P.J. 17 Ernest Torrence was a Scottish actor who appeared in several Hollywood films, both silent and talkies. Hogan’s more traditional rendering of the story in 2003. Diese Seite wurde zuletzt am 3. Jeremy Sumpter gewann 2004 den Saturn Award. Universal Studio, 2003. It brings to mind J.M. 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. 8The opulent baroque set of the pirates’ harbor8, for example, illustrates well the old-fashioned atmosphere the director tried to evoke. Wendy bemerkt, dass Peter am Fenster steht und fragt, ob er jemals zurückkommen wird, worauf er antwortet, dass er kommen wird, um Geschichten über sich selbst zu hören. The scene occurs indoors and is dimly lit with candles24. This fascinating setting is conspicuously fake, but it is also animated, given life by special effects and the use of real water thrown on the deck. Once again, the border between fantasy and reality is blurred and so is the distinction between cinematic resources and more modest theatrical ones. (Ed. . Der Film erhielt 2004 zwei Nominierungen für den Visual Effects Society Award und eine für den Broadcast Film Critics Association Award. 33 Plana enlarges up on the benefits of the contacts between several art forms: « L'art conscient de lui même n'ignore pas les voisinages, les connexions entre les modes d'expression, les assume et, rejetant de plus en plus l'idée de sa « pureté », y voit un agent d'enrichissement, de remise en question productive, voire de progrès. Roman, théâtre, cinéma – Adaptations, hybridations et dialogues des arts. Girveau, Bruno. “Peter Pan and his Creator” http://www.jmbarrie.co.uk/boycastaways/ab_on_JMB_RSC.html, Gleiberman, Owen. Lester D. Friedman vividly describes the original appearance of the character: […] from the right corner of the screen, a large hook stabs the timepiece and smashes it to pieces. 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”. Hook's voice, with its rolling British cadences, its echoes of Boris Karloff's lispy melancholy, is unexpectedly gentle, even fawning. […] To visually underscore the importance of lost time, Spielberg fills the mise-en-scène with an almost numbing variety of time pieces, from postcard-perfect shots of Big Ben, to the intimate pocket watch Peter gives his son Jack (Charlie Korsmo), to Hook's (Dustin Hoffman) emblematic museum of broken clocks. In Neverland beleven ze verschillende avonturen met piraten, indianen en zeemeerminnen. 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. » White xii. Barrie's behaviour, throughout his life, betrayed a desire to leave his writings unst, , a film which is an adaptation in itself since inspired by a Broadway play, , was directed in 2004 as an homage to the centennial celebration of the first dramatic appearance of, . (Lanham, MD: Scarecrow Press, 2006.) This efficiently summarizes the treatment Walt Disney and his animators had in store for the character of Hook, . April 2004 in den deutschen Kinos. Barrie, Peter Pan and Other Plays (Ed. By the late nineteenth century, the typical pantomime was a comic manifestation of the fairy tale and contained a number of stock characters, including the Dame, the part of an adult woman played by a grown man, and the Principal Boy, the part of a juvenile hero played by an adult woman. . “Peter Pan turns 100”, Smithsonian Washington: Dec 2004. vol. Een ander computergegenereerd figuurtje is een papegaai die op het schip ronddwaalt. Scott, “Even in Fabled Neverland, a World of Contradictions. Its jaws contain a clock, the hands of which turn abnormally fast. 2Eighty years later, in 2004, director Marc Forster released a film on J.M. Hook.Hook. De film werd gemaakt in opdracht van Universal Pictures. 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 effects22. It is a clever mixture of tradition and modernity: one can still see or guess how an element such as the sea could be animated on stage without the help of today’s technology – setting the waves into motion can be achieved manually with mechanical devices hidden behind the wood panels, for instance. 23Finding Neverland has already been introduced as a work examining art and imagination, and among other things, Forster shows us that, in drama like in cinema, the audience needs to relinquish part of its incredulity and by extension releases its imagination: 24The audience needs not to notice the visual effects as such. Kavey, Allison B. and Friedman Lester D. Second Star to the Right: Peter Pan in the Popular Imagination. Der Film als Bestes Familiendrama und Jeremy Sumpter gewannen im Jahr 2004 den Young Artist Award. 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. Scott, A.O.“Even in Fabled Neverland, A World of Contradictions”, The New York Times (Late Edition (East Coast)). Universal Studio, 2003. Tristar Pictures, 1991. 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. Friedman describes him as an “operatic Hook”, probably because of his costume and the acting tradition Torrence belongs to. The film serves as a prequel to Peter and Wendy from Scottish author J. M. Barrie, which was first staged in 1904, and focuses on an alternative origin story for Peter Pan and Captain Hook. 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.”. 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 […]. and Friedman Lester D.. . The pirates’ harbor looks like a sort of microcosm where even prostitutes seem to be taking part in a show. Barrie and his masterpiece entitled, . 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. 21 In the novel, J.M Barrie elaborates on each pirate, giving them a background and a few striking features. 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. 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. 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. See illustrations 13,14. Once again, the border between fantasy and reality is blurred and so is the distinction between cinematic resources and more modest theatrical ones. Aux sources de l’art des studios Disney. Hook, who seems to revel in how grotesque he is, is harmlessly, lyrically nutty. 27 Personal transcription from the bonus material « La Magie de Neverland » (Making of) DVD Neverland. This early Hollywood adaptation, extremely respectful of the content and visual construction, of the play, was criticized by Barrie, who thought that: “It is only repeating what is done on the stage… and the only reason for a film should be that it does the things the stage can’t do. Costumes and make-up are essential to Hook and his court: pirates wear earrings and cutlasses, brightly colored sashes and blunderbusses, ponytails and pistols. 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. These confrontations, which are multiplied and expanded in the film, are treated with the full resources of animation: speed and agility of the characters, humorous repetition of movements, and tight synchronization of image and sound. . Jeden Abend erzählt sie ihren Brüdern von geheimnisvollen Welten, bösen Piraten und anderen Fantasiewesen. 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. It is a theatrical setting well fitted to such and overweening character. 12 Bossy 176. "- Peter Pan. J. M. Barrie's Peter Pan In And Out of Time: A Children's Classic at 100. . Furthermore in Spielberg’s film, Hook’s cabin seems to contain a stage since his bed is on an elevated spot and the luxury of the room brings to mind the decorations of beautiful theatre houses and their dressing rooms16. | ”. 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”. 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. En janvier 2014, Garrett Hedlund rejoint la distribution dans la peau du capitaine Crochet[6]. This efficiently summarizes the treatment Walt Disney and his animators had in store for the character of Hook20. De visuele effecten in de film zijn een mix van digitale en andere effecten. La dernière modification de cette page a été faite le 30 décembre 2019 à 01:34. « Rooted in the Italian tradition of the Commedia dell' arte, the  »panto«  form began appearing on British playbills in the early eighteenth century […]. Another remarkable aspect of this scene is the setting with the throne-like chair, which provides the same kind of authority as the red carpet and stairs do for Dustin Hoffman’s Hook, and creates a similar baroque atmosphere. Fardé, il porte une perruque et se fait passer pour un précepteur auprès des enfants de Banning12. Miramax Film, 2004. Peter Hollindale.Oxford: Oxford World’s Classics, 2006. Birkin, Andrew. 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 mascara13. Un article de Wikipédia, l'encyclopédie libre. Barrie’s story of “the boy who would not grow up” was brought to life on stage. L’esthétique du Dessin Animé. He is wearing a lace shirt with frilly sleeves, a long coat, a tricorn hat and a pistol tucked prominently into his belt. Peter Pan. Mais la vie n'y est pas aussi féerique qu'elle semble le promettre. Perf. “Mr. Nach Steven Spielbergs Verfilmung unter dem Titel Hook ist es der zweite Realfilm seit dem Stummfilm aus dem Jahr 1924. J. M. Barrie’s Peter Pan In And Out of Time: A Children’s Classic at 100. Reading: Penguin Books, 1995. Il est une adaptation libre de l’œuvre créée par J. M. Barrie au début du XX e siècle racontant l'histoire de Peter Pan Synopsis. 19 « Peter Pan » films in review 4 (1953) 94 as quoted in Kavey 178. Auf einmal stehen die Verlorenen Jungs auch noch in der Tür und Wendy überredet ihre Eltern, sie behalten zu dürfen. Paris : Editions de la réunion des musées nationaux Disney, 2006. „Der Film wird von digitalen Effekten sowie von spektakulären, mitunter recht handfesten Kämpfen geprägt, wobei er nicht ungeschickt die Balance mit der hintergründigen Melancholie der Vorlage hält.“. Elspeth Chapin, a reviewer of the 1953 film writes: “Disney seems to eschew the subtler points of human frailty. Brenon, Herbert dir. 31 The Man Who Was Peter Pan (1998) by Allan Knee. 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. Wendy vraagt hem of ze haar broertjes John (Harry Newell) en Michael (Freddie Popplewell) mag meenemen, waarop Peter de drie leert vliegen. In those instances, the identity of the filmic medium is not threatened since the theatrical burden is skillfully combined with cinematographic techniques. Ook door de zwaardvechtscènes kwam de film echt tot leven. Jeden Abend erzählt Wendy Darling (Rachel Hurd-Wood) ihren Brüdern phantastische Geschichten - und hat dabei einen Zuhörer, von dem sie nichts ahnt: Peter Pan (Jeremy Sumpter) lauscht Wendys Erzählungen ebenso gerne wie ihre Brüder. As in the other filmic adaptations, most of the attention is turned toward Hook while his pirates are not treated as individuals21 – 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. » 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. It is probably because it originated from oral narratives and was generically reconfigured by its very creator, has been the ideal vector for directors to experiment with their art and offer hybrid aesthetics, underwent were, I argue, greatly instrumental in insuring the tale’s pertinence for contemporary audiences and therefore in keeping the interest in, alive throughout the years. Und nach und nach wird Wendy klar, dass es nicht nur Vorteile hat, für immer ein Kind zu bleiben. 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. 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. (108). 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. In dem Film aus dem Jahr 2003 führte P. J. Hogan (Die Hochzeit meines besten Freundes, Muriels Hochzeit) Regie. Around this threatening figure, ruins of former ships form a sort of extravagant and lively village. Peter Pan (2003) cast and crew credits, including actors, actresses, directors, writers and more. “Hook”, http://www.ew.com/ew/article/0,,316539,00.html. At times, Hoffman might be doing a parody of those effete, decadent British villains of the '50s and early '60s. Der Film startete am 1. As he begins the next sentence, his right hand rises from underneath the desk and we view, for the first time in any film, his scarred stump…, This presentation relies on provocation. De tekst is beschikbaar onder de licentie. Besides, J.M. Pan est un film fantastique américain réalisé par Joe Wright, sorti en 2015. Academic Research Library Proquest Mar. Ed. 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). It was an immediate and unanimous success everywhere it went from the very beginning. In his essay « Barrie's Immortal Pirate in Fiction and Film », Lester D. Friedman simila, See illustrations 13,14. It is only one of many objects Spielberg uses to underscore the passing of time9. Almost nothing about this man seems to have very much to do with flesh […]. 29 Quote extracted from the bonus material « La Magie de Neverland (Making of) » DVD Neverland. The same applied to the following quotations. Nonetheless, however dark his first appearance in the intimate environment of his cabin is, it also contains theatrical dimensions and follows the tradition established by Barrie’s play and the filmic antecedents. » Donna R. Whie and Anita C. Tarr and. 17In Disney’s animated film, Captain Hook looks more like a dandy buffoon than a comic character which encompasses subtle elements of pathos. 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. A holder of his own contrivance is in his mouth enabling him to smoke two cigars at once. 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. 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. Hallett, Vicky. De film werd opgedragen aan Dodi Al-Fayed, die ook uitvoerend producent was van de in 1991 gemaakte film Hook. », Allison B. Kavey. 6I argue that in order to see the aesthetic of Hook in a positive light, one has to accept that the settings intentionally remind us of pantomime but, most importantly, one has to be aware of the cinematographic skills Spielberg employs when filming them. Doch als sie am nächsten Tag in der Schule die Geschichte aufzeichnet und erwischt wird, schreibt die empörte Lehrerin einen Brief an Mr. 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. During these one hundred years, Barrie’s original play went through many interpretations, during the author’s lifetime and especially after his death. 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. 32 Besides, J.M. Washington: Nov 8, 2004. vol. « Peter Pan » films in review 4 (1953) 94 as quoted in Kavey 178. It was the first authorised and faithful film … 26, 2009. Spielberg does not content himself with the theatrical aspect of his settings, however also brings out the dramatic origins of. Eines Tages allerdings wird er von Wendy gesehen, als er sich nachts in ihrem Schlafzimmer aufhält, das sie sich mit ihren Brüdern teilt. Hook, who seems to revel in how grotesque he is, is harmlessly, lyrically nutty. His Captain Hook is crafty, exuberant, cock-of-the-walk, a villain who drinks in the pleasure of his own nastiness […]. 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. 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. Paris : A-G Nizet, 1952. 18Finally, P.J. This fascinating setting is conspicuously fake, but it is also animated, given life by special effects and the use of real water thrown on the deck. 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 him, ”, which is something that is also well conveyed in. » J.M. Hence appearance and clothes seem to take special values and functions just like in drama. 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. Obwohl Wendy Peter nur kurz gesehen hat, ist sie fasziniert von dem Jungen, der obendrein noch fliegen kann. Hogan mit Rachel Hurd-Wood, Jeremy Sumpter und Jason Isaacs. This position is reinforced by the framing which isolates him with medium shots, underlining his facial expressions and overdone gestures. Perf. 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. 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. People pretend that they don’t realize it was impossible that it was there, that maybe someone built that and it’s just fine. 22Kevin Tod Haug, his visual effects designer, explains the purpose of such an aesthetic: “We wanted to show where to draw the line between fantasy and reality: how thin this line is […] you can slip back and forth.” Probably the best illustration of this idea is the sequence in which Barrie is playing the role of Captain Swarthy on the ship which Forster and his artists call the “puppet theatre”28. He speaks in a complaining tone and puts his arm on his forehead the way a fainting lady would. Als Wendy fragt, wieso es denn keine „Verlorenen Mädchen“ gäbe, meint Peter, Mädchen wären viel zu schlau, um aus dem Kinderwagen zu fallen. and Friedman Lester D., Second Star to the Right: Peter Pan in the Popular Imagination. 10Hence, 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. 12James Hook is described as such in J.M. HomeNuméros10-3Dossier Peter PanTheatrical aspects in the cinemat... 1Before Peter Pan was published in the form of a novel one hundred years ago, J.M. Company Credits 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 P. J. Hogans Peter Pan geht Rachel Hurd-Wood zu Jeremy Sumpter ins Nimmerland. Die fünf verlorenen Jungs sind als Babys aus dem Kinderwagen gefallen und landeten schließlich in Nimmerland. Hook's voice, with its rolling British cadences, its echoes of Boris Karloff's lispy melancholy, is unexpectedly gentle, even fawning. Die verwirrte Wendy geht zu Hook, der ihr anbietet, seiner Crew beizutreten. 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. 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. 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. Finding Neverland. Hook.Hook. 5The film critic concedes that the artificial look of the sets, whether it is considered a success or not, was probably something done intentionally. This sight generates pathos but also visually reminds viewers of Shakespeare’s character Puck with his pipes, or even of a pastoral painting. 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]. 9 « The most cinematic example of the former [time's passage] emerges in director Steven Spielberg's lavish production of Hook […] To visually underscore the importance of lost time, Spielberg fills the mise-en-scène with an almost numbing variety of time pieces, from postcard-perfect shots of Big Ben, to the intimate pocket watch Peter gives his son Jack (Charlie Korsmo), to Hook's (Dustin Hoffman) emblematic museum of broken clocks. These confrontations, which are multiplied and expanded in the film, are treated with the full resources of animation: speed and agility of the characters, humorous repetition of movements, and tight synchronization of image and sound. It stars Hugh Jackman as a fictionalized version of Blackbeard, Garrett Hedlund as Hook, Rooney Mara as Tiger Lily, and Levi Miller as Peter Pan. 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 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. Hij vliegt naar het schip van Kapitein Haak (Jason Isaacs), de Jolly Roger, waar hij een gevecht aangaat met zijn aartsvijand. Cyrille Bossy confirms this thesis in his book devoted to the American Director Steven Spielberg, Un Univers de Jeux: Hook est un film sur la mise en scène et sur le spectacle sous toutes ses formes : cinéma, théâtre, comédie musicale, parc d’attractions…auxquels il [Spielberg] entend emprunter à chacun son esthétique – d’où le parti pris d’un tournage en studio, de décors ouvertement factices, d’où le choix d’un conseiller visuel issu de la production théâtrale [John Napier, who designed the outstanding sceneries for Cats and Les Misérables]5. Even though Forster’s effort has often been described as a toned down and romantic depiction of Barrie’s existence. Plana, Muriel. 15, 2009. As he begins the next sentence, his right hand rises from underneath the desk and we view, for the first time in any film, his scarred stump…23. Peter Pan is een film die in première ging op 25 december 2003 in de Verenigde Staten. 19, 2009. 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.