Peter Pan

There's something you need to know before settling yourself in to watch this Hallmark Hall of Fame version of Peter Pan: it's not the Mary Martin version. The libretto is almost identical, and the songs are in extremely similar places, but they're different. It'll be very hard, but you need to try to not compare it to the famous Mark Charlap and Carolyn Leigh musical. If you're able to do that, you'll be able to appreciate this delightful family friendly musical.

Mia Farrow stars as the boy who never grew up, and she has an entirely different take on the role than most who tackle it. Rather than the false macho bravado actresses usually take in hopes of convincing the audience they can act manly and tough, Mia acts as a vulnerable, gawky adolescent boy—which, if you think about it, makes more sense since Peter Pan is a boy, not a man. Her naturally lean fame and famous pixie haircut doesn't jar the audience into thinking she's pretending to be anyone she's not. She's all elbows and knees, just like a young boy, and vacillates between tears and laughter as only a child can.

Danny Kaye stars as Captain Hook and Mr. Darling, and he's fantastic. While the chorus members often seem a little amateur, he stands out as the most professional one in the cast. My one criticism of the production is Michael Kidd's choreography, and while it distracts from several cute songs, when Danny Kaye performs, it's obvious he didn't really pay Kidd much attention. His own gestures and flare shine out so that you can forget about the lousy choreography behind him.

I really enjoyed this Peter Pan version. Put the famous one out of your mind and give it a watch with the kiddies. This one isn't watched very often, but I think Anthony Newley and Leslie Bricusse's songs were underrated. They're different, but very sweet.

Disney's animated classic has become timeless, whereas Mary Martin and Cyril Ritchard made it alive for the stage and captured for the small screen (kudos for Sandy Duncan and Charlotte d'Amboise too!). Those were the idyllic fifties, before cynicism and nihilism took over our dreams and souls.

Yet in the middle of the seventies, a particularly depressing time, British television through Hallmark delivered a gem unwisely and unfairly overlooked. Innocent, charming, delightfully entertaining and astonishingly creative, this retelling of the unsurprising tale of the boy that didn't grow up made it new and unique in its own way due to a remarkable combination of talents and teamwork.

Sure, Mia Farrow looks annoying and stubborn, but isn't it the way a proud tween usually behaves? Alas, Barrie's stagings are as good as their Captain Hook/Mr. Darling provide the necessary counterpoint of the story, and here we have the legendary Danny Kaye delivering not only a blissfully larger than life characterization but also enough warmth, malice and gusto to make the role his own and host a compelling ride. Additionally, this special presentation comes along with the serene and ethereal presence of Virginia McKenna in the critical and essential part of Mrs. Darling, and the alluring and breathtaking dancing of Paula Kelly as Tiger Kelly. Damn! Even John Gielgud lends its mellifluous diction to serve as narrator, and last, but certainly not least, our adored and venerated Julie Andrews returns home to familiar ground to gracefully illuminate the show enchanting the audience with the title song.

And this last feature is unquestionably the most enduring and endearing contribution of this TV movie. I mean, this original song score was composed by none others than Anthony Newley and Leslie Bricusse! Each one of the carefully crafted creations cradled by the genius of this extraordinary pair wrap the audience with a silky and sparkly cadence filled with echoes that range from The roar..., Stop the world..., and even Doctor Dolittle, but overflowing with originality, masterfully arranged and allowing them to glow not only to be sung but performed as they enhance the storytelling.

Fortunately, the video is available in YouTube (although somewhat tarnished by what must have been countless videocassette transfers and re-recordings); so we can enjoy it as often as we ought to. And maybe, someday perhaps the remastered soundtrack will be released to call for a permanent salute to the joyful and thrilling legacy of Bricusse, and to revere, bow, praise, celebrate and acknowledge the outstanding gifts bestowed upon Anthony Newley, a multidimensional artist, fascinating celebrity, misunderstood person and renaissance character.

I grew up with this movie. Some of the happiest times I remember on hols at my grandparents after a fay at the beach and watch this before bed. A wonderful adaptation of a wonderful story

This version of _Peter Pan_ is an original adaptation for television. It is not to be confused with the 1954 Mary Martin Broadway production that was broadcast live at least twice in the fifties and on tape in 1960, at last preserved for posterity.

This 1976 television special does not feature the Charlap & Leigh and Styne, Comden & Green score or Jerome Robbins' staging.

This _Peter Pan_ is a disappointing version that offers a lackluster performance by Mia Farrow in the title role and a forgettable one by Danny Kaye as Mister Darling and Captain Hook. Somehow the distinguished John Gielgud and Julie Andrews found themselves contributing, respectively, the narration and the vocal performance of one song to this second-rate effort.

The charmless score was by Anthony Newley & Leslie Bricusse.

A variation on the same stage-bound television performance first done by Mary Martin 26 years earlier. It was presented as a HALLMARK HALL OF FAME TV special (apparently with new songs), but never really caught on with viewers or Nielsens. In the continuing tradition of women in the Pan role, Mia Farrow does a perfectly capable job (sporting the boyish, Twiggy hair cut at the time). Danny Kaye was also fine as Captain Hook. But the real surprise was the casting of Paula Kelly- a striking, long-legged African-American dancer- as Tiger Lily. Her memorable entrance in the show is in a scantily-clad costume of loincloths (with an equally scantily clad male chorus) and was probably sexier than absolutely necessary- but I supremely didn't care.