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1991 American fantasy film

Hook
Hook poster transparent.png

Theatrical release affiche by Drew Struzan
Directed by Steven Spielberg
Screenplay by
  • Jim Five. Hart
  • Malia Scotch Marmo
Story by
  • Jim V. Hart
  • Nick Castle
Based on Peter and Wendy
past J. Chiliad. Barrie
Produced by
  • Kathleen Kennedy
  • Frank Marshall
  • Gerald R. Molen
Starring
  • Dustin Hoffman
  • Robin Williams
  • Julia Roberts
  • Bob Hoskins
  • Maggie Smith
  • Charlie Korsmo
Cinematography Dean Cundey
Edited past Michael Kahn
Music past John Williams

Product
company

Amblin Entertainment
Distributed past TriStar Pictures

Release engagement
  • December eleven, 1991 (1991-12-11)

Running time

 142 minutes[i]
Country U.s.
Language English language
Budget $70 meg[2]
Box part $300.nine million

Hook is a 1991 American fantasy swashbuckler chance film directed past Steven Spielberg[three] and written past James V. Hart and Malia Scotch Marmo. It stars Dustin Hoffman in the title role, Robin Williams as Peter Banning / Peter Pan, Julia Roberts as Tinker Bell, Bob Hoskins equally Mr. Smee, and Maggie Smith equally Granny Wendy. It acts as a sequel to J. Chiliad. Barrie's 1911 novel Peter and Wendy focusing on an adult Peter Pan who has forgotten all well-nigh his childhood. In his new life, he is known every bit Peter Banning, a successful but unimaginative and workaholic lawyer with a married woman (Wendy's granddaughter) and 2 children. However, when Captain Hook, the enemy of his past, kidnaps his children, he returns to Neverland to save them. Along the journey, he reclaims the memories of his past and becomes a better person.

Spielberg began developing the moving picture in the early 1980s with Walt Disney Productions and Paramount Pictures, which would have followed the storyline seen in the 1924 silent movie and 1953 animated Disney film. It entered pre-production in 1985, just Spielberg abandoned the projection. Hart developed the script with director Nick Castle and TriStar Pictures before Spielberg decided to direct in 1989. It was shot almost entirely on audio stages at Sony Pictures Studios in Culver Urban center, California.

Released on Dec 11, 1991, Claw received mixed reviews from critics, who praised the performances (especially those of Williams and Hoffman), John Williams' musical score, and product values, just criticized the screenplay and tone. Although it was a commercial success, its box function take was lower than expected. Spielberg also later on came to be disappointed with the film.[4] [5] It has gained a strong cult post-obit since its release.[six] [7] [8] Information technology was nominated in five categories at the 64th Academy Awards. It also spawned merchandise, including video games, action figures, and comic book adaptations.

Plot [edit]

Successful San Francisco corporate lawyer Peter Banning has become a workaholic, straining his human relationship with his wife Moira and their children Jack and Maggie. Later on promising to attend at to the lowest degree one of Jack'southward baseball games, only missing the terminal game of the season, Peter flies with his disappointed family unit to London to visit Moira's grandmother, Wendy Darling. In London, Peter, Moira and Wendy attend a charity dinner in Wendy'south honor at the Groovy Ormond Street Hospital, leaving Wendy's old friend Tootles and her housekeeper Liza with the children. When they render, the children are missing, and there is a ransom notation from Captain James Hook. Peter involves the regime, but Wendy insists that only he can save Jack and Maggie, as he is really Peter Pan.

Peter refuses to believe her; later, in the nursery, he encounters Tinker Bell, who brings him to Neverland with pixie dust. She drops Peter into Hook's pirate oasis, where he reveals himself to Smee and Hook after seeing his children on display. Surprised to run across how weak Peter has get, Hook challenges him to fly and rescue his children, preparing to execute him when he fails. Tinker Bell persuades Claw to release Peter instead, promising to train him for battle over the adjacent three days. Later accidentally falling overboard and beingness saved by Neverland mermaids, Peter is then taken to the Lost Boys, at present led by Rufio. The boys mock Peter at starting time, but eventually recognize and train him, encouraging him to utilize his imagination to restore his memory and abilities.

Meanwhile, Claw despairs that he volition not have true revenge on Peter, until Smee suggests they manipulate the Banning children into switching sides. This does not piece of work with Maggie, but Jack is swayed due to Peter's repeated broken promises. Hook has the pirates play a game of baseball game, which Peter sees while trying to steal Claw's namesake. Dismayed to see Jack treating Hook as a father-effigy, Peter returns to the Lost Boys' army camp with renewed conclusion. After seeing his shadow move independently, Peter follows it and discovers the treehouse where Wendy and her brothers once stayed. Inside, Tinker Bell helps Peter think how he was lost as an baby in the early 1900s, brought by her to Neverland, and had his adventures with the Darlings. He besides recalls frequently visiting Wendy after the Darlings returned to London, until Wendy grew old. Peter then brutal in love with Wendy's granddaughter Moira and chose to stay, losing his memory and existence adopted past the Bannings.

Recalling Jack's birth is the strong, happy idea that restores Peter's ability to wing, bringing him back as Peter Pan. Rufio turns his sword over to Peter in reverence, the Lost Boys celebrate and, that dark, Tinker Bell professes her love for Peter with a kiss. Yet, Peter still chooses to save his family unit.

Peter and the Lost Boys fight Hook and his pirates the next day, every bit Jack watches. Peter rescues Maggie, and Hook's crew surrenders, but Rufio duels Hook and is fatally wounded. With his dying breath, Rufio wishes he could accept had a father similar Peter. Jack comes to his senses about his begetter, and they reconcile. Peter duels Hook and defeats him, whereupon Hook is devoured by the reanimated corpse of the taxidermied Crocodile. Tinker Bong takes Jack and Maggie back to London, and Peter appoints young Lost Boy Thud Butt every bit his successor, before leaving.

Peter awakens in Kensington Gardens, seeing someone resembling Mr. Smee sweeping upwards some empty bottles nearby. Tinker Bell appears and bids a bawling cheerio to Peter before parting. Reuniting with his family at Wendy's house, Peter decides to devote more fourth dimension to them. Peter hands old Lost Boy Tootles his onetime bag of marbles (which Thud Butt had given to Peter earlier), whereupon Tootles joyfully sprinkles himself with pixie dust and takes off. As Peter and his family watch Tootles wing back to Neverland, Wendy remarks that their adventures are truly over; Peter counters that "to live would be an awfully big adventure".

Bandage [edit]

  • Dustin Hoffman as Captain James Hook
  • Robin Williams as Peter Banning / Peter Pan
    • Ryan Francis as preteen Peter Pan
    • Max Hoffman every bit young Peter Pan
    • Matthew Van Ginkel as baby Peter Pan
  • Julia Roberts every bit Tinker Bell
    • Lisa Wilhoit as Tinker Bell in a flashback in which Peter is a baby
  • Bob Hoskins as Smee / Sweeper in Kensington Gardens
  • Maggie Smith as Granny Wendy
    • Gwyneth Paltrow every bit teenage Wendy Darling
  • Charlie Korsmo as Jack Banning, Peter and Moira's son
  • Caroline Goodall equally Moira Banning, Peter's wife and Jack and Maggie'south female parent
  • Dante Basco as Rufio
  • Amber Scott as Maggie Banning, Peter and Moira'south daughter
  • Jasen Fisher as Ace
  • Laurel Cronin as Liza, Granny Wendy'southward maid
  • Phil Collins every bit Inspector Good
  • Arthur Malet as Tootles
  • Isaiah Robinson equally Pockets
  • Raushan Hammond as Thud Butt
  • James Madio as Don't Enquire
  • Thomas Tulak equally As well Modest
  • Alex Zuckerman equally Latchboy
  • Ahmad Stoner equally No Nap

In addition, a number of celebrities and family members made brief credited and uncredited cameos in the motion-picture show:[ix] musicians David Crosby and Jimmy Buffett, every bit well as Oscar-nominated actress Glenn Close and former boxer Tony Burton, appear every bit members of Hook's pirate crew; 2 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 ten-years-old during filming, briefly appeared in scenes in the "normal" globe; and 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 1 of Pan'due south Lost Boys.

Production [edit]

Inspiration [edit]

Spielberg establish a close personal connection to Peter Pan'due south story from his own childhood. The troubled relationship betwixt Peter and Jack in the film echoed Spielberg'due south relationship with his own father. Previous Spielberg films that explored a dysfunctional father-son human relationship included E.T. the Actress-Terrestrial and Indiana Jones and the Last Cause. Peter'south "quest for success" paralleled Spielberg starting out as a film director and transforming into a Hollywood business magnate.[ten] "I call up a lot of people today are losing their imagination because they are work-driven. They are and so self-involved with piece of work and success and arriving at the next plateau that children and family almost become incidental. I have even experienced information technology myself when I accept been on a very tough shoot and I've not seen my kids except on weekends. They ask for my time and I tin can't requite it to them considering I'm working."[11] Similar Peter at the beginning of the film, Spielberg has a fear of flying. He feels that Peter's "enduring quality" in the storyline is just to wing. "Anytime anything flies, whether it'south Superman, Batman, or Due east.T., it's got to be a tip of the hat to Peter Pan," Spielberg reflected in a 1992 interview. "Peter Pan was the showtime fourth dimension I saw anybody fly. Before I saw Superman, before I saw Batman, and of course earlier I saw any superheroes, my first memory of anybody flight is in Peter Pan."[11]

Pre-product [edit]

The genesis of the moving-picture show started when Spielberg's mother frequently 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 product. I have always felt like Peter Pan. I still feel similar Peter Pan. It has been very hard for me to grow up, I'm a victim of the Peter Pan syndrome."[12]

In the early on 1980s, Spielberg began to develop a moving-picture show with Walt Disney Pictures that would have closely followed the storyline of the 1924 silent film and 1953 animated film.[11] He likewise considered directing it equally a musical with Michael Jackson in the lead.[xiii] Jackson expressed interest in the part, but was not interested in Spielberg'southward vision of an adult Peter Pan who had forgotten about his past.[fourteen] The project was taken to Paramount Pictures,[fifteen] where James V. Hart wrote the kickoff script with Dustin Hoffman already cast equally Captain Hook.[thirteen] It entered pre-production in 1985 for filming to begin at audio stages in England. Elliot Scott had been hired as production designer.[eleven] With the birth of his start son, Max, in 1985, Spielberg decided to drib 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 7 kids on wires in front end of blue screens. I wanted to exist home as a dad."[xiii] Around this time, he considered directing Big, which carried similar motifs and themes with information technology.[13] In 1987, he "permanently abandoned" information technology, feeling he expressed his childhood and adult themes in Empire of the Sun.[16]

Meanwhile, Paramount and Hart moved forrad on production with Nick Castle equally director. Hart began to piece of 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 Helm Hook, simply that the crocodile really didn't consume him, he got away," Hart reflected. "Every bit it happens, I had been trying to crevice Peter Pan for years, but I didn't just want to practise a remake. So I went, 'Wow. Hook is not expressionless. The crocodile is. We've all been fooled'. In 1986 our family unit was having dinner and Jake said, 'Daddy, did Peter Pan ever grow upwardly?' My immediate response was, 'No, of course non'. And Jake said, 'But what if he did?' I realized that Peter did grow up, but like all of u.s. babe 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."[17]

Tom Hanks was Spielberg's original choice for the role of Peter Pan.[18]

Joseph Mazzello auditioned for the part of Jack Banning, he was turned down because he accounted too young for the role. Mazzello was later cast as Tim Potato in Jurassic Park.[19]

David Bowie, Christopher Lloyd, and Donald Sutherland were considered for Helm Hook.[20]

Filming [edit]

By 1989, Ian Rathbone changed the title to Claw, and took information technology from Paramount to TriStar Pictures, headed by Mike Medavoy, who was Spielberg's first talent agent. Robin Williams signed on, merely he and Hoffman had artistic differences with Castle. Medavoy saw the film as a vehicle for Spielberg and Castle was dismissed, but paid a $500,000 settlement.[17] Dodi Fayed, who owned certain rights to make a Peter Pan film, sold his interest to TriStar in exchange for an executive producer credit.[21] Spielberg briefly worked together with Hart to rewrite the script[xi] before hiring Malia Scotch Marmo to rewrite Captain Hook's dialog and Carrie Fisher for Tinker Bell's.[22] 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 Metropolis, California.[2] Stage thirty housed the Neverland Lost Boys playground, while Phase x supplied Helm Claw's transport cabin. Hidden hydraulics were installed to rock the set-slice to simulate a swaying ship, but the filmmakers found the movement distracted the dialogue, and then the thought was dropped.[23]

Phase 27 housed the total-sized Jolly Roger and the surrounding Pirate Wharf.[23] Industrial Calorie-free & Magic provided the visual effects sequences. This marked the beginning of Tony Swatton'due south career, as he was asked to make weaponry for the film. Information technology was financed by Amblin Entertainment and TriStar Pictures, with TriStar distributing it. Spielberg brought on John Napier every bit a "visual consultant", having been impressed with his piece of work on Cats. The original production budget was set at $48 meg, but ended up betwixt $60–fourscore million.[24] [25] The primary reason for the increased budget was the shooting schedule, which ran 40 days over its original 76-solar day schedule. Spielberg explained, "It was all my error. I began to work at a slower step than I usually exercise."[26]

Spielberg's on-prepare relationship with Julia Roberts was troubled, and he later on admitted in an interview with 60 Minutes, "It was an unfortunate time for us to piece of work together."[27] 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 up to my defense force...it was the get-go time that I felt I had a turncoat in my midst."[28]

Soundtrack [edit]

Hook (Original Film Soundtrack)
Film score by

John Williams
Released Nov 26, 1991 (1991-11-26) (original)
March 27, 2012 (2012-03-27) (reissue) [29]
Length 75:xviii (original)
140:34 (reissue)
Label Ballsy Soundtrax (original)
La-La State Records (reissue)
John Williams chronology
Abode Alone
(1990) 		Hook (Original Move Moving picture Soundtrack)
(1991) 		JFK
(1991)

The film score was composed and conducted by John Williams. He was brought in at an early stage when Spielberg was because making the moving-picture show equally a musical. Accordingly, he wrote around eight songs for the project at this stage. The idea was later abased.[30] About of his vocal ideas were incorporated into the instrumental score, though two songs survive as songs in the finished moving picture: "We Don't Wanna Grow Upwards" and "When You lot're Alone", both with lyrics by Leslie Bricusse.[26] The runway called "Prologue" equally made appearances in trailers for Matilda some other film by TriStar Pictures.

The original 1991 issue was released by Epic Soundtrax.[31] In 2012, a limited edition of the soundtrack, called Hook: Expanded Original Move Picture Soundtrack, was released by La-La Land Records and Sony Music.[29] Information technology contains about the complete score with alternates and unused material. It besides contains liner notes that explain the film's production and score recording.

Commercial songs from the film, merely not on the soundtrack[xxx]
  • "Pick'em Up" – Music by John Williams and lyrics past Leslie Bricusse
  • "Accept Me Out to the Ball Game" – Written past Jack Norworth and Albert Von Tilzer

Video games [edit]

A video game based on the film and bearing the same proper noun was released for the Super Nintendo Entertainment Organization in 1991. The game was released for additional game consoles in 1992.[32] Another game was released for PC and Commodore Amiga, and is a Point and Click run a risk game.

Reception [edit]

Box office [edit]

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 1000000 from the offset $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 Due north America on December eleven, 1991, earning $13.5 million in its opening weekend. It went on to gross $119.7 1000000 in the United States and Canada and $181.2 million in strange countries, accumulating a worldwide total of $300.9 million.[33] Information technology is the sixth-highest-grossing "pirate-themed" film, behind all five films in the Pirates of the Caribbean motion picture series.[34] In the Usa and Canada, it was the sixth-highest-grossing film in 1991,[35] and fourth-highest-grossing worldwide.[36] It was the 2nd highest-grossing picture in Nippon with theatrical rentals of $22.four million.[37] [38] Information technology ended up making a profit of $50 1000000 for the studio, all the same it was yet declared a financial disappointment,[39] having been overshadowed by the release of Disney's Beauty and the Fauna and a pass up in box-office receipts compared to the previous years.[40]

Critical response [edit]

Steven Spielberg afterwards admitted in interviews that he was disappointed with the final result of the picture show.

Review aggregator Rotten Tomatoes reports that 29% of critics have given the pic a positive review, based on 66 reviews, with an average rating of 4.lxx/x. The site's consensus states: "The look of Hook is lively indeed but Steven Spielberg directs on autopilot here, giving in besides speedily to his sentimental, syrupy qualities."[41] On Metacritic, the moving picture has a 52 out of 100 rating, based on reviews from 19 critics, indicating "mixed or average reviews".[42] Audiences polled by CinemaScore gave the film an average course of "A-" on an A+ to F scale.[43]

Roger Ebert of the Chicago Dominicus-Times wrote that:

The lamentable thing about the screenplay for Claw is that it'due south and 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'due south magic in the changed world he now inhabits, and piffling thought has been given to Helm Hook's extraordinary persistence in wanting to revisit the events of the by. The failure in Hook is its inability to re-imagine the fabric, 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.[44]

Peter Travers of Rolling Stone magazine felt information technology would "only appeal to the baby boomer generation" and highly criticized the sword-fighting choreography.[45] Vincent Canby of The New York Times felt the story structure was not well balanced, feeling Spielberg depended too much on art direction.[46] Hal Hinson of The Washington Post was ane 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 earth".[47]

Accolades [edit]

The moving-picture show was nominated for five categories at the 64th Academy Awards. This included All-time Art Direction (Norman Garwood, Garrett Lewis) (lost to Bugsy), Best Costume Blueprint (lost to Bugsy), All-time Visual Effects (lost to Terminator 2: Judgment Day), Best Makeup (lost to Terminator ii: Judgment Day) and Best Original Song (for "When Y'all're Alone"; lost to Beauty and the Beast).[48] It lost the Saturn Accolade for Best Fantasy Picture show to Aladdin, in which Williams co-starred,[49] while cinematographer Dean Cundey was nominated for his work by the American Society of Cinematographers.[50] Hoffman was nominated for the Golden World Award for Best Role player – Movement Flick Musical or Comedy (Hoffman really lost to his co-star Robin Williams for his performance in The Fisher King).[51] John Williams was given a Grammy Award nomination for Best Score Soundtrack for Visual Media;[52] Julia Roberts received a Golden Raspberry Accolade nomination for Worst Supporting Actress (lost to Sean Young as the expressionless twin in A Osculation Earlier Dying).[53]

Legacy [edit]

In years since the release of the film, Steven Spielberg admitted in interviews that he was not proud of the motion-picture show and disappointed with the final result. In 2011, he told Amusement Weekly: "There are parts of Hook I love. I'm actually proud of my piece of work right upward through Peter being hauled off in the parachute out the window, heading for Neverland. I'm a little less proud of the Neverland sequences considering I'm uncomfortable with that highly stylized world that today, of course, I would probably take done with live-action character work inside a completely digital prepare. Merely we didn't have the technology to exercise it and then, and my imagination only went as far as building physical sets and trying to paint copse bluish and red."[4] Spielberg gave a more edgeless assessment in a 2013 interview on Kermode & Mayo's Moving-picture show Review Bear witness: "I wanna see Hook again because I so don't like that movie, and I'thou hoping someday I'll see it again and perhaps like some of it."[54]

In 2018, Spielberg told Empire, "I felt similar a fish out of h2o 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 accept confidence in the body of information technology." 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 than insecure I felt about information technology, the bigger and more colorful the sets became."[5]

In a 2022 interview with Collider Games, actor Dante Basco revealed that he's working on an blithe prequel series about his grapheme Rufio.[55] [56]

John Williams' musical score was particularly praised and is considered by many as one of his all-time.[57] [58] [59]

See also [edit]

  • List of films featuring miniature people

References [edit]

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  55. ^ "Dante Basco Talks Artificial Season 3, Rufio's Legacy and Being Function of the Last Airbender Family". Revog. YouTube. 7 July 2020. Archived from the original on 2020-07-13.
  56. ^ "@dantebasco revealed he's working on an blithe prequel serial almost his iconic character #Rufio!". Revog Games. 7 July 2020. Archived from the original on 2020-07-07 – via Twitter.
  57. ^ Hicks, Chris (January 11, 1992). "'HOOK' COMPOSER SCORES BIG WITH COLLECTION OF MOVIE THEMES". Deseret News. {{cite web}}: CS1 maint: url-status (link)
  58. ^ "The Superlative 10 John Williams Scores of All Fourth dimension". Collider. xviii Dec 2019. {{cite web}}: CS1 maint: url-condition (link)
  59. ^ "15 Legendary John Williams Film Scores". Musicnotes.com. 17 October 2018. {{cite web}}: CS1 maint: url-condition (link)

Bibliography [edit]

  • Brooks, Terry (1991). Hook (Hardcover). novelization of the film. Ballantine Books. ISBN0-449-90707-iv.
  • Charles L.P. Silet (2002). The Films of Steven Spielberg. Scarecrow Press. ISBN0-8108-4182-7.
  • McBride, Joseph (1997). Steven Spielberg: A Biography. New York City: Faber and Faber. ISBN0-571-19177-0.
  • Medavoy, Mike; Young, Josh (2002). You're Simply equally Good as Your Side by side One: 100 Great Films, 100 Practiced Films, and 100 for Which I Should Be Shot. New York Urban center: Atria Books. ISBN978-0743400558.

External links [edit]

  • Hook at IMDb
  • Hook at the TCM Movie Database
  • Hook at Box Office Mojo
  • Hook at Rotten Tomatoes
  • Hook at Metacritic
  • Sony Imagesoft'southward Hook at MobyGames
  • Bounding main'south Claw at MobyGames

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Source: https://en.wikipedia.org/wiki/Hook_(film)

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