic's edition of the play. 19, 2009. 31 The Man Who Was Peter Pan (1998) by Allan Knee. J. M. Barrie's Peter Pan In And Out of Time: A Children's Classic at 100. . Another crucial set that carries an essential message in the film is the reproduction of Neverland at the Llewelyn Davies’ house. “Mr. It is only one of many objects Spielberg uses to underscore the passing of time, . , it is undeniable that the young director created a poetic film which defends the power of invention, dream and creativity – notably by using sophisticated visual effects which are meant to visualize the mechanisms of Barrie’s imagination. Gleiberman describes Hoffman in his role of Hook: « Dustin Hoffman is hidd, For both quotations, Friedman refers to Yeoman, « In the 1850s elements of burlesque theatre were introduced into pantomime […] new stock character, Hook clearly enjoys and keeps the ceremony surrounding his appearance alive: “Where’s the carpet Smee?”, he enquires of his obsequious sailor at some point. Hence, through this “mise en scene” which merges camera movements, actors’ direction, settings and costumes, Spielberg builds up an atmosphere which reminds us of drama without neglecting the specificities of cinema. Props are important, as signaled by the close up on Smee’s clock, but also the captain’s never-seen-before cumbersome leather and metal shoulder contraption on which is eventually affixed and screwed the legendary hook. Brenon, Herbert dir. Paramount Pictures 1924. He is described as a "betwixt-and-between" a boy and a bird. In Brenon’s silent film, the Captain’s entry is undeniably less prolonged and elaborated but it is the only cinematic version in which, respectfully to Barrie’s text, the character does not first appear on his boat but ashore. Official Sites Hence appearance and clothes seem to take special values and functions just like in drama. A few seconds later, the first of a series of encounters between Hook and the crocodile occurs. Finding Neverland. The amazing setting Barrie has prepared completely transcends the tale being told, but it is only after Sylvia, her reticent mother and the children declare their faith in fairies – and by extension in the play and storytelling in general – that they are rewarded with an extraordinary utopic landscape inhabited with gracious winged women, some of them dancing and others swinging peacefully on lianas. Ed. Spielberg must have wanted everything to look cheesy on purpose…4. Pan est un film fantastique américain réalisé par Joe Wright, sorti en 2015. Peter vraagt haar of ze meekomt naar Neverland om daar een soort "moeder" te zijn voor zijn "clubje" van de Slimme Jongens. is a charming but heavily fictionalized concoction, playing fast-and-loose with the facts of Barrie's life in order to tell a simpler, more romantic story. I give you CAPTAIN JAMES HOOOOOK!' “Peter Pan and his Creator” http://www.jmbarrie.co.uk/boycastaways/ab_on_JMB_RSC.html, Gleiberman, Owen. 12James Hook is described as such in J.M. Er fliegt zurück zum Haus der Familie Darling und stellt fest, dass dort immer noch Wendys Mutter am Fenster auf die Rückkehr ihrer Kinder wartet. Green, Roger Lancelyn. 2 As quoted by Roger Lancelyn Green in Fifty Years of Peter Pan (London: Peter Davies, 1954) 170. 7Norman Garwood, the production design supervisor on Hook, explains in an interview: “Steven avait en tête un film très théâtral, dans le sens d’une espèce de studio hollywoodien très classique. This efficiently summarizes the treatment Walt Disney and his animators had in store for the character of Hook, . Actually, in this sequence, the pirates resemble an audience and Peter an actor putting on costumes and adopting new gestures so he will not be identify as an intruder. Belphégor est mis à disposition selon les termes de la Licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Barrie and his masterpiece entitled Finding Neverland. It is no wonder Forster’s film was mostly praised for its visual style and most of the award nominations and wins for this film were collected in categories such as “Achievement in Art Direction” or “Excellence in Production Design”. Barrie's behaviour, throughout his life, betrayed a desire to leave his writings unstable and irresolute as he kept delaying the publication of the various texts for, Regards croisés sur la culture médiatique européenne, Mutations des légitimités dans les productions culturelles contemporaines, 1936: les Jeux olympiques dans la presse internationale, Distinctions That Matter/Fictions Économiques, A digital resources portal for the humanities and social sciences, Spielberg’s tribute to theatrical sceneries, The Character Of Captain Hook Filtered Through Disney’s Slapstick Aesthetic, The Presentation Of A Sinister And Virile Captain Hook In Hogan’s, The Scenery Of Neverland At The Llewelyns’ House, http://journals.openedition.org/belphegor/docannexe/image/397/img-1.png, http://journals.openedition.org/belphegor/docannexe/image/397/img-2.jpg, http://journals.openedition.org/belphegor/docannexe/image/397/img-3.jpg, http://journals.openedition.org/belphegor/docannexe/image/397/img-4.jpg, http://journals.openedition.org/belphegor/docannexe/image/397/img-5.jpg, http://journals.openedition.org/belphegor/docannexe/image/397/img-6.jpg, http://journals.openedition.org/belphegor/docannexe/image/397/img-7.jpg, http://journals.openedition.org/belphegor/docannexe/image/397/img-8.jpg, http://journals.openedition.org/belphegor/docannexe/image/397/img-9.jpg, http://journals.openedition.org/belphegor/docannexe/image/397/img-10.jpg, http://journals.openedition.org/belphegor/docannexe/image/397/img-11.jpg, http://journals.openedition.org/belphegor/docannexe/image/397/img-12.jpg, http://journals.openedition.org/belphegor/docannexe/image/397/img-13.jpg, http://journals.openedition.org/belphegor/docannexe/image/397/img-14.jpg, http://journals.openedition.org/belphegor/docannexe/image/397/img-15.jpg, http://journals.openedition.org/belphegor/docannexe/image/397/img-16.jpg, http://journals.openedition.org/belphegor/docannexe/image/397/img-17.jpg, http://journals.openedition.org/belphegor/docannexe/image/397/img-18.jpg, http://journals.openedition.org/belphegor/docannexe/image/397/img-19.jpg, http://journals.openedition.org/belphegor/docannexe/image/397/img-20.jpg, http://journals.openedition.org/belphegor/docannexe/image/397/img-21.jpg, http://journals.openedition.org/belphegor/docannexe/image/397/img-22.jpg, http://journals.openedition.org/belphegor/docannexe/image/397/img-23.jpg, http://journals.openedition.org/belphegor/docannexe/image/397/img-24.jpg, http://journals.openedition.org/belphegor/docannexe/image/397/img-25.jpg, http://journals.openedition.org/belphegor/docannexe/image/397/img-26.jpg, http://journals.openedition.org/belphegor/docannexe/image/397/img-27.jpg, http://journals.openedition.org/belphegor/docannexe/image/397/img-28.jpg, Licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International, Catalogue of 546 journals.