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Peter Pan | ||||
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R E V I E W B Y R I C H C L I N E |
dir PJ Hogan scr PJ Hogan, Michael Goldenberg with Rachel Hurd-Wood, Jeremy Sumpter, Jason Isaacs, Olivia Williams, Ludivine Sagnier, Lynn Redgrave, Richard Briers, Geoffrey Palmer, Harry Newell, Freddie Popplewell, Harry Eden, Carsen Gray release US 25.Dec.03; UK 26.Dec.03 Universal 03/Australia 1h53 ![]() Join the struggle against adulthood: Hurd-Wood and Sumpter ![]() ![]() ![]() ![]() ![]() ![]() ![]() | |||
Aimed squarely at the child within, the film reaches inside us, grabs hold and never lets go (Spielberg tried--and failed--to do this with Hook). Along the way, the clever script combines humour that's both sophisticated and silly with drama and adventure that's surprisingly strong and emotional. The production design is remarkable as well, hilariously capturing the extremes of Victoriana and the outlandish otherworldliness of Neverland without trying to be realistic or gritty. Those things are left to the characters, and the actors all manage shade the colourful excesses with raw authenticity. Isaacs is terrific in both roles--pinched and nervous in "real" life and brutally camp as Hook. Williams is absolutely lovely in a textured and often silent performance, while Redgrave is an absolute hoot as the overdramatic auntie. She and the sardonic Briers (as Hook's, erm, right-hand man Smee) get all the biggest laughs. Meanwhile, the children strike exactly the right notes, and Sagnier delivers a terrific silent movie-type turn as the tetchy Tink. It's also wonderful to see that in a film full of spectacular effects and ingenious touches (a fabulous dog-nanny, creepy mermaids, a dazzling fairy dance), the filmmakers didn't scrimp on the story or themes. Hogan takes a gentle but well-aimed swipe at the British stiff upper lip, as well as misguided Western notions of independence, progress and maturity. He astonishes us visually, reminding us that this is a storybook fantasy while still sweeping us right into it. He touches on more universal ideas of responsibility, jealousy and revenge without pulling any punches, then constantly undercuts sentimentality, letting us feel the emotion without wallowing in it. And he also packs in several layers of meaning that will touch children of all ages. Whether they want to grow up or not.
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