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Hook is a 1991 American fantasy adventure film directed by Steven Spielberg[3] and written by James V. Hart and Malia Scotch Marmo. It stars Dustin Hoffman as Captain Hook, Robin Williams as Peter Banning / Peter Pan, Julia Roberts as Tinker Bell, Bob Hoskins as Mr. Smee and Maggie Smith as Granny Wendy. It acts as a sequel to J. M. Barrie's 1911 novel Peter and Wendy focusing on an adult Peter Pan who has forgotten all about his childhood. In his new life, he is known as Peter Banning, a successful but unimaginative and workaholic corporate lawyer with a wife (Wendy's granddaughter) and two children. However, when Captain Hook, the enemy of his past, kidnaps his children, he returns to Neverland in order to save them. Along the journey, he reclaims the memories of his past and becomes a better person.

Hook
Hook poster transparent.png
Theatrical release poster by Drew Struzan
Directed bySteven Spielberg
Produced by
Screenplay by
Story by
Based onPeter and Wendy
by J. M. Barrie
Starring
Music byJohn Williams
CinematographyDean Cundey
Edited byMichael Kahn
Production
company
Distributed byTriStar Pictures
Release date
  • December 11, 1991 (1991-12-11)
Running time
141 minutes[1]
CountryUnited States
LanguageEnglish
Budget$70 million[2]
Box office$300.9 million

Spielberg began developing the film in the early 1980s with Walt Disney Productions and Paramount Pictures, which would have followed the storyline seen in the 1924 silent film and 1953 animated Disney film. It entered pre-production in 1985, but Spielberg abandoned the project. James V. Hart developed the script with director Nick Castle and TriStar Pictures before Spielberg decided to direct in 1989. It was shot almost entirely on sound stages at Sony Pictures Studios in Culver City, California. Released on December 11, 1991, Hook received unfavorable reviews from critics, and while it was a commercial success, its box office take was lower than expected. It has gained a strong cult following since its release.[4] It was nominated in five categories at the 64th Academy Awards. It also spawned merchandise, including video games, action figures, and comic book adaptations.

Contents

PlotEdit

Peter Banning is a successful corporate lawyer in San Francisco. Though he loves his family, his workaholic lifestyle strains his relationships with his wife, Moira, and children, 12-year-old Jack and 7-year-old Maggie, and leads him to miss Jack's Little League Baseball game. The family flies to London to visit Moira's grandmother, Wendy Darling, who is revealed to be ostensibly the creator of the Peter Pan stories. She allowed her childhood neighbor, J. M. Barrie, to transcribe the tales, making her the Wendy of classic Peter Pan lore. After Peter yells at Jack and Maggie for disturbing a business call, Moira throws his cell phone out the window and angrily confronts him for his neglect of his family.

Peter, Moira, and Wendy return from a charity dinner honoring Wendy's lifelong service to orphans to find the house ransacked and the children abducted, with a cryptic ransom note signed Captain James Hook. Later on, Wendy confesses to Peter that her family's stories that were turned into Barrie's tales are in fact true events and that Peter himself is Peter Pan, having lost his childhood memories when he fell in love with Moira. In disbelief, Peter gets drunk in the playroom, until Tinker Bell appears and takes him to Neverland to rescue his children from Hook and his pirates.

Hook, eager to face his old nemesis, is frustrated to realize Peter does not remember their past adventures, and makes a deal with Tinker Bell that Peter will regain his former self in three days for a climactic battle. Peter meets the new generation of Lost Boys, led by Rufio, who refuses to believe Peter is the real Pan. It is explained that Rufio was originally placed in charge of the Lost Boys when Peter left to live in the real world and be with Moira and was given the title of "The Pan" at that time. The Lost Boys help Peter train, and he regains his imagination and lost youth. One of the Lost boys, Thud Butt, gives him marbles left by Tootles, now an old man living with Wendy.

Bereft of adventure, Hook contemplates suicide, but Smee persuades him to manipulate Jack and Maggie into loving Hook to break Peter's will. While Maggie refuses to be taken in, Jack becomes receptive to Hook's "fathering" and slowly starts to forget about his life back home. Maggie is kept away from Jack and Hook arranges a makeshift baseball game for Jack, where Peter is horrified to see them treat one another as father and son.

Soon thereafter, Peter's reanimated shadow leads him to the Lost Boys’ old tree-house. Once inside the tree and met by Tinker Bell, Peter discovers that the interior was destroyed by Hook when Peter left Neverland. Peter then remembers time spent inside the tree with Wendy and her brothers when they were young children, also remembering his early childhood and mother, how he ended up in Neverland, and why he left. He finally gains the happy thought necessary for him to fly again in Neverland and flies out of the tree, restored to a fully costumed Peter Pan. He flies to the Lost Boys' home and his sword and leadership are returned to him from Rufio.

Now child-minded, Peter finds Tinker Bell, who grows human-sized, kisses him, and confesses her unrequited love. Peter, however, remembers his love for Moira and his children and leaves to prepare for the next day.

The following day, Peter and the Lost Boys attack the pirates as agreed, leading to a lengthy battle. Peter rescues Maggie and Jack and promises to be a better father to them both, and Rufio is mortally wounded by Hook and dies in Peter's arms. With his dying breath, Rufio tells Peter that he wishes he had had a Dad like him, causing Jack's memories to come back. The pirates are defeated, and Peter prepares to leave with Maggie and Jack. Hook, however, goads him into a final duel by threatening to never leave Peter's descendants alone. Peter disarms Hook, but his children compel him to not deliver a fatal blow. As he turns to walk away, Hook attacks Peter with a concealed blade but Tinker Bell distracts him as Peter grabs and drives his hook into the stomach of the now-taxidermied crocodile that ate Hook's hand. Somehow reanimated, the crocodile topples over, swallows Hook whole, and returns to a lifeless state. Tinker Bell flies Maggie and Jack home, and Peter gives his sword to Thud Butt, thus anointing him as the new leader of the Lost Boys. Peter flies away from Neverland, promising as he leaves to never forget the Lost Boys.

Maggie and Jack are reunited with their mother and great-grandmother and Peter wakes up in Kensington Gardens by the famous bronze statue of Peter Pan. He is greeted by a street sweeper who is clearly Smee, seemingly having also left Neverland. Peter bids a tearful farewell to Tinker Bell, who tells him that she will always love him. Entering through the window, a newly joyful Peter rejoins his family and gives Tootles his long-lost marbles. Finding the bag full of pixie dust, and with his own happy thought restored, Tootles flies out the window. Wendy wonders aloud if Peter's adventures are over, but he replies, "To live would be an awfully big adventure."

As the film's credits begin, Tootles is shown flying towards Big Ben before disappearing into the distance. In this final image, two stars are visible to the right of the clock tower. As the film fades to black, only the star furthest to the right can still be seen: the same "second star to the right" that Peter Pan used to direct Wendy and her two brothers to Neverland as children.

CastEdit

In addition, a number of celebrities and family members made brief credited and uncredited cameos in the film:[5] musicians David Crosby and Jimmy Buffett, as well as Oscar-nominated actress Glenn Close and former NFL player Tony Burton, appear as members of Hook's pirate crew; two major Star Wars associates, George Lucas and Carrie Fisher, play the kissing couple sprinkled with pixie dust; two of Hoffman's children, Jacob and Rebecca, both under 10-years-old during filming, briefly appeared in scenes in the “normal” world; screenwriter Jim Hart's 11-year-old son Jake, who years earlier inspired his father with the question "What if Peter Pan grew up?", plays one of Pan's Lost Boys.

ProductionEdit

InspirationEdit

Spielberg found close personal connection to the Peter Pan story from his own childhood. The troubled relationship between Peter and Jack in the sequel echoed Spielberg's relationship with his own father. Previous Spielberg films that explored a dysfunctional father-son relationship included E.T. the Extra-Terrestrial and Indiana Jones and the Last Crusade. Peter's "quest for success" paralleled Spielberg starting out as a film director and transforming into a Hollywood business magnate.[6] "I think a lot of people today are losing their imagination because they are work-driven. They are so self-involved with work and success and arriving at the next plateau that children and family almost become incidental. I have even experienced it myself when I have been on a very tough shoot and I've not seen my kids except on weekends. They ask for my time and I can't give it to them because I'm working."[7] Like Peter at the beginning of the film, Spielberg has a fear of flying. He feels that Peter's "enduring quality" in the storyline is simply to fly. "Anytime anything flies, whether it's Superman, Batman, or E.T., it's got to be a tip of the hat to Peter Pan," Spielberg reflected in a 1992 interview. "Peter Pan was the first time I saw anybody fly. Before I saw Superman, before I saw Batman, and of course before I saw any superheroes, my first memory of anybody flying is in Peter Pan."[7]

Pre-productionEdit

The genesis of the film started when Spielberg's mother often read him Peter and Wendy as a bedtime story. He explained in 1985 "When I was 11 years old I actually directed the story during a school production. I have always felt like Peter Pan. I still feel like Peter Pan. It has been very hard for me to grow up, I'm a victim of the Peter Pan syndrome."[8]

In the early 1980s, Spielberg began to develop a film with Walt Disney Pictures that would have closely followed the storyline of the 1924 silent film and 1953 animated film.[7] He also considered directing it as a musical with Michael Jackson in the lead.[9] Jackson expressed interest in the part, but was not interested in Spielberg's vision of an adult Peter Pan who had forgotten about his past.[10] The project was taken to Paramount Pictures, where James V. Hart wrote the first script with Dustin Hoffman already cast as Captain Hook.[9] It entered pre-production in 1985 for filming to begin at sound stages in England. Elliot Scott had been hired as production designer.[7] With the birth of his first son, Max, in 1985, Spielberg decided to drop out. "I decided not to make Peter Pan when I had my first child," Spielberg commented. "I didn't want to go to London and have seven kids on wires in front of blue screens. I wanted to be home as a dad."[9] Around this time, he considered directing Big, which carried similar motifs and themes with it.[9] In 1987, he "permanently abandoned" it, feeling he expressed his childhood and adult themes in Empire of the Sun.[11]

Meanwhile, Paramount and Hart moved forward on production with Nick Castle as director. Hart began to work on a new storyline when his son, Jake, showed his family a drawing. "We asked Jake what it was and he said it was a crocodile eating Captain Hook, but that the crocodile really didn't eat him, he got away," Hart reflected. "As it happens, I had been trying to crack Peter Pan for years, but I didn't just want to do a remake. So I went, 'Wow. Hook is not dead. The crocodile is. We've all been fooled'. In 1986 our family was having dinner and Jake said, 'Daddy, did Peter Pan ever grow up?' My immediate response was, 'No, of course not'. And Jake said, 'But what if he did?' I realized that Peter did grow up, just like all of us baby boomers who are now in our forties. I patterned him after several of my friends on Wall Street, where the pirates wear three-piece suits and ride in limos."[12]

FilmingEdit

By 1989, Ian Rathbone changed the title to Hook, and took it from Paramount to TriStar Pictures, headed by Mike Medavoy, who was Spielberg's first talent agent. Robin Williams signed on, but he and Hoffman had creative differences with Castle. Medavoy saw the film as a vehicle for Spielberg and Castle was dismissed, but paid a $500,000 settlement.[12] Dodi Fayed, who owned certain rights to make a Peter Pan film, sold his interest to TriStar in exchange for an executive producer credit.[13] Spielberg briefly worked together with Hart to rewrite the script[7] before hiring Malia Scotch Marmo to rewrite Captain Hook's dialog and Carrie Fisher for Tinker Bell's. The Writers Guild of America gave Hart and Marmo screenplay credit, while Hart and Castle were credited with the story. Fisher went uncredited. Filming began on February 19, 1991, occupying nine sound stages at Sony Pictures Studios in Culver City, California.[2] Stage 30 housed the Neverland Lost Boys playground, while Stage 10 supplied Captain Hook's ship cabin. Hidden hydraulics were installed to rock the set-piece to simulate a swaying ship, but the filmmakers found the movement distracted the dialogue, so the idea was dropped.[14]

Stage 27 housed the full-sized Jolly Roger and the surrounding Pirate Wharf.[14] Industrial Light & Magic provided the visual effects sequences. This marked the beginning of Tony Swatton's career, as he was asked to make weaponry for the film. It was financed by Amblin Entertainment and TriStar Pictures, with TriStar distributing it. Spielberg brought on John Napier as a "visual consultant", having been impressed with his work on Cats. The original production budget was set at $48 million, but ended up between $60–80 million.[2][15] The primary reason for the increased budget was the shooting schedule, which ran 40 days over its original 76-day schedule. Spielberg explained, "It was all my fault. I began to work at a slower pace than I usually do."[15]

Spielberg's on-set relationship with Julia Roberts was troubled, and he later admitted in an interview with 60 Minutes, "It was an unfortunate time for us to work together." In a 1999 Vanity Fair interview, Roberts said that Spielberg's comments “really hurt my feelings.” She “couldn’t believe this person that I knew and trusted was actually hesitating to come to my defense . . . it was the first time that I felt I had a turncoat in my midst.”[16]

SoundtrackEdit

Hook (Original Motion Picture Soundtrack)
Film score by
ReleasedNovember 26, 1991 (1991-11-26) (original)
March 27, 2012 (2012-03-27) (reissue)[17]
Length75:18 (original)
140:34 (reissue)
LabelEpic Records (original)
La-La Land Records (reissue)
John Williams chronology
Home Alone Hook (Original Motion Picture Soundtrack) JFK

The film score was composed and conducted by John Williams. He was brought in at an early stage when Spielberg was considering making the film as a musical. Accordingly, he wrote around eight songs for the project at this stage. The idea was later abandoned. Most of his song ideas were incorporated into the instrumental score, though two songs survive as songs in the finished film: "We Don't Wanna Grow Up" and "When You're Alone", both with lyrics by Leslie Bricusse.

The original 1991 issue was released by Epic Records.[18] In 2012, a limited edition of the soundtrack, called Hook: Expanded Original Motion Picture Soundtrack, was released by La-La Land Records and Sony Music. It contains almost the complete score with alternates and unused material. It also contains liner notes that explain the film's production and score recording.

Commercial songs from film, but not on soundtrack

Video gamesEdit

A video game based on the film and bearing the same name was released for the Super Nintendo Entertainment System in 1991. The game was released for additional game consoles in 1992.[19]

ReceptionEdit

Box officeEdit

Spielberg, Williams, and Hoffman did not take salaries for the film. Their deal called for them to split 40% of TriStar Pictures' gross revenues. They were to receive $20 million from the first $50 million in gross theatrical film rentals, with TriStar keeping the next $70 million in rentals before the three resumed receiving their percentage.[2] The film was released in North America on December 11, 1991, earning $13,522,535 in its opening weekend. It went on to gross $119,654,823 in North America and $181,200,000 in foreign countries, accumulating a worldwide total of $300,854,823.[20] It is the sixth-highest-grossing "pirate-themed" film, behind all five films in the Pirates of the Caribbean film series.[21] In North America totals, it was the sixth-highest-grossing film in 1991,[22] and fourth-highest-grossing worldwide.[23] It ended up making a profit of $50 million for the studio, yet it was still declared a financial disappointment,[24] having been overshadowed by the release of Disney's Beauty and the Beast and a decline in box-office receipts compared to the previous years.[25]

Critical responseEdit

 
Steven Spielberg later admitted in interviews that he was disappointed with the final result of the film.

Review aggregator Rotten Tomatoes reports that 26% of critics have given the film a positive review, based on 61 reviews, with an average rating of 4.6/10. The site's consensus states: "The look of Hook is lively indeed but Steven Spielberg directs on autopilot here, giving in too quickly to his sentimental, syrupy qualities."[26] On Metacritic, the film has a 52 out of 100 rating, based on reviews from 19 critics, indicating "mixed or average reviews".[27]

Roger Ebert of the Chicago Sun-Times wrote that:

The sad thing about the screenplay for Hook is that it's so correctly titled: This whole construction is really nothing more than a hook on which to hang a new version of the Peter Pan story. No effort is made to involve Peter's magic in the changed world he now inhabits, and little thought has been given to Captain Hook's extraordinary persistence in wanting to revisit the events of the past. The failure in Hook is its inability to re-imagine the material, to find something new, fresh or urgent to do with the Peter Pan myth. Lacking that, Spielberg should simply have remade the original story, straight, for this generation.[28]

Peter Travers of Rolling Stone magazine felt it would "only appeal to the baby boomer generation" and highly criticized the sword-fighting choreography.[29] Vincent Canby of The New York Times felt the story structure was not well balanced, feeling Spielberg depended too much on art direction.[30] Hal Hinson of The Washington Post was one of few who gave it a positive review. Hinson elaborated on crucial themes of children, adulthood, and loss of innocence. However, he said that Spielberg "was stuck too much in a theme park world".[31]

AccoladesEdit

The film was nominated for five categories at the 64th Academy Awards. This included Best Production Design (Norman Garwood, Garrett Lewis) (lost to Bugsy), Best Costume Design (lost to Bugsy), Best Visual Effects (lost to Terminator 2: Judgment Day), Best Makeup (lost to Terminator 2: Judgment Day) and Best Original Song (for "When You're Alone"; lost to Beauty and the Beast).[32] It lost the Saturn Award for Best Fantasy Film to Aladdin, in which Williams co-starred,[33] while cinematographer Dean Cundey was nominated for his work by the American Society of Cinematographers.[34] Hoffman was nominated for the Golden Globe Award for Best Actor – Motion Picture Musical or Comedy (Hoffman actually lost to his co-star Robin Williams for his performance in The Fisher King).[35] John Williams was given a Grammy Award nomination for Best Score Soundtrack for Visual Media;[36] Julia Roberts received a Golden Raspberry Award nomination for Worst Supporting Actress (lost to Sean Young as the dead twin in A Kiss Before Dying).[37]

LegacyEdit

In 2011, Spielberg told Entertainment Weekly: "There are parts of Hook I love. I'm really proud of my work right up through Peter being hauled off in the parachute out the window, heading for Neverland. I'm a little less proud of the Neverland sequences, because I'm uncomfortable with that highly stylized world that today, of course, I would probably have done with live-action character work inside a completely digital set. But we didn't have the technology to do it then, and my imagination only went as far as building physical sets and trying to paint trees blue and red."[38] Spielberg gave a more blunt assessment in a 2013 interview on Kermode & Mayo's Film Review Show: "I wanna see Hook again because I so don't like that movie, and I'm hoping someday I'll see it again and perhaps like some of it."[39]

In 2018, Spielberg told Empire, "I felt like a fish out of water making Hook... I didn't have confidence in the script. I had confidence in the first act and I had confidence in the epilogue. I didn't have confidence in the body of it." He added, "I didn't quite know what I was doing and I tried to paint over my insecurity with production value," admitting "the more insecure I felt about it, the bigger and more colorful the sets became."[40]

See alsoEdit

ReferencesEdit

  1. ^ "HOOK". British Board of Film Classification. January 17, 1992. Retrieved January 9, 2016.
  2. ^ a b c d Joseph McBride (1997). Steven Spielberg: A Biography. New York City: Faber and Faber. p. 411. ISBN 0-571-19177-0.
  3. ^ "Hook (1991) - Overview". Turner Classic Movies. Retrieved February 28, 2016.
  4. ^ https://variety.com/2016/film/news/hook-cast-reunion-robin-williams-film-turns-25-anniversary-lost-boys-1201834867/
  5. ^ Doty, Meriah (December 11, 2016). "The Boy Who Inspired 'Hook' and 19 Other Little-Known Facts as Film Turns 25 (Photos)". TheWrap. Retrieved October 12, 2018.
  6. ^ McBride, p. 413.
  7. ^ a b c d e Ana Maria Bahiana (March 1992). "Hook", Cinema Papers, pp. 67—69.
  8. ^ McBride, p.42—43
  9. ^ a b c d McBride, p. 409.
  10. ^ "Michael Jackson Was Steven Spielberg's First Choice To Play Peter Pan In 'Hook'". Starpulse.com. Archived from the original on February 8, 2012. Retrieved March 23, 2017.
  11. ^ Forsberg, Myra (January 10, 1988). "Spielberg at 40: The Man and the Child". The New York Times. New York, NY.
  12. ^ a b McBride, p. 410.
  13. ^ Medavoy, Mike and Young, Josh (2002). You're Only as Good as Your Next One: 100 Great Films, 100 Good Films, and 100 for Which I Should Be Shot (p. 230). New York City: Atria Books
  14. ^ a b DVD production notes
  15. ^ a b McBride, p. 412.
  16. ^ Desta, Yohana (August 19, 2016). "15 On-Set Beefs That Will Go Down in Hollywood History". Vanity Fair. Retrieved March 27, 2018.
  17. ^ "HOOK 2CD Set Includes 'Over 65 minutes of Music Previously Unreleased'". JOHN WILLIAMS Fan Network. May 20, 2012. Retrieved May 21, 2012.
  18. ^ "Hook - John Williams". AllMusic. Retrieved August 26, 2010.
  19. ^ Marriott, Scott Alan. "Hook – Overview (SNES)". AllGame. Archived from the original on November 15, 2014. Retrieved August 25, 2017.
  20. ^ "Hook (1991)". Box Office Mojo. Retrieved September 19, 2008.
  21. ^ "Pirate Movies at the Box Office". Box Office Mojo. Retrieved June 3, 2011.
  22. ^ "1991 Yearly Box Office Results". Box Office Mojo. Retrieved September 19, 2008.
  23. ^ "1991 Yearly Box Office Results". Box Office Mojo. Retrieved September 19, 2008.
  24. ^ Dretzka, Gary (December 8, 1996). "MEDAVOY'S METHOD". Chicago Tribune.
  25. ^ Medavoy, Mike and Young, Josh (2002). You're Only as Good as Your Next One: 100 Great Films, 100 Good Films, and 100 for Which I Should Be Shot (p. 234-235). New York City: Atria Books
  26. ^ "Hook (1991)". Rotten Tomatoes. Flixster. Retrieved October 12, 2018.
  27. ^ "Hook Reviews". Metacritic. CBS Interactive. Retrieved January 9, 2016.
  28. ^ Ebert, Roger (December 11, 1991). "Hook Movie Review & Film Summary (1991)". Chicago Sun Times. Retrieved September 19, 2008.
  29. ^ Travers, Peter (December 11, 1992). "Hook". Rolling Stone. Archived from the original on June 16, 2008. Retrieved September 19, 2008.
  30. ^ Canby, Vincent (December 11, 1991). "Review/Film; Peter as a Middle-Aged Master of the Universe". The New York Times. Retrieved October 12, 2018.
  31. ^ Hinson, Hal (December 11, 1991). "'Hook'". The Washington Post. Retrieved October 12, 2018.
  32. ^ "Hook". Academy of Motion Picture Arts and Sciences. Retrieved September 20, 2008.[permanent dead link]
  33. ^ "Past Saturn Awards". Saturn Awards.com. Archived from the original on February 10, 2005. Retrieved September 20, 2008.
  34. ^ "7th Annual Awards". American Society of Cinematographers. Archived from the original on November 9, 2006. Retrieved September 20, 2008.
  35. ^ "49th Golden Globe Awards". Internet Movie Database. Retrieved September 20, 2008.
  36. ^ "Grammy Awards of 1991". Internet Movie Database. Retrieved September 20, 2008.
  37. ^ "Twelfth Annual RAZZIE Awards". Golden Raspberry Award. Archived from the original on December 23, 2007. Retrieved October 15, 2008.
  38. ^ Breznican, Anthony (December 2, 2011). "Steven Spielberg: The EW interview". Entertainment Weekly.
  39. ^ Kermode, Mark; Mayo, Simon (January 25, 2013). "Steven Spielberg interviewed by Kermode & Mayo". Kermode and Mayo's Film Review – via YouTube.
  40. ^ Brew, Simon (February 22, 2018). "Why Steven Spielberg Was Unhappy With Hook". Den of Geek. Retrieved March 27, 2018.

BibliographyEdit

External linksEdit