Paramount’s 1924 production was a major film in its day, an memoir and a hit. Although James Barrie had written extensive camouflage treatments (totally current Peter Pan material now lost, apparently), for this film, none of it was obsolete by the studio.
However, Barrie retained casting approval, even after a massive search for the woman to play Peter. Nevertheless, the creator’s presence and imprimatur proved to be friendly fortune for the studio.
This 1999 dvd of a restoration of the film is critical, although I maintain it deserves a better overall presentation for us today. The account is an adaptation of the tiny fairy play we’re all familiar with. Though stiffly directed by the morose Herbert Brenon, the myth takes its enjoy time and was filmed on a stage. The narrate looks comely, and the orchestral glean still for this release shows affection for the material. The special effects are often simple, ingenious, and charming. However, it includes a sincere pirate ship in start water and mermaids on an island shore. George Ali’s performance as Nana and the crocodile are almost worth the notice of the disc; if you recognize it, you’ll know what I mean. The special features of the disc, goodies we’ve all approach to like, are the bargain basement variety here. There is a comely essay on veil describing the film’s background. But the feature of Esther Ralston’s remembrances (she played Mrs. Darling) doesn’t work on my disc. Selecting it stops the disc. Chilly. The feature of production stills is adequate but incomplete. Perusing other books on the subject and the soundless film era reveals many more production and publicity stills than are on the disc, including a theater lobby photo of Michael Darling (7 year conventional Philippe de Lacy) standing up bare in the bathtub while Nana, with cloth in paw,washes him. The adaptation also includes many of the obsolete errors relating to Peter Pan, for example, Peter (Betty Bronson) crows like a rooster, but in the actual record Peter doesn’t do that, that is, his “crowing” means that he’s bragging and strutting around; and it’s not Never Never Land, it’s the Neverland. At the raze, after some patriotic American sloganeering, the Lost Boys hover off in the Jolly Roger and raise the Star and Stripes. The meeting between Peter and Wendy is described in the essay as “fey”, and that’s just. One of the things they got true was how unapproachable Peter is. Both Wendy and Tiger Lilly (played by Anna Mae Wong) want Peter as a husband. Well, boyfriend. All Peter wants is a mother.
There’s always been a spot idea Peter Pan. There’ve been Freudian and Jungian interpretations, such as, Hook is Peter’s father and Peter represents the collective account of eternal youth. I spy Peter as representing the Green Man epic. Barrie, from Scotland, would’ve known this Celtic story. The Green Man wears a hide of leaves, comes in the Spring, and often takes a consort, the Spring or Flower Maiden, serve to the forest. Peter Pan wears only leaves, comes in the Spring, and takes Wendy to Neverland. The Green Man is a symbol of current or reborn life after Winter, and Peter states he is like the slight bird fair hatched. There is Spring in Neverland whenever Peter’s in site.
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Peter has almost always been played by a woman in professional, commercial productions (there have been a few men who’ve done it) . Even the notorious statue in Kensington Gardens, which Barrie deplored because it doesn’t “indicate the Devil in Peter”, was modeled by a girl in a dress. There is a novel film opening this December 25, based more on the current, that has a young boy, 13 year former Jeremy Sumpter, in the role. A diminutive revolution, now and then, is a respectable thing. Contrary to the publicity, though, he’s not the first boy to play Peter Pan in a professional production. That would be the famed child star, Freddy Bartholomew, in a radio play in 1936. Given Bartholomew’s actual, educated British treble, that indicate would’ve been charming to hear. It’s a pity it is lost to the ether. Curiously, almost every major production has claimed to follow Barrie’s intentions, but none, including this famed film from 1924, ever has. Like with productions of Tom Sawyer and Huckleberry Finn, the grown ups or censors squash the fun or alter the characters. They can’t encourage themselves. But I’ve read of people, including Walt Disney, who recalled seeing this film in 1924 and always had fond memories of it. It opened Christmas morning; objective imagine what a treat for the children then!
Despite its flaws and the disc’s faults, this is an principal film of the restful era, and is fun to sight. I recommend it to anyone who has an interest in the history of cinema or even Peter Pan.
I know Peter would care for it; he loves any memoir about himself.
Buy,Download, Or Stream Peter Pan! Click Here
Buy,Download, Or Stream Peter Pan! Click Here
I watched the Kino DVD of PETER PAN last night and was satisfied to have this most charming of tranquil films finally available in a quality video release.
The represent quality, which was subtly tinted, will disappoint no one, although it looked more like a really noble 16mm print than a 35mm to me. Perhaps I’m foul because I’ve never seen the film in any gauge but 35mm. A mammoth deal of the magic in PETER PAN was supplied by cinematographer James Wong Howe. Scenes that could have been foolish in other hands became enchantment in his.
Phil Carli’s collect works perfectly: It had that “turn of the century, concert in the park on Sunday afternoon” feel to it. It wouldn’t have worked with many still films, but for PETER PAN it was marvelous——a tribute to Carli’s ability to match a chronicle theme with it’s programmatic musical compliment.
PETER PAN is filled with magical touches that never seem to go too far or become foolish. Peter’s heart to heart talk with the crocodile when they conspire to “catch” Captain Hook was one of my favorites, as were the mermaids on the beach. The only point that has ever bothered me is at the destroy when Peter actually stabs and kills two of the pirates. Somehow I belief this was out of location and brought too distinguished realism to a light hearted fairy legend. But this is very minor nit-picking of an otherwise flawless calm film.
The “value ads” are production stills from the film along with a poster and lobby card. There are also interviews with Esther Ralston (one video and three audio), who plays Mrs. Darling. The things she has to say about Louis B. Mayer are more than honest arresting.
A title card at the very beginning tells the audience that the acting may seem whimsical to an adult but that “all the characters are seen with a child’s outlook on life…..even to the adults in the myth. Pull the beard on a pirate and you would earn the face of a child.” So for 102 minutes, clap your hands and pretend you enjoy in fairies.
Jay F.
HAI Flat Iron
