Wendy Moira Angela Darling (Ever Anderson, daughter of Milla Jovovich and Paul Anderson) He starts a new life tomorrow. But not as his family planned for him. Instead of a boarding school for girls, she goes with her younger brothers to Neverland, a magical land where the flying tomboy Peter Pan lives. (Alexander Moloney, who made his big screen debut), refuses to grow up, lives with other Lost Boys (not just men) and fights evil pirates led by Captain Hook. (Jewish Law).
Game remakes of Disney cartoons are like global warming: bad, but nothing can be done about it. However, unlike global warming, “Disney” remakes also have their positive aspects, more precisely, individual glimpses of something understandable in the bullshit stream of varying degrees of monstrosity. Peter Pan and Wendy, directed by The Legend of the Green Knight director David Lowry, is one such look.
A few years ago, Lowry was doing a remake of the fantasy Pete and his Dragon, another not-so-obvious classic for Disney (which was quite successful). “Peter Pan” is of course something more famous, but it still doesn’t seem to have been included in the studio’s top-rated collection: not the Lion King, not the Little Mermaid, not Beauty and the Beast, not Aladdin, not even Dumbo and Mulan. Thus, presumably, a little bit of freedom was not so typical for such projects that Lowry was bestowed while working on the adaptation of the 1953 cartoon (in essence, this is not a remake, but simply a new adaptation of the story by James Barry. Visual footage of the “Disney” tape) .
Justifying the return to the story’s original title (like this story’s book, published in 1911 as “Peter and Wendy”), Lowry expands on Wendy’s role, giving her more subjectivity and, at one point, some power (de facto empowerment). The same sequence of metamorphoses occurs in Princess Tiger Lily. (Alice Vapanatank), who ceased to be a racist stereotype and misogynistic trope, and with the fairy Tinker Bell Yara Shahidi from “Growed Up”), turned into a humorous example of deaf male narcissism, and with Lost Boys (they are no longer just men, as mentioned above, they are not just white, but also a boy with Down syndrome in general, amongst them, you can find yourself on the screen for the widest possible range of young audiences) opportunity to see).
However, the main changes here concern the key male characters (i.e. Pan and Hook), so “Peter Pan and Wendy” as a female manifesto is untenable, but in the sense of a fairy tale about childhood – with rather unexpected theses – quite surprising and poignant. Pan isn’t that great, Hook isn’t that nightmarish (well, or at least it’s suddenly a nightmare), childhood insults are a terrible thing, and all these questions in general should be taken to a psychotherapist, but in Neverland with the experts, we’re obviously, strict, light each other. We need to compress.
What is worthy of separate praise is that in the final analysis it is exactly a children’s tale, that is, no longer a completely obscure and safe “Disney” trick, but not yet the “Green Knight Legend”. “Disney” in cabbage soup. Still, Lowry sometimes contains the familiar psychedelia (a pretty cool move from London to Neverland, in principle, regularly pulls to take a screenshot and hit the print button), but “Peter Pan and Wendy” is not full of meaning and subordinate The texts, digging and deciphering are nothing special here (at least not in such quantities), but they are easy to touch and moisten the eyes. More, perhaps, is not necessary.