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1991 film by Steven Spielberg From Wikipedia, the free encyclopedia
Hook is a 1991 American fantasy adventure film directed by Steven Spielberg and written by James V. Hart and Malia Scotch Marmo. It stars Robin Williams as Peter Banning / Peter Pan, Dustin Hoffman as Captain Hook, Julia Roberts as Tinker Bell, Bob Hoskins as Mr. Smee, Maggie Smith as Granny Wendy and Charlie Korsmo as Jack Banning. It serves as a sequel in a modern day setting to J. M. Barrie's 1911 novel Peter and Wendy, focusing on an adult Peter Pan who has forgotten his childhood due to his high-powered lifestyle. In his new life, he is known as Peter Banning, a successful but career-minded lawyer with a wife (Wendy's granddaughter) and two children. However, when his old archenemy, Captain Hook, kidnaps his children, he returns to Neverland to save them. Along the journey, he reclaims the memories of his past and develops full emotional maturity.
| Hook | |
|---|---|
Theatrical release poster by Drew Struzan | |
| Directed by | Steven Spielberg |
| Screenplay by | |
| Story by |
|
| Based on | Peter and Wendy by J. M. Barrie |
| Produced by | |
| Starring | |
| Cinematography | Dean Cundey |
| Edited by | Michael Kahn |
| Music by | John Williams |
Production company | |
| Distributed by | TriStar Pictures |
Release date |
|
Running time | 142 minutes[1] |
| Country | United States |
| Language | English |
| Budget | $70 million[2] |
| Box office | $300.9 million |
Spielberg began developing Hook in the early 1980s with Walt Disney Productions and Paramount Pictures. It would have followed the Peter Pan storyline seen in the 1924 silent film and 1953 animated Disney film. It entered pre-production in 1985, but Spielberg abandoned the project. 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 mixed reviews from critics, who praised the performances (particularly those of Williams and Hoffman), John Williams's musical score, and the film's production values, but criticized the screenplay and tone. The film also received five nominations at the 64th Academy Awards. Although it was a commercial success, its box-office take was lower than expected. Since its release, Hook gained a strong cult following, and it is considered by many to be a cult classic.[3][4][5]
In San Francisco, American-raised British corporate lawyer Peter Banning strains his relationships with his wife Moira and their children, Jack and Maggie, because of his workaholic lifestyle. After failing to keep another promise to Jack to attend his baseball game, he takes his family to London to visit Moira's grandmother, Wendy Darling. Peter, Moira and Wendy attend a charity dinner in Wendy's honor at the Great Ormond Street Hospital, leaving the children with Wendy's old friend Tootles and housekeeper Liza. On returning, they find the house burglarized and the children missing, along with a ransom note signed by Captain James Hook. Peter involves the authorities, but they are unhelpful, and Wendy insists that only he can save Jack and Maggie, as he is really Peter Pan; Peter refuses to believe her.
In the nursery, Peter encounters Tinker Bell, who brings him to Neverland. She drops Peter into Hook's pirate haven, where he reveals himself to Smee and Hook. Surprised to see how weak Peter has become, Hook challenges him to fly to rescue his children, preparing to execute him when he fails. Tinker Bell intervenes and persuades Hook to instead release Peter, promising to train him over the next three days for their grand battle. Peter is taken to the hideout of the Lost Boys, now led by Rufio. The boys mock Peter but eventually recognize and train him, encouraging him to use the power of imagination to help restore his memory and abilities. One boy, Thud Butt, gives Peter an old bag of marbles belonging to Tootles, who was a Lost Boy and had left Neverland with Wendy.
Meanwhile, Hook takes Smee's advice and begins plotting to turn Peter's children against him. Hook fails to sway Maggie because of her distrust but succeeds with Jack due to Peter's repeated broken promises. During a training challenge to steal Hook's prosthetic hook, Peter witnesses Jack playing in a baseball game that Hook has arranged. Dismayed to see Jack treating Hook as a father figure, Peter returns to the Lost Boys' camp with renewed determination. After seeing his shadow move independently, Peter follows it and discovers the ruins of the Hangman's tree. Inside, Tinker Bell helps Peter to remember how he left his family as an infant and how she brought him to Neverland in the 1900s, had fantastic adventures, and had first met and had become infatuated with Wendy. After Wendy and her siblings returned to London, Peter frequently visited Wendy until she had been widowed and had grown too old to fly back to Neverland. Although both were heartbroken of had missed their opportunity of romantic love, Peter fell in love with Wendy's granddaughter Moira and chose to stay. He became adopted by the Bannings, followed his birth-father's legal career path, married Moira, and fathered his children with her. After reaching adulthood, Peter was stricken with amnesia when he succumbed to depression and coped with it by working.
Remembering his adventurous childhood, Peter's buoyancy for his family restores his ability to fly, bringing him back as Peter Pan. Rufio gives his gold bladed sword to Peter in reverence, and the Lost Boys celebrate. That night, Tinker Bell professes her love for Peter with a kiss. However, Peter remains faithful to Moira and their children, choosing life with them instead of in Neverland. Although heartbroken, Tinker Bell encourages him to save his children. Peter appears before the pirates alone declaring his love for Jack as his happy thought before being captured. Peter sounds a signal to the Lost Boys to begin their attack. During the battle between the Lost Boys and Hooks pirates, the lost boys get the upper hand. When Rufio prepares to duel Hook 1-on-1, Peter intervenes but leaves when he hears Maggie calling for him. Rufio then proceeds to fight Hook, which appears even until Hook defeats and fatally stabs him. When Jack witnesses Rufio telling Peter that he wishes that he had a father like him before he dies, Jack reconciles with his father. Peter prepares to leave Neverland with his children before being goaded by Hook, who threatens to kidnap Peter's descendants if he does not fight him. In the ensuing fight, Peter defeats Hook with the assistance of the Lost Boys. When Hook attempts to kill Peter with his hook hand, he misses and is devoured by the reanimated corpse of the taxidermied Crocodile. Tinker Bell takes Jack and Maggie back to London, and Peter appoints Thud Butt as his successor.
Peter awakens in Kensington Gardens. Tinker Bell appears and bids a tearful farewell to Peter before departing. Happily reuniting with his family, Peter decides to devote his time to them more than work, starting with forgoing his company's important business deal. He also returns Tootles's bag of marbles; Tootles joyfully sprinkles himself with pixie dust from the bag and flies away to return to Neverland. Despite leaving Neverland behind, Peter sees life as a big adventure with no regrets.
In addition, a number of celebrities and family members made brief credited and uncredited cameos in the film:[6] musicians David Crosby and Jimmy Buffett, actress Glenn Close, and former boxer Tony Burton appear as members of Hook's pirate crew; Star Wars creator George Lucas and actress 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 appear in scenes in the "normal" world; 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 one of Peter's Lost Boys.
Steven Spielberg found a close personal connection to Peter Pan's story from his own childhood. The troubled relationship between Peter Banning and his son Jack in the film echoed Spielberg's relationship with his own father Arnold. 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.[7] "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."[8]
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".[8]
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".[9]
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.[8] He also considered directing it as a musical with Michael Jackson in the lead.[10] 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.[11]
The project was taken to Paramount Pictures,[12] where James V. Hart wrote the first script, with Dustin Hoffman already cast as Captain Hook.[10] It entered pre-production in 1985, with filming to begin at sound stages in England. Elliot Scott had been hired as production designer.[8] 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."[10] Around this time, he considered directing Big, which carried with it similar motifs and themes.[10] In 1987, he "permanently abandoned" it, feeling he expressed his childhood and adult themes in Empire of the Sun.[13]
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."[14]
Many fans believed Tom Hanks was Spielberg's original choice for the role of Peter Pan.[15] Hanks has debunked that rumour.[16] Joseph Mazzello auditioned for the role of Jack Banning, but was turned down because he was deemed too young for the role. Mazzello was cast later as Tim Murphy in Jurassic Park.[17]
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.[14] Dodi Fayed, who owned certain rights to make a Peter Pan film, sold his interest to TriStar in exchange for an executive producer credit.[18] Spielberg briefly worked with Hart to rewrite the script[8] before hiring Malia Scotch Marmo to rewrite Captain Hook's dialog, and Carrie Fisher for Tinker Bell's.[19] 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 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 from the dialogue, so the idea was dropped.[20]
Stage 27 housed the full-sized Jolly Roger and the surrounding Pirate Wharf.[20] 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.[21]
It was financed by Amblin Entertainment and TriStar Pictures, with TriStar distributing it. Spielberg hired 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.[22][23] 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."[24]
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."[25] 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."[26]
| Hook (Original Motion Picture Soundtrack) | ||||
|---|---|---|---|---|
| Film score by | ||||
| Released | November 26, 1991 (original) March 27, 2012 (reissue)[27] | |||
| Length | 75:18 (original) 140:34 (reissue) | |||
| Label | Epic Soundtrax (original) La-La Land Records (reissue) | |||
| John Williams chronology | ||||
| ||||
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. Williams wrote approximately eight songs with lyricist Leslie Bricusse for the project at this stage.[28] Williams and Bricusse finalized it to five songs.[29] Several of these songs were recorded, and some musical segments were even filmed.
Julie Andrews recorded one song, "Childhood", at the Sony Pictures Studios, so that Maggie Smith could lip-sync it on-set; it was meant to be sung by Granny Wendy to her grandchildren in their bedroom.[29] Two additional songs, "Stick with Me" and "Low Below", performed by Dustin Hoffman and Bob Hoskins, respectively, were also rehearsed.[29] These three songs were ultimately cut from the film, and instead were incorporated into the instrumental score. Two remaining songs survive in the finished film: "We Don't Wanna Grow Up" and "When You're Alone", both with lyrics by Bricusse.[24] The "Prologue" track later appeared in a commercial for the 68th Academy Awards in 1995, and in trailers for Matilda (1996), another film by TriStar.[30][31]
The original 1991 issue was released by Epic Soundtrax.[32] 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.[27] 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.
In November 2023, La-La Land Records announced a remastered and expanded three-disc ultimate edition of the film's score in its entirety, to be released December 1, 2023. The first disc includes the score presentation. The second disc features the additional musical tracks, and the third disc features alternate cues, source music, and Leslie Bricusse's songs.
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.[33] Another game was released for personal computer and Commodore Amiga, and is a point-and-click adventure game.
Spielberg, Williams and Hoffman did not take salaries for Hook. Their deal called for them to split 40% of TriStar Pictures's 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]
Hook was released in North America December 11, 1991, earning $13.5 million in its opening weekend. It went on to gross $119.7 million in the United States and Canada, and $181.2 million in foreign countries, accumulating a worldwide total of $300.9 million.[34] It is the sixth-highest-grossing "pirate-themed" film, behind all five films in the Pirates of the Caribbean film series.[35] In the United States and Canada, it was the sixth-highest-grossing film in 1991,[36] and fourth-highest-grossing worldwide.[37] It was the second-highest-grossing film in Japan, with theatrical rentals of $22.4 million.[38][39] It ended up making a profit of $50 million for the studio, yet it was still declared a financial disappointment,[40] 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.[41]
Review aggregator Rotten Tomatoes reports that 29% of critics have given the film a positive review, based on 66 reviews, with an average rating of 4.70/10. 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."[42] On Metacritic, the film has a 52 out of 100 rating, based on reviews from 19 critics, indicating "mixed or average reviews".[43] Audiences polled by CinemaScore gave the film an average grade of "A−" on a scale of A+ to F.[44]
Roger Ebert of the Chicago Sun-Times wrote:
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.[45]
Peter Travers of Rolling Stone magazine felt it would "only appeal to the baby boomer generation", and highly criticized the sword-fighting choreography.[46] Vincent Canby of The New York Times felt the story structure was not well balanced, feeling Spielberg depended too much on art direction.[47] Hal Hinson of The Washington Post was one of the few who gave it a positive review. Hinson elaborated on crucial themes of children, adulthood and loss of innocence. However, he said Spielberg "was stuck too much in a theme park world".[48]
John Williams's musical score was particularly praised, and is considered by many as one of his best.[49][50][51] Filmmaker Jon M. Chu cited the film as a source of inspiration for the visual aesthetics of his two-part film adaptation of the musical Wicked (2024-2025).[52][53]
In the years since its release, Spielberg has admitted in interviews that he was not proud of the film, and disappointed with the final result. In 2011, he 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."[54]
Spielberg gave a more blunt assessment in a 2013 interview on Kermode & Mayo's Film Review: "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."[55] 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."[56]
| Award | Category | Nominee(s) | Result | Ref. |
|---|---|---|---|---|
| Academy Awards | Best Art Direction | Art Direction: Norman Garwood; Set Decoration: Garrett Lewis |
Nominated | [57] |
| Best Costume Design | Anthony Powell | Nominated | ||
| Best Makeup | Christina Smith, Monty Westmore, and Greg Cannom |
Nominated | ||
| Best Original Song | "When You're Alone" Music by John Williams; Lyrics by Leslie Bricusse |
Nominated | ||
| Best Visual Effects | Eric Brevig, Harley Jessup, Mark Sullivan, and Michael Lantieri |
Nominated | ||
| American Comedy Awards | Funniest Supporting Actress in a Motion Picture | Maggie Smith | Nominated | |
| American Society of Cinematographers Awards | Outstanding Achievement in Cinematography in Theatrical Releases | Dean Cundey | Nominated | [58] |
| BMI Film & TV Awards | Film Music Award | John Williams | Won | |
| Chicago Film Critics Association Awards | Most Promising Actor | Charlie Korsmo | Nominated | [59] |
| Golden Globe Awards | Best Actor in a Motion Picture – Musical or Comedy | Dustin Hoffman | Nominated | [60] |
| Golden Raspberry Awards | Worst Supporting Actress | Julia Roberts | Nominated | [61] |
| Golden Screen Awards | Won | |||
| GoldSpirit Awards | Best Edition of an Existing Score | John Williams | Won | |
| Grammy Awards | Best Pop Instrumental Performance | Nominated | [62] | |
| Best Instrumental Composition Written for a Motion Picture or for Television |
Nominated | |||
| International Film Music Critics Association Awards | Best Archival Release of an Existing Score | John Williams, Didier C. Deutsch, MV Gerhard, Matt Verboys, Mark G. Wilder, Daniel Schweiger, and Jim Titus |
Nominated | [63] |
| Best Archival Release | John Williams, Mike Matessino, John Takis, Jason LeBlanc, and Jim Titus |
Nominated | [64] | |
| Saturn Awards | Best Fantasy Film | Nominated | [65] | |
| Young Artist Awards | Best Family Motion Picture | Won | [66] | |
| Best Young Actor Co-Starring in a Motion Picture | Dante Basco | Nominated | ||
| Charlie Korsmo | Nominated | |||
| Best Young Actor Under 10 in a Motion Picture | Raushan Hammond | Nominated | ||
| Best Young Actress Under 10 in a Motion Picture | Amber Scott | Nominated | ||
| Outstanding Young Ensemble Cast in a Motion Picture | Charlie Korsmo, Amber Scott, Ryan Francis, Dante Basco, Raushan Hammond, Jasen Fisher, James Madio, Isaiah Robinson, Thomas Tulak, Alex Zuckerman, Ahmad Stone, Bogdan Georghe, Adam McNatt, René González Jr, Brian Willis, and Alex Gaona |
Won | ||
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