The Lost Boys and the Indians no longer try to kill each other. Still, while this one is certainly simplified compared to Barrie, its characters remain complex enough to keep things interesting. (In fact, if I had to choose between a world of ambiguous art/stories and unambiguous art/stories, I’d go with the latter.) I’m just saying that an adaptation with Disney’s aesthetic is going to be limited in how much it can capture the spirit of Peter Pan. I’m not saying all this to argue that Disney equals bad and Barrie equals good. ![]() Both Hook and Peter rack up impressive body counts and both of them have a code of honor. What ultimately secures him the boos of audiences is that he and his crew try to kill children-but the children have no problems with killing them. His sharp awareness of his mortality, as symbolized by the ticking crocodile, makes him something of a tragic figure. It’s even possible for audience sympathy to lean more towards Hook in some scenes, given that he’s something of an underdog. Hook the official role of villain, but both of them are callous and narcissistic in practice. Sure, Peter has the official role of hero and Capt. For example, while repressing emotion is portrayed as unhealthy in Frozen, giving emotions completely free reign is also depicted … Continue reading Barrie, on the other hand, is a fundamentally ambiguous writer in some of his plays anyway and certainly in Peter Pan. Modern Disney animated movies tend to be a bit more morally complex. Disney animated movies tend to have very clear cut good guys and bad guys, or at least they did in the 50s. Barrie’s book and play don’t lend themselves to a Disney movie that well. ![]() It sounds crazy to say this now, so many decades since Disney’s 1953 animated movie of Peter Pan, especially when the character of TinkerBell has become such a Disney icon, but J.
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