It is a little slow until they get to Neverland but then it gets good. I love Smee and captain hook and of course the crocodile.
A timeless fairy tale, animated with passion and enthusiasm by the fabulous Disney old-timers (this would be the last time the "nine old men" collaborated on a film), trimmed of fat and hoisted, wriggling and fighting, onto the silver screen. Every frame is alive, ecstatic and energetic, with a heavy emphasis on stylized action and far less of the obvious frame-traced roto-scoping seen in Snow White or Cinderella.
Loaded with garish personality and iconic character designs, it's effortlessly magical, jolly and carefree; enduring in many of the same ways as The Wizard of Oz. Breathless and mischievous, perhaps a bit old-fashioned, though such genuine wholesomeness never really goes out of fashion, provided it comes from the heart. The opening act may take a little while to get moving, but once the kids are sprinkled with pixie dust and the whole crew takes flight, it's nonstop action and adventure to the very end. I forgot how much of a feisty, jealous little thing Tinkerbell could be.
As soon as Mr. Smee opened his mouth, I knew I'd heard his voice before (and I don't mean from watching this movie as a kid). Adult me is highly amused to find that Smee shares his voice actor with the White Rabbit from Alice in Wonderland (1951)—Bill Thompson. Turns out Kathryn Beaumont (Wendy) was also the voice of Alice in the same film. (Among the many other connections between this and other films of its time, Candy Candido (the Indian Chief's voice) also played a brief uncredited part in The Wizard of Oz (1939) as an angry apple tree, and in Dumbo (1941) as a roaring lion.)
Watching this for the first time in probably 15 years, I realize now what a jealous bitch Tinkerbell is to Wendy. Didn't really get that when I was a kid—but then, I was just a kid.
Something else I really appreciate now as an art in itself: The crocodile's animations. Whenever he's moving around, we hear the tick-tock of the clock he swallowed, and some part of him is almost always moving in a tick-tock fashion as a nod to that. It's simply perfect.
Having had the chance to watch a great many other cartoons since I last saw this film, I also appreciated the Wile E. Coyote connection: Hook chases Peter off a tall rock and continues stepping in mid-air until Peter points to his feet as if to say "You're standing on nothing," at which point Hook falls. I think the only Wile E. Coyote cartoon that had used a cliff gag of that type at the time this film was produced was the first short, Fast and Furry-ous (1949), but that's early enough that it could have been written into the screenplay for Peter Pan as a nod to Looney Toons.
One last interesting connection I realized: In both Peter Pan and Pinocchio (1940), a character takes a drag on a smoking device of some kind and turns greenish. Here, John takes a pull on the Indians' pipe; in Pinocchio, Pinocchio is given a cigar. I'm sure if I did a proper study (if watching every Disney animated film could be called that), I'd find several instances of this. Seems like a subtle anti-smoking message embedded for the kids watching.
I went to Disney not long back, and after going on the peter pan ride I was hyped to re watch this classic and many more from my childhood, and It's true as walt disney says 'you're never too old for Disney' and as peter pan says never grow up... super as always!
Sir James M. Barrie’s beloved tale of Peter Pan is turned into a whimsical and exciting animated feature by Walt Disney. When her father tells her that it’s time for her to grow up, Wendy and her brothers escape to the magical world of Neverland with the help of Peter Pan and join in his adventures. Once again Disney delivers amazingly vivid and textured animation. And the characters are written especially well, and have great depth to them. Walt Disney’s Peter Pan has endured as a beloved family classic, and is fun for all ages.
Never really been my movie, but it is a fun one to see. And the songs are great.
I'm a huge fan of the entire Peter Pan universe, and many of the modern perceptions stem from this iconic masterpiece.
Yes, like Pan himself, the movie is flawed (stays too close to the source material, some dubious accents in the voice acting (I'm looking at you, Smee), some politically incorrect stereotypes and sexism) but the animation is top notch--even by today's standards--and the character of Pan in all his boyish charm and male egoism is rendered as perfectly as the art.
'Peter Pan' is more than enjoyable.
There is lots of fun to be had in this film. The animation is lovely, especially for Tinker Bell. The songs are good and catchy, while you have two entertaining main characters in Pan and Hook. It could've done with better humour, but what's there is absolutely satisfactory.
Pan is voiced by Disney regular Bobby Driscoll, whilst Hans Conried voices Hook. They are both brilliant, especially the latter who is joined nicely by Smee (Bill Thompson) and a tick-tocking crocodile.
The characters could do with more depth, as could the story as it is a rather simple one. The film also has its faults, most notably with their stereotypical portrayal of Indians which certainly doesn't make for pleasant viewing.
In conclusion, for a family film from 1953 it serves its purpose and then some without forgetting the aforementioned.
8 - Great
A story about growing up and becoming an adult made into a wonderful adventure into Neverland.
Of the hundreds and hundreds of Disney movies out there, Peter Pan will always be one of the first to mind for fans. The movie is an absolute classic that is a perfect example of the Disney movie magic. The Disney studios were fantastic at creating movies with catchy songs and relatable characters. Songs like "You Can Fly", "Following The Leader", and "Second Star To The Right" are some of the most iconic tunes the studios has produced. Still to this day, characters like Pan, Captain Hook, the crocodile, and Tinker Bell are used and loved both in the park(s) and in merchandise.
Peter Pan does a great job at taking you away from the streets of London and dropping you off in Neverland. Although the film is short, it does a great job at making you feel like you've actually seen Neverland.
A classic for sure, though I'd forgot how god-awfully racist was the depiction of the Native Americans...
This is one of the most charming and magical Disney classics.
Bam! The opening line of this movie is the theme for Battlestar Galactica. My favorite movie and my favorite tv show, forever intertwined.
Review by Andrew BloomVIP 9BlockedParentSpoilers2020-04-24T04:24:39Z
[8.0/10] Maybe it’s Katheryn Beaumont. The young actress, who plays Wendy here and also voiced the title character in Alice in Wonderland, seems adept at portraying young woman who are sick of pressures from the adult world, dream of going off to a wondrous fantasyland, and only to discover the downside of what they wished for and want to go home. Sure, there’s not that much connective tissue between Alice’s desire to experience a world of nonsense and Wendy’s not to have to grow up, but their epiphanies that there’s drawbacks to their fervent wish, experienced through colorful but occasionally calamitous enouncters in a faraway place, makes them peas in a pod.
They also both are whisked away to a place where the Disney animators can go wild with their designs and rhythms. This may be the single most expressive set of characters The Mouse has ever produced. Pan floats and darts around like a paper airplane. Captain Hook shivers and shouts and gesticulates like a man possessed. Smee moves as though his mid-section is made of rubber and his legs have been wound up to high heaven. Each figure the animators put on screen has distinctive movements that catch the eye and the delight the viewer every time.
And that’s before you get to the characters who don’t have the benefit of speech to let us get to know them! Tinker Bell is nothing short of a revelation. Bolstered by Margaret Kerry’s modeling, the little pixie is a pistol. Through just her expressions, head shakes, and frantic movements of her limbs, she conveys so much fight and personality. Similarly, the crocodile never comes close to saying a word, but his cartoony pursuit of the rest of Captain Hook, his swifts and sways to the beat, and his smiles and frowns when he’s close or far from achieving his goals make him a memorable presence in the more Looney Tunes-esque portions of the film. Even Nana, who’s on screen for a grand total of about five minutes, makes a sympathetic impression in a short amount of time.
Unfortunately, having been released nearly seventy years ago, the film has some cultural artifacts that are, to put it charitably, read as distasteful today. The scene that represents indigenous people, with caricatured designs, broken speech, and other bits of exoticism is hard to watch in the modern day. The song “What Makes the Red Man Red” is particularly rough, applying stereotypes and then coming up with belittling explanations for them. The best you can say for these sequences is that, if you want, you can try to excuse them as the product of a young Londoner’s imagination and not meant to represent actual indigenous people as in Pocahontas, but that’s pretty thin. The truth is that these portions of the film are embarrassing, no matter how you frame them.
By the same token, there’s a subtler, but no pernicious brand of gender essentialism at play. Every female character in the film (short of Anna Darling) is jealous, rivalrous, and spiteful of the others, assuming each is after Pan’s affections. By contrast, all of the boys are rowdy, wild rough-housers who play games and knock one another around at every opportunity. For theoretically being the product of a young woman’s reveries, Neverland plays much more like a young boy’s view of the opposite sex and his fellow man than anything less bound in gender stereotypes that were already tired in the 1950s.
Still, if you can compartmentalize those regrettable parts of the film and enjoy what’s left, Peter Pan remains a delightful, imaginative spin on the joys and perils of youth. The early parts of the picture in the Darlings’ nursery presage what’s to come nicely. The spate of treehouses and pirate ships and mermaid lagoons capture the sense of a world of adventure and possibility for a young mind.
It’s also a sonically superb outing for Walt Disney Animation Studios. “You Can Fly” is an earworm that will stick in your head for days, and “Following the Leader” is just as catchy. But it’s the more incidental pieces of music that really liven up the film. Peter’s trademark tune on his pipe is a nice aural accent to his character. The jingling noises of Tinker Bell’s movements and pixie dust deposits similarly give her a signature sound that helps her command the screen. And last but certainly not least, the metronomic ticking of the crocodile’s approach, and the equal and opposite rhythmed panic that overtakes Captain Hook is absolutely fantastic.
Hook is also superb in the inevitable confrontation between him and his green-capped adversary. The sword-fight between the malevolent buccaneer and the spritely spirit of youth, taking place up, down, and all around a pirate ship, is one for the ages. Hook’s comic fury is matched by Pan’s prankish energy, with genuine tension and drama emerging when Pan vows not to use his power of flight in the fight. The world of this movie is one of constant, engrossing movement, and nowhere is that more present than in the Errol Flynn-esque standoff between Hook and Peter.
But of course, it can’t all be sword fights and pixie dust. Eventually, the Darlings must return home (if they ever left) to once again enjoy the warm embrace of their loving mother at the expense of their blustery, hapless father (another bit of gender essentialism). The hint that it was all a dream is another tie between Wendy and Alice, as is the renewed sense that maybe there’s a merit to her everyday life and the grown-up expectations that come with it when contemplating and visiting the alternative.
And yet, there’s an extra wrinkle to Peter Pan, something that makes it deeper and more engrossing than at first blush. The opening narration suggests that Wendy takes after her mother, warm-hearted and caring, and not at all like her boisterous, naysaying father who bloviates on about what’s practical and setting childhood aside. But by the time Wendy returns from Neverland, in one way or another, the film suggests the distance between them is not so great.
When forced to play house mother for a den of rambunctious kids who wants to do nothing but play and tussle and live like [shudder] “savages,” it’s Wendy who focuses on practicality, showing hints of her father’s personality and eventually understanding the need to grow up. But it also shows Mr. Darling as gazing at Peter’s ship of clouds and recalling something like his own adventures in Neverland, suggesting that Wendy’s sense of imagination may have come from an unlikely source.
Wendy Darling shares a great deal in common with her Wonderland-visiting counterpart, beyond just a voice actress. But what makes Wendy feel different is that return to her home life, laden with love and eventual understanding on both sides of the parental divide, which turns out not to be as great as she, or we, once thought.