It is probably because it originated from oral narratives and was generically reconfigured by its very creator32 from drama to literature that Peter Pan has been the ideal vector for directors to experiment with their art and offer hybrid aesthetics33. Green, Roger Lancelyn. While insisting on the notion of an interaction between cinema and drama in the aesthetic of his film, Marc Forster, who was the last to release a major production of Peter Pan, puts the cinematic rewriting and remodeling of Peter Pan into perspective. So trifft sie die Entscheidung, mit ihren Brüdern Nimmerland wieder zu verlassen. Forster, Marc dir. Der Film erhielt 2004 zwei Nominierungen für den Visual Effects Society Award und eine für den Broadcast Film Critics Association Award. Die fünf verlorenen Jungs sind als Babys aus dem Kinderwagen gefallen und landeten schließlich in Nimmerland. The variations of content and form Peter Pan underwent were, I argue, greatly instrumental in insuring the tale’s pertinence for contemporary audiences and therefore in keeping the interest in Peter Pan alive throughout the years. Peter Pan was the final Disney animated feature released through RKO before Walt Disney founded his own distribution company, Buen… 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. 2 As quoted by Roger Lancelyn Green in Fifty Years of Peter Pan (London: Peter Davies, 1954) 170. Finding Neverland. In his essay « Barrie's Immortal Pirate in Fiction and Film », Lester D. Friedman similarly compares Captain Hook's entrance in Spielberg's film to « the grandiose preambles spewed forth at a pro-wrestling match » and he quotes the film: « 'The cunning kingfish, the bad barracuda, a man so deep he's almost unfathomable, a man so quick he is even fast asleep. This biopic focuses on the period when the playwright found the inspiration for Peter Pan in his games with the Llewelyn boys and highlights some key moments in the preparation of the premiere at the Duke of York Theatre. “Peter Pan Complex: Marc Forster Enters J. M. Barrie’s World with ’Finding Neverland’.” Film Journal International 107.10 (Oct. 2004): 14. MLA International Bibliography. It has to be slapstick, bump-your-head, fall down, sees stars19”. Un article de Wikipédia, l'encyclopédie libre. » Andrew Birkins, « Peter Pan and his Creator » http://www.jmbarrie.co.uk/boycastaways/ab_on_JMB_RSC.html . URL: http://journals.openedition.org/belphegor/397; DOI: https://doi.org/10.4000/belphegor.397. Peter Hollindale.Oxford: Oxford World's Classics, 2006) XVIII. 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. is a charming but heavily fictionalized concoction, playing fast-and-loose with, Eighty years later, in 2004, director Marc Forster released a film on J.M. He often played villains. This sequence points at the essential role scenery or setting plays in the creation of illusion, insofar as spectators collaborate by suspending their disbelief. Im Nimmerland angekommen spielt Wendy die Mutter für die verlorenen Jungs. As Wendy Darling (Rachel Hurd-Wood) recounts stories to her brothers, John (Harry Newell) and Michael (Freddie Popplewell), she is visited by Peter Pan (Jeremy Sumpter). 12James Hook is described as such in J.M. In 1924, as J.M. » White xii. This “Mise en Abyme” is one more hint at the existence of a connecting thread – the one of the dramatic origins– binding all the adaptations. In addition, Friedman identifies “a subtle confounding of masculine and feminine attributes” in this character and he goes even further asserting that: “[…] the symbol of Hook’s appearance and personality points to a complex, undifferentiated and dark interrelation of masculine and feminine qualities, .” This kind of ambiguous character appeared frequently in pantomimes or even in the Commedia dell’arte and one cannot help but identify James Hook as a character extracted from such popular dramatic entertainments, . . The Man Who Was Peter Pan (1998) by Allan Knee. Bossy, Cyrille. Jackson, Wilfried , Hamilton Luske and Clyde Geronimi dir. For instance, at one point, one of the women is standing at a balcony made of wood and crimson velvet, leaning among garish red pearls curtains. Pan est un film fantastique américain réalisé par Joe Wright, sorti en 2015. Hogan’s handling of Hook’s presentation in 2003 conspicuously departs from his filmic forebears but is just as memorable. Robin Williams, Dustin Hoffman and Julia Roberts. Wendy will über das Angebot nachdenken, wobei sie feststellt, dass sie ihre Eltern mehr und mehr zu vergessen scheint. Die Synchronsprecher für die deutsche Fassung:, Vorlage:Rotten Tomatoes/Wartung/Verschiedene Kenner in Wikipedia und Wikidata, Freiwillige Selbstkontrolle der Filmwirtschaft, https://de.wikipedia.org/w/index.php?title=Peter_Pan_(2003)&oldid=191939970, „Creative Commons Attribution/Share Alike“. Its central element is the “Croc Clock”, a gigantic stuffed crocodile, undoubtedly the very one which used to terrify Hook and eventually succeeded in eating his prey in Barrie’s original tale. P.J. New York, N.Y.: Dec 25, 2003. p. E.5. Plana, Muriel. Peter Pan. For instance, to underscore fantasy visually, Hogan and his design team purposefully worked with blue colors and lights which give the film an artificial atmosphere, . « Peter Pan » films in review 4 (1953) 94 as quoted in Kavey 178. The scene occurs indoors and is dimly lit with candles24. Jason Isaacs and Jeremy Sumpter. It shows evidence of a successful dialogue amongst different arts, due to the fact that a cinema in its prime does not feel threatened by exterior aesthetics anymore. 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. 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. Warner Bros. tente de se défendre en expliquant qu'ils ont voulu créer un casting international et un monde multi-racial. Hogan’s handling of Hook’s presentation in 2003 conspicuously departs from his filmic forebears but is just as memorable. Barrie, Peter Pan and Other Plays (Ed. 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, . '[…] The camera swings around to view the man from behind, as the mantra continues and the captain takes a deep bow. Tristar Pictures, 1991. Hence appearance and clothes seem to take special values and functions just like in drama. 1 In the film, the camera remains static and offers a pre-eminently frontal and panoramic vision of t ; 2 As quoted by Roger Lancelyn Green in Fifty Years of Peter Pan (London: Peter Davies, 1954) 170.; 1 Before Peter Pan was published in the form of a novel one hundred years ago, J.M. Torrence also brought his talent to Broadway where he took part in musicals, operas and operettas such as The Night Boat, The Dove of Peace or Modest Suzanne in the 1920s. | The episodes with the captain seem to be so many occasions to celebrate the possibilities of animation. A disheveled Hook slumps head-down on a scarlet and gold throne-like chair at his desk, his unkempt hair spilling out and dominating the image. En décembre 2013, Warner Bros. déclare avoir acheté le script et annonce une sortie pour le 26 juin 2015, avec Joe Wright comme réalisateur. 11 Peter Hollindale, a lecturer specialized in literature for children who wrote the preface from the 1999 Oxford Classic's edition of the play Peter Pan, explained about Barrie that « he remains a strong, ostensibly self-denying but actually conspicuous persona between his creations and their audience. 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. Barrie’s published dramatic text: Cruellest jewel in that dark setting is Hook himself, cadaverous and blackavised, his hair dressed in long curls which look like black candles about to melt, his eyes blue as the forget-me-not and of a profound insensibility, save when he claws, at which red spot appears in them. A disheveled Hook slumps head-down on a scarlet and gold throne-like chair at his desk, his unkempt hair spilling out and dominating the image. 13 See illustrations 13,14. « Rooted in the Italian tradition of the Commedia dell' arte, the »panto« form began appearing on British playbills in the early eighteenth century […]. Une pétition est même lancée pour que la Warner engage des acteurs de couleur. Miramax Film, 2004. 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. 27 Personal transcription from the bonus material « La Magie de Neverland » (Making of) DVD Neverland. 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. Le paradoxe est que, dans ce rapprochement même des formes, les artistes (et ceux qui analyseront leurs oeuvres) pourront percevoir plus clairement ce qui reste de l'identité d'un art : devenus proches, cinéma, roman et théâtre doivent plus que jamais s'assurer de ce qui les rend uniques et irremplaçables... » Muriel Plana, Roman, théâtre, cinéma – Adaptations, hybridations et dialogues des arts (Paris : Bréal, 2004) « Avant-propos ». 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 Rock. Steven Spielberg - Un univers de jeux. When the Captain appears for the first time, he is gesticulating above a map, his two-cigar holder in his mouth blowing small puffs of smoke as he enumerates the different locations of his targets. N.J.: Rutgers University Press, 2009. . Godard, Jean-Pierre.“Hook”, in a Chapter extracted from his Book Steven Spielberg, Mythes & Chaos. Il travaillera avec d'autres orphelins de toutes époques, de tous pays, dans une mine pour Barbe Noire à la recherche du « pixom ». In de film bezoekt een jonge jongen, Peter Pan (Jeremy Sumpter), van tijd tot tijd zijn geboorteplaats Londen. A few seconds later, the first of a series of encounters between Hook and the crocodile occurs. Hook's voice, with its rolling British cadences, its echoes of Boris Karloff's lispy melancholy, is unexpectedly gentle, even fawning. – with the exception of the right-hand man Smee – but as part of a crowd or just “the crew” in the scenes on the boat. This “Mise en Abyme” is one more hint at the existence of a connecting thread – the one of the dramatic origins– binding all the adaptations. 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. 21Like Steven Spielberg before him, Marc Forster stated his intentions for the art direction and set decoration of Finding Neverland: “It was important to have both an old style, old Hollywood movie making where everything was built in stages and sets and then, at the same time, have this kind of new technology to play with and use it in a very elementary, childlike way27.”. Cyrille Bossy confirms this thesis in his book devoted to the American Director, I argue that in order to see the aesthetic of, « The most cinematic example of the former [time's passage] emerges in director Steven Spielberg's, The opulent baroque set of the pirates’ harbor, , for example, illustrates well the old-fashioned atmosphere the director tried to evoke. It was an immediate and unanimous success everywhere it went from the very beginning. The effect is like an entertainment park where each attraction is supposed to isolate you in a different world, even though it belongs to a larger environment. So let's give him a very big hand 'cause he only got one. It is probable it was partly due to material and technical reasons at the time, but the director might also have purposefully wanted this. This introduction provides an effective foretaste of what the audience should expect of the new Captain Hook: he is far from being as preposterous and endearing as Disney’s and is also far from Spielberg’s eccentric dandy. The other locations in Neverland look just as artificial: the forest where the Lost Boys live; the circuit they arrange to train Peter Banning, with its cardboard and plaster rocks; or even the small pool which contains the underwater world of the mermaids10. Hook’s fantastically huge galleon dominates the local dock, and the whole place is teeming with grinning pirates and bathed in overly bright fake sunshine. This efficiently summarizes the treatment Walt Disney and his animators had in store for the character of Hook20. Friedman describes him as an “operatic Hook”, probably because of his costume and the acting tradition Torrence belongs to. 18Finally, P.J. Academic Research Library Proquest Mar. 19This presentation relies on provocation. Außerdem wuchs er während der Dreharbeiten derartig schnell (20 cm), dass Wendys Fenster, durch das Peter in ihr Zimmer kommt, viermal erhöht werden musste, damit er sich nicht dauernd den Kopf stieß. Barrie. Barrie’s interventionist voice both in the script of the play and in the novel, Here is what Cyrille Bossy writes about the entrance of the Captain played by Dustin Hoffman in, Bossy 176. Barrie. Girveau, Bruno. '[…] The camera swings around to view the man from behind, as the mantra continues and the captain takes a deep bow. Vele dingen werden echter vervangen door de computer. 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. This sight generates pathos but also visually reminds viewers of Shakespeare’s character Puck with his pipes, or even of a pastoral painting. Hook wird schließlich von dem Krokodil verschluckt, das bereits seine Hand gefressen hat. In Neverland beleven ze verschillende avonturen met piraten, indianen en zeemeerminnen. 15Hook clearly enjoys and keeps the ceremony surrounding his appearance alive: “Where’s the carpet Smee?”, he enquires of his obsequious sailor at some point. While insisting on the notion of an interaction between cinema and drama in the aesthetic of his film, Marc Forster, who was the last to release a major production of, , puts the cinematic rewriting and remodeling of, into perspective. dir. It has to be slapstick, bump-your-head, fall down, sees stars, ”. 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. The same applied to the following quotations. Release Dates A holder of his own contrivance is in his mouth enabling him to smoke two cigars at once. It is a theatrical setting well fitted to such and overweening character. Brenon, Herbert dir. He speaks in a complaining tone and puts his arm on his forehead the way a fainting lady would. 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. and Friedman Lester D., Second Star to the Right: Peter Pan in the Popular Imagination. It is probable it was partly due to material and technical reasons at the time, but the director might also have purposefully wanted this. Jeden Abend erzählt sie ihren Brüdern von geheimnisvollen Welten, bösen Piraten und anderen Fantasiewesen. Another crucial set that carries an essential message in the film is the reproduction of Neverland at the Llewelyn Davies’ house. - Filmtitel, die einen Vornamen enthalten, Der Herr der Ringe: Die Rückkehr des Königs, Matrix-Quiz: 13 knifflige Fragen zur Sci-Fi-Reihe mit Keanu Reeves, Von Superman zu James Bond: Henry Cavill bringt sich wieder als 007 ins Spiel, Chaos bei Indiana Jones 5: Warum Steven Spielbergs Fortsetzung zerbrach, We Almost Lost Bochum - Die Geschichte von RAG. 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. Kommentare zu Peter Pan werden geladen... Pirates of the Caribbean - Fluch der Karibik 2, Pirates of the Caribbean - Am Ende der Welt, Pirates of the Caribbean - Fremde Gezeiten, Harry Potter und die Kammer des Schreckens, Die Chroniken von Narnia - Der König von Narnia, Harry Potter und der Gefangene von Askaban, Steht euer VORNAME auch auf dieser Liste? As in the other filmic adaptations, most of the attention is turned toward Hook while his pirates are not treated as individuals. . Perf. , explained about Barrie that « he remains a strong, ostensibly self-denying but actually conspicuous persona between his creations and their audience. Costumes and make-up are essential to Hook and his court: pirates wear earrings and cutlasses, brightly colored sashes and blunderbusses, ponytails and pistols. 27Finding Neverland, a film which is an adaptation in itself since inspired by a Broadway play31, was directed in 2004 as an homage to the centennial celebration of the first dramatic appearance of Peter Pan. This sequence points at the essential role scenery or setting plays in the creation of illusion, insofar as spectators collaborate by suspending their disbelief. September 2019 um 16:15 Uhr bearbeitet. It is epitomized in the opening of. Le script de Pan est présent sur la Black List de 2013, qui recense les scénarios de film sans studio. Peter Pan ist eine Realverfilmung des Theaterstückes von J. M. Barrie. Hiervoor werden de acteurs opgeleid. Barrie had not yet published the definitive dramatic text of Peter Pan, a black and white silent film was directed by Herbert Brenon. 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. For Friedman, this rendering of the character “amuses modern viewers” although Brenon’s James Hook represents “a menacing antagonist” for Peter and his first introduction “confirms how much his own men fear him18”, which is something that is also well conveyed in Hook in 1991. Son entrée en scène est elle aussi traitée sur le mode théâtral : lever de rideau (les voiles du navire lors du plan-découverte du Jolly Ranger), venue annoncée, préparée par un autre personnage (Mouche), apparition sur un promontoire face à une foule (son équipage), descente d’un escalier, tapis rouge. Owen Gleiberman, for instance, writes in his review for Entertainment Weekly: When Peter arrives in Neverland, it looks like the set for some over-budgeted, cast-of-thousands musical from the late ’60s. Spielberg does not content himself with the theatrical aspect of his settings, however also brings out the dramatic origins of. Hallett, Vicky. Peter Pan is a 1953 American animated musical fantasy adventure-drama produced by Walt Disney Productions and was based on the 1904 play Peter Pan, or The Boy Who Wouldn't Grow Up by J. M. Barrie. In P. J. Hogans Peter Pan geht Rachel Hurd-Wood zu Jeremy Sumpter ins Nimmerland. 4 Owen Gleiberman, « Hook » http://www.ew.com/ew/article/0,,316539,00.html. OpenEdition Journals member – Published with Lodel – Administration only, You will be redirected to OpenEdition Search, Theatrical aspects in the cinematographic adaptations of, In the film, the camera remains static and offers a pre-eminently frontal and panoramic vision of t, was published in the form of a novel one hundred years ago, J.M. De film werd gemaakt in opdracht van Universal Pictures. (N.J.: Rutgers University Press, 2009) 196. Somit kommt er zu einem Schluss: Wendy kann nicht bei ihm und bei ihrer Mutter sein. 11Another 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. I mean there are certainly things that are fantasies, but I’m kind of hoping that at least some of that appear just to be part of the movie. Aux sources de l’art des studios Disney. He is wearing a lace shirt with frilly sleeves, a long coat, a tricorn hat and a pistol tucked prominently into his belt. 2Eighty years later, in 2004, director Marc Forster released a film on J.M. Besides, J.M. Almost nothing about this man seems to have very much to do with flesh […]. Finally, P.J. White, R. Donna and Anita C. Tarr and. Peter Pan. Left arm bare and adorned with a tattoo of Eton’s coat of arms […], he slowly rises and speaks: “I was dreaming, Smee, of Pan. 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. » J.M. He has an iron hook instead of a right hand, and it is with this he claws. He is put in a situation very similar to the monologue or the aside in drama when the actor’s lines are addressed to himself or the audience rather than the other characters. Peter Hollindale.Oxford: Oxford World's Classics, 2006) XVIII. 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. I give you CAPTAIN JAMES HOOOOOK!' 12 Bossy 176. . 9Spielberg does not content himself with the theatrical aspect of his settings, however also brings out the dramatic origins of Peter Pan through cinematographic techniques.