Finding Neverland
With the exception of the director himself, is there anyone who saw 2001’s “Monster’s Ball” who could have imagined that Marc Forster- who strikingly orchestrated the raw and riveting emotions of that film- had a film as delicate and lovely as “Finding Neverland” in him? Certainly I didn’t. I’m glad that he did. “Finding Neverland”- about playwright J.M. Barrie’s friendship with Sylvia Llewelyn Davies and her four boys, who were the inspiration for his masterpiece “Peter Pan”- is as wonderful and satisfying a film as you’ll see all year. Watching it, you’ll likely be reminded of “Shakespeare in Love” and “Big Fish”- and possibly others- in the film’s look at the creation of Barrie’s most well-known work and the film’s look inside the imagination of the author (a Burton-esque examination the film pulls off beautifully). But those stories are secondary to the main story, which is the relationship between Barrie, Sylvia, and the boys, and the scandal that their friendship puts upon both the married Barrie and widowed Sylvia. The scandal of the relationship is merely touched upon (which is all it really needs to be), but it’s here where the film soars, and it’s with the help of a touching and intelligent screenplay by David Magee (based on a play by Allan Knee) and an inspired cast.
My great hope after watching this movie is that Johnny Depp never changes as an actor. I hope he continues to grow as one, but the whimsy, the eccentricity, the singular quirkiness he seems to bring to any role- I hope that remains with him until his final performance, because then, oh what a wonderful career we will have seen. As Barrie, that quality is front-and-center as J.M. endures himself to Sylvia and her boys, and seems to embarass himself in the eyes of his frigid wife (Radha Mitchell), who will later leave him, and Sylvia’s iron-fisted mother (the memorable Julie Christie), who will come to appreciate the artist and man. But then, there’s the subtlety with which Depp plays the role, something rarely touched upon when discussing Depp, probably because his most memorable role for people- as last summer’s Captain Jack in “Pirates of the Caribbean”- was over-the-top in its’ eccentricity. Oh, what they are missing- or forgetting- from the actor who brought silent poignancy to Edward Scissorhands in Tim Burton’s lovely fairy tale; a quiet longing for the mother he lost as Icabod Crane in Burton’s underrated “Sleepy Hollow”; a dynamic dramatic intensity and feeling to the undercover agent in “Donnie Brasco”; and finally, the out-for-all-to-see passion that’s tempered with a sort of inner desire to be appreciated he gave the “Worst Director of All-Time” in Burton’s “Ed Wood.” Don’t get me wrong, Depp can play over-the-top odd, and he does it extremely well (“Fear and Loathing in Las Vegas,” “Once Upon a Time in Mexico,” and “Secret Window” are memorably wacky star turns), but it’s the grace and quiet gusto with which he played these roles- and now Barrie in “Neverland”- I appreciate most from him. Maybe Burton is just uniquely capable of bringing it out of Depp (I can’t wait to see what these two do with Willy Wonka come July); it sure seems like other directors are catching on, though. Of course, it could be the roles themselves. I think it’s a little bit of both.
Depp’s wonderful performance is matched by his supporting cast. Namely, Kate Winslet as Sylvia, and newcomer Freddie Highmore as young Peter. What a wonderful year for Winslet. Between this and her one-of-a-kind Clemantine in “Eternal Sunshine of the Spotless Mind,” Winslet has finally had a year to match her breakthrough role in 1997 for “Titanic.” Be it for Clemantine or Sylvia, Winslet should go home with in Oscar on February 27. Already nominated three times in her career (for 1995’s “Sense and Sensibility,” “Titanic,” and 2001’s “Iris”), with at least one more performance she should have been nominated for (in Peter Jackson’s 1994 stunner “Heavenly Creatures,” her first film), at 28, to call her one of the greatest actresses of her generation is a gross understatement. She’s more than that though; like Depp, she’s an actress that elevates everything she’s in, making any film (“The Life of David Gale” and “Enigma” aren’t exactly great movies) watchable for her alone, and she seems to bring a singular quality to every role no other actress could match. As Sylvia, it’s there in every frame. Admittedly, it’s not a role nearly as complex or developed as “Sunshine’s” Clemantine, but Winslet makes it matter, and makes you care. And her final scene- while watching Barrie’s masterpiece performed- will move you to tears. With Winslet, you know you’ll get a tough, intelligent, beautiful character brought to life with grace and great feeling; Sylvia is no different.
As Peter, Highmore- who I forgot was in this past summer’s wonderful tiger movie “Two Brothers”- is unforgettable as a young boy who has had to grow up too fast after his father’s death, and feels betrayed that he couldn’t be treated like an adult and just told the truth. But Barrie sees more in him; he sees a kindred spirit, and to see Peter gain back some of that youthful energy and passion in Barrie’s presence- and under his guidance- makes their bond transcend friendship and become unforgettable as Barrie and Peter find- in one another- something they were missing. After working with Highmore, Depp recommended him to Burton for the title role in their upcoming “Charlie and the Chocolate Factor.” One more reason to look forward to that movie. One more reason to love “Finding Neverland,” which brings three lonely souls together through the healing power of art, its’ creation and its’ performance, and creates a bond to last through the ages.
