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Berniece Leonhardt
I'm not sure how to describe this "Peter Pan" to you. It's so different from what I expected. I walked in anticipating a sweet kiddie fantasy and was surprised to find a film that takes its story very seriously indeed, thank you, and even allows a glimpse of underlying sadness. To be Peter Pan is fun for a day or a year, but can it be fun forever? Peter is trapped in Groundhog Day, repeating the same adventures, forever faced with the tiresome Capt. Hook, always shackled to Tinker Bell, who means well but would get on your nerves if you took a three-day bus trip with her.
"Peter," asks Wendy, "what are your real feelings?" Those are precisely what Peter is unable to share. This expensive new production, shot in Australia and unveiling a young unknown as the beautiful Wendy, is aware of the latent sexuality between the two characters, and Peter is a little scared of that. They are at precisely the age when it is time to share their first real kiss -- and they do so, astonishing the other characters (they've never seen that before -- not in the cartoon, not on the stage -- never!).
The movie has been directed by P.J. Hogan, best known for the Julia Roberts comedy "My Best Friend's Wedding." Here he stays closer to the J.M. Barrie book, which is about to celebrate its centenary, and also closer to the book's buried themes, which are sidestepped by most versions of "Peter Pan." When a muscular and bare-chested gamin appears on the windowsill of the prettiest 12-1/2-year-old in London and asks her to fly away from home and family to join with the Lost Boys in Neverland, he is exactly the kind of strange man her mother should have warned her about. When the other major player in Neverland is the one-armed Capt. Hook, who takes an uncomfortably acute interest in both Peter and Wendy, there's enough inspiration here to have Freud gnawing on his cigar.
It's not that the movie is overtly sexual; it's just that the sensuality is there, and the other versions have pretended that it was not. The live action contributes to the new focus; Peter Pan is played by Jeremy Sumpter, who was so effective in Bill Paxton's "Frailty," and Wendy Darling is played by Rachel Hurd-Wood, who was selected at an open casting call and is delightful in her first role. They're attractive young people in roles that in the past have been played by such actors as Robin Williams and Mary Martin, and there is chemistry on the screen.
The special effects of course are endless, but there is a method to their excess. The movie's not simply a riot of pretty pictures, but begins with a Neverland that seems overgrown and pungent -- more like Louisiana than Middle-earth. There is a vast, gloomy castle and all manner of paths into the darkness, but then scenes will turn as delicate as "A Midsummer Night's Dream." At a point when lesser films would be giving us swashbuckling by the numbers, Peter and Wendy dance in mid-air, emulating the fairy ballet.
As the film narrows into its crucial themes, we realize there are two: Wendy's desire to free Peter Pan from eternal boyhood, and Hook's envy of the affection they have for each other. It is no accident that the poison made of droplets from Hooks' red eye consists of envy, malice and disappointment.
Capt. Hook and John Darling are both played by Jason Isaacs, in a dual role made traditional by decades of holiday pantomimes; each character is short on qualities the other has in abundance. Hook is all gnash and bluster, while John Darling is so shy, he can hardly talk to himself in the mirror. Mrs. Darling (Olivia Williams), mother of Wendy and her two younger brothers, seems awfully composed during her long nights by the open window, waiting for her children to return, but maybe she has seen the earlier versions.
Wendy finds a role for herself in Neverland. It's touching, the way the Lost Boys so desperately want to be found, and crowd around Wendy, asking her to be their mother. (What does a mother do? "Tell us a story!") Later, when the Lost Boys join Wendy and her brothers John and Michael back home in their bedroom, they ask Mrs. Darling to be their mother, and she agrees, although when Smee (Richard Briers) arrives late and is motherless, the new character of Aunt Millicent (Lynn Redgrave) steps in joyfully.
It was Aunt Millicent who really started all the trouble, by observing that Wendy was not a girl any more, and offering to take her into hand and make her a woman. This offer is vaguely alarming to Wendy, and what Peter offers her is the chance to drift in her pre-adolescent dream forever. What she offers him is a change to grow up. "To grow up is such a barbarous business," Hook observes. "Think of the inconvenience -- and the pimples!"
DreamWorks Animation has delivered no shortage of fantastic villains over its decades-long career, particularly from the Shrek franchise with Lord Farquard (John Lithgow), the Fairy Godmother (Jennifer Saunders), and Rumpelstiltskin (Walt Dohrn). There are of course examples from their other films as well, like the complex Ramesses (Ralph Fiennes) from The Prince of Egypt and the deranged Lord Shen from Kung Fu Panda 2. The acclaimed studio's hit Puss in Boots: The Last Wish is already worthy of being called a modern animated masterpiece for its gorgeous art style, hysterical sense of humor, and surprisingly mature themes on mortality, but the foes that Puss (Antonio Banderas) and his friends face push the sequel into a whole other tier altogether. The variety of the antagonistic forces is also a big plus, with the sympathetic Goldilocks (Florence Pugh) and her crime family of the Three Bears, the power-mad and irredeemable Big Jack Horner (John Mulaney), and one final main villain who completely steals the show.
Puss first meets The Wolf after being told by the town veterinarian that he is down to his ninth life, meaning if he dies again, there's no coming back. Puss isn't bothered by this though, as he goes down to his favorite bar to relax and drink some milk to avoid his problems. That attempt to deflect the serious news is suddenly interrupted by a sinister, melodic whistle. The source of that whistle is coming from a mysterious hooded figure, who appears seemingly out of nowhere and sits right next to Puss. The menacing figure claims to be a fan, but when he asks Puss to sign a wanted poster specifically where it says "DEAD," it's clear that he's got something else in mind.
Believing this is just another bounty hunter trying to collect a reward on him, Puss triumphantly draws his sword, only to have it immediately swatted away by The Wolf. The two have a duel, but it's one that Puss is losing the entire time, with The Wolf somehow calculating and predicting every single move he makes. The fight concludes when The Wolf scratches Puss's forehead, and a stream of blood (yes, blood, in a PG animated film) drips down his face. As this painful realization that his demise will be permanent dawns on him, The Wolf picks up the scent of the blood and gets eerily excited to dispatch the cat, dragging his twin sickles across the floor as sparks fly in a shot that looks straight out of a horror film. The horrific beast orders Puss to pick up his sword so he can finish the job, but our hero flees out of fear instead. The Wolf could easily chase him down right then and there, but if he's waited this long to take down the legendary Puss in Boots, he can wait a little longer.
We'll get back to how The Wolf factors into the plot of The Last Wish in a second, but we would be remiss not to talk about Wagner Moura's incredible performance. Giving a homicidal wolf the voice of Pablo Escobar is scary enough, but Moura injects so much personality into what easily could have been a standard goon. Every line of dialogue that escapes his fanged jaw is adorned with menacing charisma and unnerving sarcasm, giving off the keen sense that whatever his goal is, he's thoroughly enjoying it. Moura's performance, like several of his other co-stars, also maintains the actor's Hispanic heritage, with some of his most memorable lines being spoken in Spanish.
On paper, the design of The Wolf sounds almost generic. A pitch black hood, piercing red eyes, fancy curved blades ... none of these are exactly new ideas for how to design a villain. Yet, and maybe this is just because of the stellar animation and lighting, but the design choices used here all just work in tandem to create a memorable appearance. Those crimson eyes work particularly well, looking straight into the soul of the audience and properly contrasting with The Wolf's white fur and black cloak. The character's outfit and blades also make even more sense when The Wolf finally reveals who he really is.
Puss had the boots scared off of him during his first encounter with The Wolf, and while our hero does get back on the saddle again (minus his signature sword that he lost in the bar duel), it's clear that the cloaked predator hasn't given the chase up yet. Everywhere Puss's journey takes him, The Wolf is somehow able to follow him every step of the way. It seems like he could engage pretty easily, but instead, he just watched from the shadows with an unblinking stare and continuing to whistle that sinister tune. The canine pursuer is clearly amused by Puss's vain quest to wish for more lives.
Eventually, the so-called bounty hunter catches up to Puss for another dialogue exchange, where he drops a bombshell reveal. This Wolf is no ordinary mercenary, but is actually Death incarnate, and he doesn't mean that metaphorically. He is literally the spirit of Death himself, and he's spent years watching Puss make a mockery of him. As Puss continually "laughs in the face of death," he treats his last eight lives as if they were completely disposable, not treating them with nearly enough seriousness or urgency. Death reveals that this is a personal grudge with Puss, showing that his hatred of the titular protagonist goes far beyond a superstitious rivalry between dogs and cats. From Death's perspective, Puss has repeatedly cheated the primordial deity, watching every single time he has died in a moronic way and then come back. Now, Puss's time has officially run out, and Death is coming for him.
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