It opens predictably enough with children's choir, but something is off from the very beginning. But then, in the second cue, "Flying," he does something quite off-putting. I have just described the "Main Titles" of Howard's Peter Pan in other words it is just what you would expect. You might throw in some swirling strings and low male voices accompanied by brass to symbolize the dreaded pirates, but that theme would not last for very long as the light spirit of the opening would overcome all obstacles.
PETER PAN FULL MOVIE ORIGINAL FULL
The celeste would soon be joined by a wordless children's choir and then the full orchestra in a statement of the original celeste theme. You probably would begin with a celeste, daintily dancing in lilting 6/8 time.
PETER PAN FULL MOVIE ORIGINAL MOVIE
Think for just a moment how you would score a movie about a young boy who refuses to grow up, flies and can impart that ability to others by sprinkling pixie dust, and does battle with a band of nasty pirates.
Howard's Peter Pan, while not up to the level evidenced in last year's Signs, is a strong piece of writing, expanding upon film music clichés in surprising ways. Perhaps there is some justification for the comparison as both movies lacked the special spark that makes such movies classics, and in both instances the score, written for huge symphony orchestra, stands up so well on its own, but in the end it damages more than it illuminates. Since there have been so few live-action versions of the Peter Pan story, and since the last was Steven Spielberg's sequel Hook, Howard's score has received much comparison to John Williams' magnificent writing for that movie. Barrie's classic novel Peter Pan that P.J. Therefore it was no surprise to see that he had been picked to score the new live-action version of James M. He has become Disney's composer of choice for animated projects that do not involve inanimate objects singing: his Atlantis score soars with rich orchestral themes, his Dinosaur score creates an expansive backdrop for those noble creatures, and even his oft-overlooked Treasure Planet score dances with charm.
Warm recommendation.James Newton Howard has more than proved himself an able writer of high-spirited children's adventure scores. That deepens their relationship and adds new dimension to the story, that is not just two-dimensional fairy-tale any more, like it was in animated Disney version. Here they are not just children, but preteens who develop early stage of romantic love and even some sort of sexual tension. What particularly distinguishes this adaptation is the relationship between Peter and Wendy, which is elevated to a higher level than the one we are used to. Few times I thought that CGI is bit unconvincing, but I think it's done on purpose to make distinction between real world and world of fantasy. Kids are incredibly cute and they played their roles really well and scenery is beautiful. Production is top, although not on LOTR level.
This is classic version of Peter Pan, but really excellent one. Practically nothing had real chance competing with those two.
The reason it had low success in theaters and it passed almost unnoticed lies not in its quality, but in fact it was released in the middle of Harry Potter mania and at the same time with the best fantasy movie of all time - The Lord of the Rings: The Return of the King. This is probably the best adaptation of Peter Pan and it deserves place in movie classics.
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