Finding Neverland Review
by Robin Clifford (robin AT reelingreviews DOT com)November 13th, 2004
"Finding Neverland"
Playwright J.M. Barrie (Johnny Depp) stands off stage and watches as his latest play meets a hohum audience response. Thus chastened, he takes to long walks in London's Kensington Gardens with his oversized St.
Bernard, Porthos, where he befriends a young widow, Sylvia Llewelyn Davies (Kate Winslet), and her four free-spirited sons. The young, plucky family inspires the author and leads him on his journey of "Finding Neverland."
Director Marc Forster and screenwriter David Magee adapt Allan Knee's stage play, "The Man Who Was Peter Pan," and bring to the screen an imaginary and imaginative telling of how the century-long, immensely popular play, "Peter Pan," came to be. Not having read Knee's work, it is hard to see the line where his oeuvre leaves off and Hollywood takes over. To the filmmakers' credit, their adaptation has a big-hearted, good-natured feel about it that rings true to its source material.
Johnny Depp, as James Barrie, adopts a soft Scottish burr with an educated melody about it that is pleasing to the ear. The actor also imbues the boyish sense of wonder and playfulness that the writer must have had to envision such a wildly fantastical story. In addition, there is real chemistry between Barrie and the Llewelyn Davies boys and their mother.
Particularly strong is the relationship that develops between author and the second youngest boy, Peter (Freddie Highsmith). Barrie's inspiration for his most famous character is a serious, taciturn little boy who resents James's attempt to be their father figure when, in fact, Barrie is just trying to open the boy's eyes and enjoy the world. In other words: to believe.
The core story of Barrie's growing relationship with the stalwart and, thanks to Sylvia, progressive little family is coupled with other story lines and characters that make "Finding Neverland" a much more complex film. As James's love for the Llewelyn Davies family nurtures and grows, his marriage to his wife, Mary (Radha Mitchell), continues to deteriorate. The socially conscious Mary is taken aback by her husband's friendship with the pretty young widow and her boys and can't cope with the scrutiny on her marriage by those casting judgments about her.
Mitchell has the toughest role in the film, opposing the near angelic Sylvia, and acquits herself with a strong performance.
Kate Winslet is luminous as Sylvia. There is an assured lovingness to her manner that says that, no matter what happens, as long as she has her boys, all will be well. Winslet also gives a great deal of dignity as Sylvia's fortunes turn and her health fails. The warm affection between Barrie and Sylvia is palpable and an aura of friendship and love surrounds them. The honest chastity of the love story is a breath of fresh air in today's cliché and sex driven movies.
The four boys that make up the Llewelyn Davies brood are ably played by the young actors. Freddie Highsmith gives a good turn as the serious little boy, Peter, who eventually opens up to the child-like mind set of Uncle Jim. Nick Roud, as the eldest son, George, is convincing as the sibling who, though only a teenager, is ready to take on the responsibility as the family patriarch. Good, too, are Joe Prospero as #2 son, jack, and Luke Spill as the youngest Llewelyn Davies, Michael. Dustin Hoffman gives, as usual, a solid performance as American impresario and J.M. Barrie financial backer, Charles Frohman, providing comic relief as he frets over assuredly losing money with his writer's wacky idea for a play. Ian Hart plays James's friend and advisor, Arthur Conan Doyle, but the fame of the Sherlock Holmes creator is downplayed in favor of his friendship to Barrie – a nice touch by the filmmakers.
The story, as I said, has many things going on and you must pay attention to what's going on. There is the love of a man for his "adopted" family; the love and friendship between James and Sylvia, and what that means in a Victorian England setting; the conflict between the artist and his ways and his responsibilities to his marriage with Mary; the conflict between Barrie and Sylvia's mother, Emma du Maurier (Julie Christie), who sees the writer as a dangerous intruder into he family's life; the behind the scenes look at staging a special effects extravaganza at the turn of the 20th Century; and, the creation of a fantasy adventure that would come to please and thrill untold millions of kids of all ages for over one hundred years.
The artfully accomplished production design by Gemma Jackson is a skillful blending of period sensibility and magical fantasy as the worlds shift between the reality of Victorian life and the imagination of Barrie's world of pirates, fairies, Indians, a giant crocodile and the story of a flying boy who doesn't want to grow up. Costume, by Alexandra Byrne, captures the Victorian era of stiff collars and frock coats for the men and restrictive corsets and modest dresses for the women. She crosses over into the fantasy world of Barrie's making easily. Camera works, by Roberto Schaeffer, also lends to the look and feel of the real and fantasy worlds created.
Director Marc Forster, who solidified his position as a talented filmmaker with the harsh and hopeful "Monster's Ball," has gone a lighter, more fanciful route with "Finding Neverland" and accomplishes things quite well. His exceptional cast and crew make for a warm, often delightful story that culminates in the first staging of his famous play and Barrie introducing Sylvia, in a sentimental sequence that works, to Neverland. I give it a B+.
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