Fantasy Peter Pan: Resurrected From

¶ … Fantasy

Peter Pan: Resurrected

From Victorian Theatre & Literature to Modern Fantasy on the Big Screen

The 2003 movie version of Peter Pan, directed by P.J. Hogan, is the closest retelling of Sir James Barrie's original novel and play that has been made. However, it still remains a unique story with elements that clearly distinguish it as a modern version of this fantasy. The world of Neverland as created by Barrie and retold by Hogan is perhaps the epicenter of all fantasy, as it is a representation of the collective imagination and creative spirit that is shared by all children. The fantastical elements in this tale are heightened by the elements of Barrie's original language that is retained, combined with the stunning visuals of Hogan's creative visual team. In this story, the eternal child-spirit, Peter Pan, comes to Victorian London to sweep three Darling children away from their mundane life and go on an adventure to the dream-world of Neverland. After teaching them to fly, Peter takes them beyond time and space to his world. There is a clear distinction between the "primary" world of London that correlates to our own reality, where the Darling children attend school, the father works an office job, and the mother worries about social niceties. The "secondary" world of Neverland, however, is far more colorful and exotic; they encounter Fairies, Pirates, Indians, wild Neverlife, and Peter's pack of rogue Lost Boys. The Darling girl Wendy falls in love with Peter, and their stormy relationship leads to the near downfall of Peter's pack. In the end, youth triumphs over the "old, alone, and done for" pirates. However, Peter's pack of Lost Boys choose to return to London with the Darling children to grow up, and Peter is left alone, for he is the only eternal child.

This tragic Victorian children's fantasy can be considered modern for several reasons. The original story was written only about 100 years ago, however some changes that were made to the story for this movie version clearly identify it as a modern fantasy. First, in the original play and novel, Wendy was a very passive character, embodying the ideal "mother" for the boys as Victorian standards would insist. However, as Hogan has portrayed Wendy's character for modern audiences, she is far more proactive and independent. In this telling, Wendy carries a sword and faces foes along side the boys, rather than being as sheltered. The feminist elements of modern womanhood are very prominent. Additionally, in Barrie's story, Wendy does not consider becoming a pirate, whereas Hogan has her consider "joining the dark side" so to speak, and having a semi-romantic relationship with Hook. This reveals both the modern focus on a woman's place in society, as well as another modern element. Together with the very absurd modern addition of Hook learning to fly as Peter Pan does, a postmodern philosophy is introduced to this Victorian tale. The lines between good and bad are blurred, and the ability to identify who is "right" is lost in a vaguely politically correct equal opportunity defiance of gravity. Additionally, a modern adaptation made by Hogan is one that is a true mistake when made by any artist. Assumably working under the impression that audiences are not intelligent enough to decipher literary techniques, Hogan removes most of the tragic elements that characterized Barrie's Peter, such as the expository barring of Peter's window that separated him from his mother. Instead, Hogan has Hook say in dialogue that Peter is a tragedy, spoon-feeding the audience as modern literature and films often do.

Despite some of Hogan's short fallings when modernizing this story, it remains the essential fantasy. Peter Pan represents the never-ending hope of childhood that never dies, even when the rest of the world grows up and becomes dull around him. A perfect example of the hope in this story is Tinkerbell's death. In order to save Peter from drinking poison, Peter's fairy drinks it instead, and dies. However, because Peter has enough faith in fairies, she is resurrected. Peter's faith reaches across the universe to unite children and adults alike in a chant: "I do believe in fairies!" (in Barrie's tale, there is no chant, but a roaring applause as children throughout the world clap their hands to show they believe in fairies, no doubt developed in this way because of the live theatrical origins of Barrie's story.) to quote another modern version of Peter Pan (the vastly disappointing Disney "Return to Neverland"), the basic story is very much focused on "faith, hope, and pixie dust." Peter Pan is brimming with mythical creatures, the triumph of good over evil, alternate universes, magic, romance, adventure, and tragedy; there is no doubt that "Peter Pan" could be dubbed as the ultimate fantasy.