Nostalgia is quite the funny thing, isn’t it?
We all have those films from our childhood that we watched 100 times and became permanently ingrained in our consciousness. I spent quite a bit of time growing up watching tons of animated films. I watched all the Disney movies (both classic and Renaissance), Don Bluth films, and many more. I personally spent tons of time-consuming some of the most iconic franchises of all time like Indiana Jones, Rocky, Star Wars, and James Bond (yes…even when I was 7 or 8). Some of these films I still hold near and dear to my heart and watch on a regular basis. Others have slowly disappeared from my consciousness (looking at you Don Bluth’s animated features). Sometimes you avoid checking them out because they just might not be how you remember them. Sometimes they are just hard to find (even in this world of unlimited streaming services). But it just might be time to take a step back and look at the films from their childhood.
Why is Hook one such film for me?
For a kid, a film can be a wonderful escape from many different things (and that even continues for me today). Nothing is more of an escape than going to Neverland. The magical world that J.M. Barrie created is a sight to behold. With this Spielberg adaptation, you see the budget on the screen. There are elaborate set pieces and designs that pull you right in. A sense of adventure is present in our youth before the trials of life take over and beat us down a bit. But nothing is more adventurous than the swashbuckling journey of Peter Pan and the Lost Boys. There are few directors who can capture a childlike wonder quite like Spielberg. Amblin is a trademark of that nostalgia and Spielberg brings all that love of Pan rushing back. This film is just a perfect mix of all types of wonder. As a child, I would put this VHS tape in repeatedly. Going on this wonderful journey into Neverland was a hallmark of my childhood.
But how do Spielberg and the writers James V. Hart and Malia Scotch Marmo create a unique experience for this timeless tale?
There is a bold choice to make this a sequel instead. But it is not some ordinary sequel. There is a meta-narrative that is weaved in that involves the mythos captured in the book and play of Peter Pan. Peter is a middle-aged father and husband who neglects his family for work. His wife’s grandmother (Maggie Smith) is the basis for Wendy in the Peter Pan story. But one fateful night, Captain Hook kidnaps Peter’s children. Tinkerbell whisks Peter off to Neverland where he must find himself after years of forgetting who he really is. The hook plays mind games with Peter’s kids while Peter finds his inner Pan. Throw in a few love threads (Wendy and Tinkerbell) and this is certainly not your parents’ Peter Pan.
This is a bold and ambitious change of pace, but can Spielberg deliver on this fresh new idea?
There are some areas where Spielberg’s film falters. Hook does not have the strongest track record compared to most Spielberg films. The tone is one of the biggest struggles. Sure, there are some adventures and magical elements that are great for the whole family. Unfortunately, there are some elements that clash harshly with the rest of the film. Captain Hook is causally suicidal (Smee seems a bit too cover it when Hook begins to spiral). This probably isn’t the best approach to tackling such a touchy subject for so many. There are some romantic elements that have dark elements which get glossed over. Wendy is still in love with Peter (Smith sells that with precision and subtly) but he is married to his granddaughter. How would you even approach such strange complexity in a family film? Then there is Tinkerbell too. She comes onto Peter…who is married…and has kids. Both subplots stick out for all the wrong reasons.
How about the actual script that fills out this 140+ minute adventure?
This film is filled to the gills with plenty of stories and characters. We already mentioned two romantic subplots that feel a bit extra and added on. The story is simple. Hook has Peter’s kids and Peter must train for three days before a big battle. The film basically forgets about Peter’s daughter as Hook only focuses on the son because he is emotionally an easier target. Hook has his relationship with Smee which only gets a few brief scenes to flesh out (which plays out like a toxic relationship). There is Peter’s whole arc is muddied by the presence of his replacement, Rufio. This secondary conflict pads out the time as well since those three days would otherwise go by so quickly. The wrinkle where Hook tries to brainwash the son feels interesting at times, but it is thrown away so quickly. The actual narrative is derivative as it packs in training montages and battles. But for every strong message that is resonant for all, there are just as many messages that feel misguided and need to be revisited.
But what are the elements that bring this romping adventure together?
From a technical standpoint, there is so much going for this film. The production design is off the charts. The pirate ship and harbor are so detailed and lived in. The tangible look makes for a more authentic experience for the audience. You can feel the world around the characters. When there is a tangible environment, it makes it so much easier to be lost in this story with these characters. The costumes are bold and pitch-perfect too. Peter’s final costume is iconic, and Hook looks striking in his full regalia. The pirates and Lost Boys all have so much personality in their attire as well. But the true crown jewel is the legend himself, John Williams. There are a few familiar tinges here and there, but this score is a rousing and emotive joy. Each scene is better because of William’s work. The music does plenty of heavy lifting to create wonder and a sense of adventure. William elevates every Spielberg score because he knows exactly what kind of film he is composing.
Besides Williams, who else stands up to deliver impeccable work?
A different William, i.e., Robin Williams. The progress that Peter makes as a character throughout this film is ripe for William’s unique range. He begins as a cold and nearly means a father who unabashedly lets his kids down and then proceeds to shatter their imagination. But once he lands in Neverland, Williams gets to slowly reveal the true Pan inside. There are moments you can tell that Williams does some ad-lib and improves as only he can. The restraint that he shows in slowly making this transition is essential to the dramatic center of the film. The whole film is about this journey and Williams expertly navigates it. Once he is truly Peter Pan again, Williams shines as the energetic and lively soul that we all loved. This film is made by his performance.
How about his foil and antagonist?
I still cannot believe this was Dustin Hoffman as Captain Hook. Upon rewatch, I realized that Hoffman sounds exactly like Jeremy Irons in this film…which is an odd choice. Why not just get Irons if you could? But that is beside the point. Hoffman is still a delight. His performance is energized and bombastic. Even if it comes off as a tad uncomfortable, Hoffman’s handle on the mental state of Hook is incredibly entertaining. He delivers physicality. He delivers a lot of energy. He delivers the gravitas needed to portray such an iconic character.
But there are plenty of other players besides our iconic duo, right?
Smith is such a great actress, and she can say and feel so many things with a single facial expression. That lasting love for Peter shines through in her disappointed reactions to the man he has become. Caroline Goodall has the unflashy role of Peter’s wife, but she gets to show off some strong moments in standing up for her family when Peter is being distant and cold. Bob Hoskins is an absolute delight as the charmingly silly and goofy Smee. Julia Roberts is an inspired casting for Tinkerbell. She is beautiful and full of energy. Roberts plays Tink so well (even when the script puts her in odd places). Then you have a whole cast worth of young actors who (for the most part) play their roles well including the charismatic Dante Basco as Rufio.
Does Hook overcome the nostalgia to be a classic amongst Spielberg’s filmographies?
This one might be a bit more flawed and clunky than you remembered as a kid.
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Without nostalgia or a youthful perspective, this is not on the same level as some of Spielberg’s other efforts. But that does not mean that this is not a magical and wondrous journey for the whole family. You may have to have some uncomfortable conversations with the young ones in regards to some of the ideas here but this is a bold and unique twist on Peter Pan worth exploring.
