Movie Monday: ‘Peter Pan’ (2003)

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“All children grow up, except one” is the message that viewers are greeted with within the first few minutes of PJ Hogan’s Peter Pan. It’s words everyone has heard before. It’s a familiar story, and therefore perhaps tiresome, but this adaptation is far from lethargic.

It is a shame that the last Lord of the Rings was released a week after Peter Pan and was a big reason for it to bomb at the box office, because 2003’s Peter Pan is dark, not at all rose-tinted like other interpretations before it. It has sword fights, death, and the scariest thing of them all: feelings. It is exactly what JM Barrie envisioned for The Boy Who Wouldn’t Grow Up.

For me, the most interesting aspect of this film is the take on sexuality. I think having Wendy at the centre of it, with the hidden kiss at the corner of her mouth, her drawing of the boy in her room, and her conflicting attractions to both Peter and Captain Hook, is genius. With teenage girls and young women often shunned for exploring their sexualities, especially against the story’s early-1900s backdrop, it seems strange that it should be explored in a Peter Pan adaptation. But it works, and very well.

Peter’s feelings being part of Universal’s retelling is something that makes this adaptation superior to the others; it adds depth to his character. In other versions, Wendy is just a toy, something for his amusement, which, yes, in part happens in this one too. But Hogan allows us to see a side to Peter that we have maybe wondered about but not had given to us so clearly. He has romantic (and perhaps indeed, sexual) feelings towards her, and we get to watch him realise that. It gives the plot the missing piece to Barrie’s puzzle, a burning catalyst for much of the film’s progress.

If Peter and Wendy’s sexualities and adolescence had not been brought to the forefront, then we wouldn’t have one of the best love stories of my generation. This, of course, is largely because of Rachel Hurd-Wood and Jeremy Sumpter. The two of them have some of the best chemistry I have ever seen on screen, and yet they were just 12 and 13 years old respectively. The maturity of the loving glances and, of course, that kiss! The way that they made those characters their own, giving them the legacy that they did, is remarkable. Hogan’s casting choices are genuinely some of the best I’ve ever seen.

Speaking of casting choices, this film is probably one of few where you go from fancying the young boy to the much older man as you grow up. I see you, Mr Hogan. Jason Isaacs is brilliant. He plays Mr Darling and Captain Hook (as is tradition) which is where Wendy’s fascination comes in. Wendy has a weird, subtextual Freudian lust for the pirate. Even though the choice to cast one man as the two characters may not have been for this reason (Barrie originally wanted a woman to play them both), it still holds these implications. And, although strange, I’m glad Hogan acknowledges the idea. It adds another layer to Wendy’s sexual awakening. 

One of my favourite scenes in the film, and probably my favourite scenes ever, is the ‘“I do believe in fairies”’ scene. It is glorious. The lighting, the shots, the anticipation and excitement, the music! All of that combinated is what makes it so memorable, and a widely recognised film reference.

This film also has what I would say is the best score ever. The man, the myth, and the legend, James Newton Howard, did a phenomenal job. It makes me so happy. ‘Flying’, ‘I Do Believe in Fairies’, and ‘Fairy Dance’ in particular are my favourites. ‘Flying’ makes me feel like I’m ascending. I am not alone in my annoyance that the soundtrack has been removed from streaming services, nor am I alone in the certainty that my future husband will be watching me walk down the aisle to the score. If you haven’t seen Hogan’s take on this timeless tale, or if you haven’t watched it in a long time, then I highly recommend it. It will fill your heart with equal parts warmth and ache—and leave you muttering to yourself that you do believe in fairies.

Words by: Brooke Pollock

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