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This film has a very stagy feel & it should because it was taken from the show as it was running on the stage in 1924 & filmed for the most part. There is only a sequence on the ocean which is an early example of how pirate films made much later would be like. While the sets are much the same on the ocean, the fantasy is left intact with children conquering bitter pirates.

The real fantasy of this film is how George Ali, in his only film role, makes a costumed dog seem so realistic. The special effects with the fairy, etc. are very obviously borrowed from the stage play. To me, the story here & the moral are more defined than the later Walt Disney animated version of the same story.

If you want to make a great home movie night, watch this film, then watch "Finding Neverland" starring Johnny Depp made years later. This silent is so well done, it makes the later film seem even better. The silent film actually enhances the enjoyment of Neverland as this film prefaces it very well.

All the acting in this silent is well done. This is an epic silent film.

The competition for the part of cinema's first version of Peter Pan was fierce. Superstars Mary Pickford and Gloria Swanson, yearning for the treasured role, heavily lobbied for the part of the primary resident of Never, Never Land. Author J. M. Barrie, the author of the original Peter Pan as well as the playwright for the 1904 play based on his novel, was given the rights to select the performer for the lead role. After nine months of research and screen tests, he made a surprising choice: a little known New Jersey 18-year-old actress who recently relocated to California to play bit parts. Betty Bronson was suddenly rocketed from obscurity to the limelight when she became the lead in December 1924's "Peter Pan."

Barrie was contacted by several movie studios for the rights of his novel and play. He ultimately agreed with Paramount Pictures, under the direction of veteran Herbert Brenon. The silent movie director had a reputation of handling difficult, temperamental actors with success. His ability to handle Barrie during the pre-production was especially deft. The author wanted to incorporate additional scenes into the film, but Brenon, an admirer of the 1904 play, wanted to stick to the stage's plot where Wendy, the oldest child in the Darling household, is attracted to Peter Pan. But the flying boy who never wants to grow up instead thinks of her as his mother. "Peter Pan" is also the first work of Barrie's, which were his plays, to show Tinker Bell (Virginia Browne Faire) as a person.

The 1924 film has been praised especially for its cinematography. Under James Wong Howe, previously an assistant for the young director Cecil B. DeMill before going on his own, his photography, in particular in the Never Land scenes, are striking, especially when Peter tests his shadow. Howe earned two Academy Awards for Cinematography in 1955 for 'The Rose Tattoo' and in 1963 for 'Hud' with Paul Newman.

One highlight of "Peter Pan" was the work of George Ali, playing the dual role of Nana, the Darling's family dog, and the Crocodile, the culprit who had earlier bit Captain Hook's hand off. Ali's ability to slide into an animals' costumes and realistically act out their characteristics is striking in its believability. It's rare a person can make a living out of specializing as an animal impersonator, but Ali made a career of it.

"Peter Pan" was so successful at the box office that Brenon and Barrie decided to take on the adaptation of the author's 1916 stage play, "A Kiss for Cinderella." premiering in December 1925. Betty Bronson earned the lead as Cinderella in the film that saw 15-year-old actress Anita Page debut on the screen in an uncredited role. Unfortunately for Bronson, the picture proved to be a major flop. The young actress' career sputtered after that. Despite an appearance as Mary in 1925's 'Ben-Hur,' nothing in her acting resume approached the spotlight she received as cinema's first Peter Pan.

For Anita Page, however, it launched a relatively successful livelihood in film, especially in the 1920s and early 1930s, where she was labeled "the girl with the most beautiful face in Hollywood." She retired in the mid-1930s, only to appear in front of the camera in the late 1990s, with her last posthumous movie in 2010. Living until she was 98 in 2008, Page was one of the last adult silent movie stars still around in the 2000s.

This is a very entertaining adaptation of the story of "Peter Pan", and the production, particularly in the visual effects, is rather impressive for its time. The cast is a good one, with a lot of enthusiasm for their roles, and the whole movie has a lively pace to go along with the interesting story and plenty of good visuals.

Betty Bronson delivers everything that you could expect as Peter, and it's easy to see why J.M. Barrie himself chose her for the role. She has plenty of energy and a believably boyish appearance. The rest of the cast is also good, and in some cases (Virginia Browne Faire and Anna May Wong) you wish you could have seen more of them. It would be hard to think of a better Captain Hook than Ernest Torrance, who gives the role just the right degree of exaggerated villainy. In what seems to have been her first screen role, Mary Brian is appealing as Wendy.

It sticks mostly to the essentials of the familiar story, which is usually appealing to children while potentially quite interesting to adults, for different reasons. Peter's desire to remain a boy, and the offbeat nature of the fantasy world, make the story much more than a whimsical daydream.

The visual effects, particularly the 'flying' sequences, work very well for their time, and they must have been very exciting for the movie's original audiences. The Tinkerbell effect also works well despite its simple means. The fantasy story is combined with just enough reality (back at the Darling home) for it to fit together nicely.

"Peter Pan" is a movie and stage perennial, so there is no shortage of versions to choose from. But this one is very enjoyable, and it is certainly recommended for anyone interested in seeing a silent movie version of the story.

One of the Lost Boys warns the others: "The first who does not behave to Wendy like an American gentleman, I'll blood him severely!" And this is quite an amusing gag, indeed. The other two occurrences of the matter (I mean American chauvinism, or exceptionalism) in the film are less appropriate, useless and out of place, in my opinion: the Lost Boys, who would like to be pirates, refuse to accept the offer of becoming such because the ship would fly the pirate flag (the traditional black one with skull and crossbones) instead of the Star and Stripes, and in the end they lower the black one and put up the U. S. flag. These scenes are not particularly humorous and add nothing whatsoever to the plot.

I don't know (and I don't mean to investigate) if in the many literary works of the British novelist and playwright J. M. Barrie, who devised the character of Peter Pan, a similar treatment is reserved for the Union Jack (let me doubt it, being he a Scotsman...). But if he did it was just something natural to a man that loved his country; whereas the authors of the film either "translated" flags - in a completely motiveless motion (motiveless except for sheer chauvinism, of course) -, or invented the whole thing, for the same reason.

Having said that, I consider Peter Pan a (very) good movie. You see from the first few seconds of Peter's appearance that she is a girl, and this is in accordance with old theatre productions, in which the role of the "Principal boy" was traditionally played by a petite young woman. I loved Nana the dog.

When Sir James M. Barrie agreed to allow Famous Players—Lasky to make a movie version of his 1904 Christmas pantomime Peter Pan, he laid down some pretty stiff terms. Not only was he to have casting approval, but the title cards were to use as far as possible the dialogue of the stage play; the plot line was to keep to the original Three-Act structure; the characters were to be those of the play—none were to be eliminated and additional characters were not to be introduced; and above all, the characters were to fly realistically. Sir James also insisted on writing a long Preface to the movie in which he made the point that Peter Pan was a pantomime and needed to be accepted as such.

Unfortunately, he was unaware of the fact that Americans do not know what a panto is, let alone what are its traditions. Luckily, this didn't really matter. The picture was a huge success anyway and catapulted eighteen-year-old Betty Bronson (whom Barrie himself had chosen for the lead) into celebrity status overnight.

So to really appreciate the picture we need first to understand what a panto is and what Barrie did to change or modify its structure and traditions.

By the turn of the century, the annual Christmas pantomime had become a very elaborate affair. In fact, every year theatre managements vied with each other to offer presentations even more spectacular than they had staged in the past. (A successful panto didn't just fill the theatre at Yuletide but would run right through Easter). Although largely (and very loosely) based on nursery rhymes and fairy tales, pantomimes had a rigid cast system. The lead role was always the Dame—a middle-aged woman, enacted by a leading funnyman, the more raucous, the better. Next in line, was the Principal Boy, always played by a very sexy young lady who wore abbreviated costumes to show off her legs. The Villain was usually billed next, and then came the specialty acts. These were vaudeville turns by jugglers, singers, magicians, etc., often used to entertain the audience while stagehands readied the spectacular main set for the next Act, but just as often actually interpolated into the panto itself. Of course, pantos always had plenty of real children milling around the stage, but the leader (who had practically all the lines) was a young adult (even though he or she might be a impersonating a character supposedly ten or twelve years younger).

Doubling was quite common in the panto. Often it was a matter of necessity, but just as often it was done deliberately. Barrie intended that Mr Darling and Captain Hook always be played by the same actor. Unfortunately, both Brenon and Paramount jibed at this idea and finally convinced Barrie that on a motion picture set, it was impractical.

The principal change (and it was a brilliant one) that Barrie made to the traditional structure was not to turn the Dame into a dog (Dames had often played comic animals in the past) or even to restrict the Dame's frolics to Two Acts (although top-billed, the Dame's role was often not all that large. In some pantos, he/she didn't even make her entrance until the Second Act). What Barrie did was absolutely startling. He made the Dame silent. He/she doesn't utter a word. The role is all pantomime, you see. Pantomime yet—in a pantomime! Brilliant!

Now we can appreciate the movie for what it is: not just a filmed pantomime but one that goes beyond the restrictions of the stage to make the spectacle more spectacular, and the special effects even more wonderful and startling.

Also we can now enjoy the way the movie is cast and played. It's a pity Hook and Darling are no longer played by the same man (though admittedly it is just as hard to imagine dull Chadwick, perfect as stuffy Darling, brandishing a villainous hook, as it is to see Ernest Torrence toning down the foam as Wendy's dad). However, super-sexy Betty Bronson makes an ideal Peter Pan (it's important that the character be lasciviously attractive yet act as if she is totally unaware of this fact—and this Miss Bronson accomplishes remarkably well, no doubt due to Brenon's meticulous direction).

Eighteen-year-old Mary Brian is also superbly cast as Wendy. Even though her stage age is around twelve or thirteen, she is not only the leader of the children, but a genuine mother figure and is supposed to look just a few years younger than the actress playing her mother, in this case twenty-two year old Esther Ralston. (You're not supposed to be mathematically minded and try to work out how a twenty-two year old can have a twelve year old daughter. Pantomimes are inevitably fanciful). The father figure is usually much older. Forty-five year old Cyril Chadwick fits the bill nicely.

It's a tribute to Brenon's skillful yet sensitive direction, James Wong Howe's beautiful photography, Pomeroy's fascinating special effects and the enduring charm and cleverness of Barrie's fairy tale that the movie is just as enchanting in 2007 as it seemed to appreciative worldwide audiences in 1925.

PETER PAN was directed by Herbert Brenon with a screenplay written by Willis Goldbeck, based on the story by J.M. Barrie. In fact nearly all of the intertitles (the words on the cards that we read to ourselves) are taken directly from J. M. Barrie's dialogue from the original play around 105 years ago! James Barrie was born in 1860, the ninth child of ten. He was a small child (he only grew to 5 feet 3 inches as an adult) and he drew attention to himself with storytelling. He is best remembered for creating Peter Pan, the boy who refused to grow up, whom he based on his friends, the Llewelyn Davies boys. He is also credited with popularizing the name Wendy, which was very uncommon before he gave it to the heroine of Peter Pan. When he died he left the rights to this story and all it's future profits to the Great Ormond Street Hospital for children. This filmed version of Peter Pan, the very first (of eleven so far) opened Christmas week, 1924. Then, like one of the Lost Boys, it vanished into a Never Land of its own. Paramount, like every other studio, looked on its films as disposable product. Films were as ephemeral as the daily newspaper. Why bother to keep a print? No studio, museum or archive could find it, nor any of the private collectors, who could sometimes materialize copies that more legitimate sources could not. It was one of the most important of missing American films. For the children who saw it, nothing else ever compared. William K. Everson, one of the great silent film historians, never tired of rhapsodizing Peter Pan or its glowing star, Betty Bronson. James Card, curator at George Eastman House and one of the great heroes of film preservation, longed to see this childhood favorite with a desperate nostalgia. It was he who, as a young man working for Kodak in Rochester, discovered a fume-filled vault of decomposing nitrate films. Nitrate films are highly flammable, can spontaneously combust and even burn under water because they supply their own oxygen. Card convinced Kodak to call Iris Barry, the visionary film preservationist at the Museum of Modern Art to help save this title. This beautiful tinted print was restored from that one of a kind, surviving nitrate print. It stars beautiful blonde Esther Ralston as the mother Mrs. Darling. One of the best-liked silent movie stars both on and off the screen, Mary Brian plays Wendy. Philippe De Lacy, arguably the silent era's cutest child actors plays Michael. The exotic oriental actress Anna May Wong has a small role as Tiger Lily. And giant Ernest Torrence is evil and menacing as Captain Hook. Tinker Bell is played by an actress named, of all things, Virginia Faire. And the family's pet dog Nana was such a good actor that in real life he was called George Ali. As for the lead role of Peter Pan, it was the author James Barrie who selected Betty Bronson, then an unknown to play the coveted role after he turned down silent superstars Mary Pickford, Gloria Swanson & Lillian Gish. Barrie selected Betty Bronson because she had trained for the Ballet Russe with famed choreographer Michel Fokine and her grace and innocence were unmatched. (And she could fly!) It is surprising when you see how lavish the sets, costumes and special effects are that the budget for this film was only $40,000 and I think this is much better than the 1991 version which cost $70 million dollars to make. I would like to read a quote from the New York Times, from MORDAUNT HALL, one of their toughest critics written Christmas week of 1924 – "That wonderful ecstatic laughter, tinkling and beautiful, just the laughter that Barrie loves to hear, greeted Herbert Brenon's picturized version of "Peter Pan" yesterday afternoon in the Rivoli. Again and again the silence of the audience was snapped by the ringing laugh of a single boy which was quickly followed by an outburst from dozens of others, some of whom shook in their seats in sheer Joy at what they saw upon the screen. It was laughter that reminded one of the days of long ago when one believed in a sort of Never Never Land, when the smiling sun on an early morning made one dance with joy over the dew-covered grass, when the fragrant Spring flowers sent a thrill through one's youthful soul, when one gazed at a real fish in a shallow rippling stream and expected to hook it with a bent pin, when one thought that after all it might be possible to fly. These jubilant outbursts from youthful throats even brought to mind some beautiful anthem one had heard the choir singing in a lofty cathedral. It was laughter that brought a tear of exuberant gladness to our eyes—laughter that makes grown-ups delighted to be alive." - Unquote. PETER PAN like the WIZARD OF OZ has helped remind adults of what innocence we all shared back when we were children. So when you are asked during the film to clap if you believe in fairies, you better clap or you may never feel young again!

This is a magical must-see, with some eye-popping special effects (Tinkerbell's home is just marvellous) and brilliant cinematography. It sweeps you away with its charm and elegance. I would like to add that Esther Ralston, as Mrs Darling, is one of the most beautiful women I have ever seen on film. I love this film and think it deserves a theatrical revival. And congratulations to KINO for a superb video restoration.

As often (KIng Kong, Snow White), the 1st try is the better for ever: so Peter Pan visual magic doesn't come from Disney but from this old, silent, BW one! A bit like next year Phantom, i'm amazed by the fantastic sets, so real and so poetic and nothing done with CGI :) : the bedroom, the lost boys island, the mermaids, the beach, the pirates ship! The story is really about child fantasy: adventures and parental love and for sure, the cast is amazing: it was good to meet again Mary Brian and that was a surprise to find a girl as Peter! But this Betty is really enthusiastic and i understand why the 2 became friends for life! The animals characters are also great because their suits are so cool: So this movie is just a must-see fantasy and it's clear that there is a visionary at the helm (the author himself) and not a bunch of cupid producers...

Without question - One of the most surprising (and, yes, equally peculiar) things about this silent-era production of J.M. Barrie's "Peter Pan" is that its title character is portrayed by a female (18-year-old actress, Betty Bronson).

Never once did I believe (while watching Bronson's performance) that she wasn't female. And, this, in a sense, proved to somewhat mar the overall ambiance of the story (IMO).

Anyway - (With that said) - From a historical perspective - I'd say that this 95-year-old fantasy/adventure story (and its old-old-old school visual effects) was certainly worth a view, for the most part.

This is arguably the best translation of 'Peter Pan' to the big screen, and I say this almost 100 years after its release!

The story is as true to the original stage play as any other version filmed, with the dialogue on the inter-titles being particularly accurate, and acting performances are tender, sincere and all strike just the right note.

This film would be a fantastic introduction to silent cinema for anyone interested in getting a taste of it; and definitely one that would captivate the children. Highly recommended!

When it comes to pure entertainment, there are very few silent movies that come close to PETER PAN. This whimsical story is also exceptional because I think that adults would enjoy the film at least as much as kids. Why does the film deserve such praise? Well, the biggest reason is that for a movie made in 1924, it was amazingly modern for its time and it appears as if Paramount Studios spared little expense in bringing this J. M. Barrie story to the screen. One example are the flying sequences. In almost every instance, you could see no wires and the kids really looked like they were flying! Second, when they showed the home of Peter and the Lost Boys, it was a magical and wonderful place with giant mushrooms for chairs, glowing jack-o-lanterns as lights and the coolest beds I've ever seen. The place was a magical lair in every sense. Another example was when Hook's boat began to fly--it was a great scene. In fact, the more I think about it, there were many more wonderful scenes--too many to list here. The story just looked wonderful and had among the best set designs and stunts of any silent films and I would rank it among best best of the age, such as THE CABINET OF DR. CALIGARI, FAUST or WINGS. This was a top production in every sense--well, every sense but one. While I liked it, it was kind of silly to make Nana the dog and the crocodile people in costumes. Some might really think this is cheesy, but I really thought it was charming.

As for the story itself, it was super entertaining. The only problem I noticed and reason the movie does not earn a 10 were the embarrassing and unnecessary pro-USA comments throughout the film. While I am very happy and proud to be an American, this film was inappropriate in making everyone gung ho Americans--even though in the original, they were English. Four different times in the movie they made reference to this--such as the Lost Boys singing patriotic American songs when they were caught and another time when Wendy told her brothers to "act like proper American gentlemen". You would almost think the movie had been made during the war due to all these references, but it wasn't. Still, apart from this minor problem, it was a heck of a wonderful film.

This video was released by KINO International. The print was absolutely pristine and the accompanying music exceptional.

I really didn´t know about that there is a silent movie PETER PAN. The only version I´ve ever seen was the Disney version which I always loved. Here in Germany we have a culture-channel on TV. There was a theme evening about PETER PAN. A biography about James Mathew Barrie and after that they showed the silent movie from 1924. I was blown away ! There is magic in it and the tragical side of Peter is deep in it. My english isn´t good enough to describe all I want to, bit this is one of my absolutely favourites. I voted "10".

The wonderful performance by 'Animal Actor' George Ali as both Nana and the Croc has been a career inspiration to me as a physical actor. George pulls off this film performance while in his 50's- surely a suggestion that we are never too old to do a thing if our heart is in it!

The mind of a child can be a strange and fascinating place, and this early silent adaptation of Sir James Barrie's famous play looks at times almost as if it were written and directed by a team of precocious kids. Rarely seen today (after being unfairly eclipsed by the animated Disney version), the film imagines Never Never Land as a strictly pre-adolescent dream world filled with innocent childhood fears and longings: friendly Indians, evil pirates, hungry alligators, all saturated in a sort of mock Freudian surrealism, with even the vicious pirates pining for mommy. Adding to the oddness is the sexual ambiguity of the title character, played by a sprightly Betty Bronson (looking more like a tomboy than a young lad refusing to grow up), and some wonderfully fervent Victorian patriotism (caught by Captain Hook, the children begin defiantly singing 'My Country, 'Tis of Thee'). The film was clever for its own time, but even today shows enough sophistication to still be a source of considerable enjoyment.

Having just watched PETER PAN I must say I was very impressed: The quality of this print was just gorgeous!! The idea of giving it a sepia tone was inspired, since it "antiqued" the film just right.

My only complaint with this film (as it is with so many other silents): please run the film at the correct speed. It is running about 20% faster than it should. The labs that convert these films to video have the equipment to do this properly. Running the film too fast spoils the rhythm of the action, and can ruin scenes because of the increase in speed of the action. Apparently not too many people care about this fast action, or the labs would correct this. Well, one can only hope.

i am a huge fan of peter pan and when i got this DVD for Christmas i freaked out. i now own every peter pan film ever and this one is really one of my favorites. i love the fact that it is a silent film with the subtitles and cheap effects. it was practically right on the button of jm barrie's play and book, not the adapted for little kids story. if you're into the peter pan movies, this one is a must see. you can see the true story of peter pan and experience what it was like to make a movie back in the 1920s. plus, peter pan was played by a female, which is true for most productions of peter pan. definitely pick this up, it's worth it!

After watching the Kino DVD of PETER PAN, I was delighted to have this most charming of silent films finally available in a quality video release.

The picture quality, which was subtly tinted amber and blue, will disappoint no one, although it looked more like a really good 16mm print than a 35mm to me. Perhaps I'm spoiled because I've never seen the film in any gauge but 35mm. A great deal of the magic in PETER PAN was supplied by cinematographer James Wong Howe. Scenes that could have been foolish in other hands became enchantment in his.

The actors are magically believable in their parts. Betty Bronson, who convincingly plays a child although we never forget that she's really a grownup woman, gives a performance that is unusually `fey' and she seems to have fully developed every muscle in her face that can cause an adorable look to radiate to the viewer. Ernest Torrence as Captain Hook will remind everyone of their grandfather while he comically menaces Peter and the Lost Boys, but remains the perfect gentleman with Wendy------complete with courtly bowing and a flourish of his handkerchief .

The animals in Never-Never Land are children in marvelously expressive fur costumes who look like stuffed animals come to life. But the largest and most expressive of all is Nana, the canine nurse maid for the Darling Children who will amaze everyone with her anthropomorphic gestures. She (played by George Ali) is the delight of the film.

PETER PAN is filled with magical touches that never seem to go too far or become foolish. Peter's heart to heart talk with the crocodile when they conspire to "get" Captain Hook was one of my favorites, as were the mermaids on the beach. The only point that has ever bothered me is at the end when Peter actually stabs and kills two of the pirates. Somehow I thought this was out of place and brought too much realism to a light hearted fairy tale. But this is very minor nit-picking of an otherwise flawless silent film.

Phil Carli's score works perfectly and has a "turn of the century, concert in the park on a Sunday afternoon" feel to it. It wouldn't have worked with many silent films, but for PETER PAN it was marvelous------a tribute to Carli's ability to match a narrative theme with it's programmatic musical compliment.

The "value ads" are production stills from the film along with a poster and lobby card. There are also interviews with Esther Ralston (one video and three audio), who plays Mrs. Darling. The things she has to say about Louis B. Mayer are more than just interesting.

A title card at the very beginning tells the audience that the acting may seem whimsical to an adult but that "all the characters are seen with a child's outlook on life.....even to the adults in the story. Pull the beard on a pirate and you would find the face of a child." So for 102 minutes, clap your hands and pretend you believe in fairies.

Jay F.

The first thing you notice in the film is the credits. Among them is George Ali as Nana the dog. Then there is a reminder that this film is for the kid in all of us and that even the pirates are kids at heart.

As the scene opens up we see that this film is more of a stage play captured on film. Nana takes center stage and is so well portrayed that you have to remember it is a George in a fur suit. For people that do not know the story it is well played out and you find yourself anticipating the next sentence. For those that do know the story, you are in for a few surprises. There are a few scenes of Neverland that look a tad like the California coast. The crocodile is cute.

Several things stand out in this film that you cannot help but notice; among them are that it is Americanized to the point that when the pirate ship is taken the "Jolly Roger" is replaced with "Old Glory" instead of the "Union Jack". There seem to be lots of medicine handed out. And surprise, a brief request for audience (this means you) participation. Peter Pan traditionally is portrayed by a woman however Betty Bronson is a tad overdeveloped for the part. Bronson is very convincing.

This is the story of a young lad that decides never to grow up. He is snooping around the Darling house and being spotted, escapes except for his shadow that got caught. On a return trip, he convinces the Darling siblings to fly off to Neverland where they have many adventures with pirates, Indians, and fairies. Will they also never grow up and what will the parents do?

All in all, the film follows the story and you may find this to be one of if not your favorite version.

There's probably something deeply psychological about J.M. Barrie's story about a boy who doesn't want to grow up, doesn't want to define the relationship he and a girl who's attracted to him have, and seeks a mother figure who will clean up after him. Barrie was 44 when he wrote it, but maybe it's too simplistic to say he was going through a midlife crisis. Regardless, this is a pretty endearing telling of his classic story, as part of the fun is just how comical the costumes are, e.g. Nana the dog and the Crocodile clearly being played by a guy in a suit. You get a mix of that kind of thing with some actually pretty cool effects, such as Tinker Bell, the kids flying after thinking "wonderful, lovely thoughts," and the miniature fairies, so that even though the story is well known, it's nice to see how it was rendered in 1924.

However, what made the film for me was Betty Bronson, who plays Peter Pan with so much flair and energy. Everything about her facial expressions and body language is true to the part, and she's often on tiptoes while striking a dramatic pose. I can just imagine the audience in the theater at the time clapping when she breaks the fourth wall to get their help to save Tinker Bell. I have to say though, her beautiful legs make it pretty obvious that's she's not a boy (she was 18), and I have to believe this added an element of titillation to her kissing scenes with Wendy (Mary Brian) even at the time. She's well supported by the rest of the cast, including Brian and Ernest Torrence (Captain Hook), but if you're watching the film primarily for Anna May Wong you'll probably be disappointed, because her part is small and she's in the problematic role of appearing as the "redskin" Tiger Lily (ugh, and the depiction of this tribe obviously is the low point of the story/film).

The film lags a little in the beginning, where we suffer through some boorish behavior on the part of the father (giving his medicine to the dog?!) and at the end (perhaps because we know how it ends), so there are several reasons why this kids film from nearly 100 years ago might no longer appeal to an adult today. I liked its whimsy though, and found myself entertained.