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The monologue before the opening sequence foreshadows a few surprising characters arcs might be developed in the film, in which ‘friends begin as enemies, and enemies begin as friends’.

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One of the biggest priorities for Disney when adapting Peter Pan would be child-friendliness. Disney was founded in 1923, 30 years before the Peter Pan adaptation was made and across those 30 years they solidified a brand of family friendly films, mainly aimed at children. Therefore, the film of Peter Pan will have needed to align with these brand values. It is important to think about the commercial/business side of adaptations as well as the creative side, and I would argue that Disney did this in adapting plot points such as Peter fleeing his own home at only a week old, as it may have been upsetting for young children

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Symbolism is used within this scene to emphasise the major themes within it. For instance, the line drawn in the sand was used earlier in the film when Rufio claimed that the middle-aged man he saw before him was not Peter Pan and those that agree with him should stand on his side of the line. Once they realised he was in fact Peter Pan and he regained his defining characteristics, such as flight, the line in the sand is used to represent his solidification as Peter Pan and the leader of the lost boys. Intertextuality is also at play, with the shot of Peter Pan being above the clouds and flying into Neverland being used in other versions such as the 1953 Disney Version. With this being recognisable to the audience, the ideas of Peter Pan's character would be brought to the mind of the audience.

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In this scene, Peter Banning has discovered his "happy thought" allowing the real Peter Pan to materialise in his character, embodying the recognisable characteristics of Peter Pan adaptations created through this intertextuality. Although the flight was originally within the short story his character is based off, the antics, lost boys and themes of youth was created throughout time and further adaptations. Most notable in it' fidelity to this concept are the modern adaptations including Disney's 'Peter Pan' adaptation from 1953 and the 2003 'Peter Pan' movie. In comparison, the original character of Rufio, seen giving Peter his sword back at the end of the clip, continually acts as a catalyst for Peter's development through his provocative actions and eventual death. This original character was then adapted into further texts, most notably video games released after the movie.

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In the opening scene for the movie, Peter, Moira and Jack are watching their Maggie act as Wendy in a play about Peter Pan. The play is symbolic as the Peter Pan on stage boasts of never wanting to grow up, stating that becoming a man is "Yuck." while the real Peter (Banning) Pan is having to take a business call about a meeting, simultaneously missing his daughters performance and scheduling the meeting over his son's baseball game. He claims that "My word is my bond." but this comes back to bite him as his broken promises allows his son to mistrust him and prefer Hook over him. Through this opening scene, the conflict of the movie is displayed and foregrounded, as Peter Banning has to reclaim his identity as Peter Pan in order to find resolution in his life and family.

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In this adaptation, Peter Pan, now known as Peter Banning played by Robin Williams, is a middle-aged lawyer who is enveloped in his work, having forgotten his previous life as Peter Pan. He is married with a wife, Moira, and two children, Jack and Maggie. His children are then kidnapped when visiting his mother-in-law, Wendy. Peter then encounters Tinker Bell who takes him to Neverland with the intention of confronting Hook, the kidnapper, however once seeing how weak Peter has become and feeling as though his revenge will not truly be fulfilling, Hook allows Peter three days to prepare. In these three days Peter regains the lost boys respect, while Hook attempts to turn Peter's children against him. Peter is then victorious within the ensuing climax and returns to London with a new-found look on his life and family.

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“The Little White Bird” is a series of stories from the perspective of a bachelor, Captain W, living in Victorian London. He befriends a boy named David and details the fantastical adventures that they embark on together. Barrie’s protagonist, who is often assumed to be a semi-autobiographical insert, shares stories with David throughout the novel, one of which involves the original tale of Peter Pan.

Peter begins the tale in Kensington Gardens where he overhears a conversation about his birthplace and vows to return. He arrives at an island, where he discovers he can no longer fly and is stuck. Peter makes various friends on his travels, including Maimie Mannering who forms the basis for Wendy’s character in the play adaptation.

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With a similarly fairy tale-like narration, this passage recounts Wendy Darling’s ponderings on the process of aging. Whilst previous iterations are primarily focused on Peter, the novelised version gives emphasis to the thoughts of adjacent characters. Here, it is evident that Peter Pan is very much different from his friends in Kensington Gardens; he is destined to remain stagnant in a maturing world.

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Photograph from an early performance of "Peter Pan" at Great Ormond Street Hospital (1929).

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Following the publication of the play, Barrie gifted the rights of the ‘Peter Pan’ character to Great Ormond Street Hospital. Although the copyright expired in 1987, a clause in the Copyright Designs & Patents Act granted an extension of these royalties to the hospice. It remains partially funded by the royalties from many new iterations of the character, including its use in merchandise and films.

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All children, except one, grow up. They soon know that they will grow up, and the way Wendy knew was this. One day when she was two years old she was playing in a garden, and she plucked another flower and ran with it to her mother. I suppose she must have looked rather delightful, for Mrs Darling put her hand to her heart and cried, ‘Oh, why can’t you remain like this for ever!’ This was all that passed between them on the subject, but henceforth Wendy knew that she must grow up. You always know after you are two. Two is the beginning of the end.

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1907 poster from a performance of "Peter Pan, or The Boy Who Wouldn't Grow Up." Based on an illustration by Charles Bucher.

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The review concludes “it is absolutely original – the product of a unique imagination.” I feel that this summarises what is a largely positive review of the debut performance. Barrie adapted the success of his earlier works in a play which combines comedy and a poignant moral. Suitable for both children and parents, the production paved the way for the Peter Pan adaptations that were to come.

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In this play adaptation, Peter Pan lives on the island of Never Land, with his fellow ‘Lost Boys’. He often visits the Darling’s at their family home in London. On one occasion, he leaves his shadow behind and accidentally awakens Wendy Darling who agrees to join him on an adventure to Never Land with her brothers. They have many adventures there, accompanied by the animals and pirates that inhabit the island, before returning to London. Unlike “The Little White Bird”, this play is primarily concerned with the character of Peter Pan; the play forms the basis for various pantomimes and film adaptations.

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"Of course, it also shows that Peter is ever so old, but he is really always the same age, so that does not matter in the least. His age is one week, and though he was born so long ago he has never had a birthday, nor is there the slightest chance of his ever having one. The reason is that he escaped from being a human when he was seven days' old; he escaped by the window and flew back to the Kensington Gardens."

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Using Gerard Genet's ideas of transtextuality, the Disney adaptation uses intertextuality in the form of allusion because in the original text, two swans help carry Peter to the island and this is alluded to in the Disney version, when two swans help Peter skim across the surface of a lake as he travels to Neverland with the Darling children

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Cover of original anthology of short stories from which Peter Pan is based.

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Pan begins at early 1930s’ Kensington Gardens, and then the plot jumps to twelve years later when London is suffering under the air raid of the axis powers and Peter starts his adventure to Neverland.

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This 1991 adaptation plays on the dynamic of the white-collar worker where an adult Peter Pan must rekindle and reform his priorities, almost acting as the reverse of a coming of age story.

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Fig. 1 Peter Pan's mother kisses her son before leaving him to the Lambeth Home for Boys

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Peter Pan appears as a baby in swaddle who is left on the doorway of the Lambeth Home for Boys in Kensington Gardens by his mother in a night (shown in fig. 1).

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Cover of the original illustrated edition of "Peter Pan in Kensington Gardens" (1906), illustrations by Arthur Rackham.

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"Peter Pan in Kensington Gardens" as found in The Little White Bird (1902)

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"Peter Pan in Kensington Gardens" as found in The Little White Bird (1902)

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1904 programme for the first production at the Duke of York's Theatre, London.

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Peter Pan, or The Boy Who Wouldn’t Grow Up - Play (1904) 

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Peter Pan, or The Boy Who Wouldn’t Grow Up - Play (1904) 

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Cover of the original UK edition of "Peter and Wendy" (1911).

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J.M. Barrie was a Scottish writer and playwright, who is best known for the creation of Peter Pan. Despite growing up in Angus, he moved to London; this setting became the inspiration for “The Little White Bird.” His older brother died in an ice-skating incident, leaving six-year old Barrie to grow up in a household plagued by grief. It is often thought this tragedy formed the basis for the story of Peter Pan, as Barrie’s mother took comfort in the fact her son would forever remain with her as a young boy.

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In this passage from “Peter Pan in Kensington Gardens”, J.M. Barrie’s most famous character is portrayed as the boy-hero of this section of the novel. Peter Pan is shown as a seven-day old infant who has fled from his nursery and taught to fly around Kensington Gardens by the fairies and birds. First and foremost, Barrie’s novel is a children’s fantasy, yet I would argue that it is narrated in a tone more adjacent with adult literature, dealing with mature themes throughout. J.M. Barrie’s fable-like narration is simultaneously whimsical and nihilistic. Whilst “Peter Pan in Kensington Gardens” is written with a softer outlook, the book as a whole is far from the fanciful tales one would expect from the original conception of Peter Pan.

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This novel is essentially an extension of the 1904 play. Wendy Darling first encounters Peter Pan when he goes to retrieve his lost shadow from her bedroom. Wendy persuades Peter to take her and her brothers with him back to Never Land as a ‘mother’ figure to the Lost Boys. He agrees and they go on various escapades, including a conflict with the antagonist, Captain Hook. Much like the play, Barrie’s novel concludes with Wendy and her brothers returning home to London.

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The 1953 Peter Pan by Disney is one of the most well known adaptations. One of the key reasons for this is it's ability to capture the eternally youthful essence of Pan

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"Second Star to the Right" by Allison Kavey Quote

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"Second Star to the Right" by Allison Kavey Quote

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“For an ever increasing number of men and women in the early twenty-first century, the worship of youth and beauty demands painful and extensive plastic surgery, resulting in more face-lifts and tummy tucks as the wrinkles and pounds accumulate at an alarming rate over time. In an age of schedules and responsibilities that start increasingly earlier and earlier in childhood, the desire to withdraw into a place entirely of your invention, one that responds to your every daydream and nightmare, is incredibly seductive. [The various merchandising from the Disney film such as halloween costumes] all partake in the liberating fantasy of flight, the aching desire to remain youthful, and the reckless longing to return to Neverland." (2)

Kavey, Allison. Second Star to the Right: Peter Pan in the Popular Imagination. Rutgers University Press, 2009.

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Kavey argues that it is Peter Pan's youthfulness that makes him such an appealing character. I argue that this youthfulness is first established in the introduction of Peter to the Darling children. We see him fly into their bedroom before wrestling his own shadow around the room, waking the children up in the process. He eventually catches the shadow, having flown, jumped, and ran around the room in its pursuit. He then humorously tries to stick it back to himself using soap before letting Wendy help him. He then helps the children learn to fly, demonstrating himself. The physicality of the character is important here because they way he uses the physical space of their bedroom acts as a direct contrast to the way the adults do before him. Mr Darling stomps around angrily, searching for his cufflinks, while Mrs Darling stands calmly with her children. Both of the adults command the space in a very different way to Peter, who uses the bedroom like a playground. This contrast solidifies his youthfulness, a factor which allows him to become such a successfully adapted character

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The film begins by establishing the mythic status Peter Pan has gained within the Darling family. For the first 10 minutes of the film, audiences see the Darling family discuss Peter Pan with various emotions - while the children worship him, their father calls him "Poppycock" (nonsense). It is clear that he is the star of all the children's games and stories, that he has become become a myth to them. This mythic status is shared with the audience, as Peter Pan comes to represent youthfulness and childhood joy. This links to the ideas put forward by Kavey, who argues that Peter Pan has come to represent childhood joy for entire generations

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"JM Barrie's Peter Pan is a hit on the stage" - From the Guardian archive

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"JM Barrie's Peter Pan is a hit on the stage" - From the Guardian archive

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Review from 28 December 1904:

Again Mr. J.M. Barrie has drawn one of the great prizes of the theatrical lottery. There will be divergent opinions, no doubt, as to the quality of the humour which inspires and pervades "Peter Pan," but all the world and his wife will go and see it, and will take their children.
Though the play is written very much in the key of "The Little White Bird," and though several ideas from that book recur in it, there is no essential connection between the two...

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Peter Pan’s mother carrying her baby jumps over the iron gate of Kensington Gardens

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Peter Pan's mysterious background hidden in the opening sequence

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Peter Pan's mysterious background hidden in the opening sequence

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1. Peter Pan's mother is a well-dressed young lady in fine make-up, and she leaves her son reluctantly and desperately, which poses a sharp question as to why a mother who loves and has the ability to raise her son chooses to abandon her son.

2. Before arriving at the orphanage, Peter Pan’s mother jumps over the iron gate of Kensington Gardens agilely, which indicates she and her son are not ordinary human-beings. Due to the advanced CGI and motion captive technology being employed, this shot seamlessly embeds lively fairy elements into the dim reality, and sets the aesthetic style of the film.

3. Peter Pan is left with a letter and a necklace by his mother, which become his faith and key that guide him to go through his journey in Neverland.