Peter Pan (1924 film)
ADOLPH ZUKOR AND JESSE L. LASKY
PRESENT
J. M. BARRIE'S
Peter Pan
A
HERBERT
BRENON
PRODUCTION
COPYRIGHT—MCMXXIV
FAMOUS PLAYERS-LASKY CORPORATION
ADOLPH ZUKOR Director
ALL RIGHTS RESERVED
SCREEN PLAY BY
WILLIS GOLDBECK
PHOTOGRAPHED BY
JAMES HOWE
SETTINGS BY
EDWARD SMITH
PASSES BY THE NATIONAL BOARD OF REVIEW
DIRECTED
BY
HERBERT BRENON
ASSISTED
BY
ROY
POMEROY
| THE CAST: | ||
Nana (the dog) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
Gorge Ali | |
Mrs. Darling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
Esther Ralston | |
Mr. Darling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
Cyril Chadwick | |
Wendy Moira Angela Darling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
Mary Brian | |
John Napoleon Darling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
Jack Murphy | |
Michael Nicholas Darling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
Philippe deLacy | |
Tinker Bell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
Virginia Browne Faire | |
Tiger Lily . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
Anna May Wong | |
Peter Pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
Betty Bronson | |
| MEMBERS OF PETER'S BAND: | ||
Tootles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
Maurice Murphy | |
Slightly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
Mickey McBan | |
Curly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
George Crane, Jr. | |
First Twin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
Winston Doty | |
Second Twin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
Weston Doty | |
Nibs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
Terence McMillan | |
| PIRATES: | ||
Captain James Hook . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
Ernest Torrence | |
Gentleman Starkey . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
Lewis Morrison | |
Smee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
Edward Kipling | |
Italian Cecco . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
Ralph Yearsley | |
Mullins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
Ed. Jones | |
Noodler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
Percy Barbat | |
Giant Blackman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
Richard Frazier | |
Cookson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
Maurice Cannon | |
Kelt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
Robrt Milasch | |
Jukes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
Charles A. Stevenson | |
A NOTE
On Acting of a Fairy Play
The difference between a Fairy Play and a realistic one is that in the former all the characters are really children with a child's outlook on life. This applies to the so-called adults of the story as well as the young people. Pull the beard off the fairy king, and you would find the face of a child.
This, then, is the spirit of the play. And it is necessary that all of you—no matter what age that you may have individually attained—should be children. PETER PAN will laughingly blow the fairy dust in your eyes and presto! You'll all be back in the nursery, and once more you'll believe in fairies, and the play moves on.
Bedtime in the Darling nursery.
Mr. Darling was such a fidget that no servant would stay with him, and so the family had to have a dog for a nurse.
"I won't be bathed, Nana, I won't!"
"Who are you?"
"Clumsy!"
"I have an uneasy feeling at times that Nana looks upon the children as puppies."
"We must be good to Nana."
"When I came into the room tonight, I saw a face at the window…"
"… the face of a little boy."
"Two flights up?"
"This is not the first time. Last week I was drowsing here by the fire…"
"I felt a draught and looked up, and in the center of the room I saw that same little boy."
"I screamed. Nana sprang at him. The boy leapt out of the window—and escaped…"
"… but not before the window had closed and cut his shadow clean off."
"Looks like a scoundrel."
"It's nobody I know."
"But that isn't all. He was accompanied by a ball of light that darted about the room like a living thing."
"This is very unusual!"
"Oh, George, now you see why we must be good to Nana."
"That boy may come back for his shadow."
Michael's
Medicine
"Please, dear, I'll get you a lovely chocolate to take after it."
"As a example to you, Michael, I'd take some of my own medicine—it I hadn't lost the bottle."
"I know where it is, Father… I'll bring it."
Father's
Medicine
"You take yours first."
"Come now, both together."
"I meant to take mine, but I missed it."
NURSE
"I refuse to allow that dog to lord it over me in my own house one hour longer!"
"George! Remember what I told you—that boy!"
"Mother, dear, what time was I born?"
"At twelve o'clock at night, precious."
"Oh, Mummy, I hope I didn't wake you!"
"That's the way Nana always howls when she smells danger."
"Oh, how I wish father and I were not going out to a party tonight!"
"Can anything harm us, Mummy, dear, after the night lights are lit?"
"Nothing, precious. They are the eyes a mother leaves behind her to guard her children."
"Dear night lights that protect my sleeping babes, burn clear and steadfast, tonight."
"Tinker Bell! Tink, where are you?"
"Tink, do you know where they've put it?"
"In which drawer?"
"Boy, why are you crying?"
"What's your name?"
"Peter Pan."
"What's yours?"
"Wendy Moira Angela Darling."
"Where do you live?"
"Second to the right and then straight on till morning."
"My shadow won't stick on."
"Your mother will sew it on."
"Don't have a mother."
"I daresay it will hurt a little."
"Cock-a-doodle-doo!"
"I'm clever! Oh, the cleverness of me!"
"Will! If I am no use, I can at least withdraw."
"I can't help crowing, Wendy, when I am pleased with myself."
"Wendy, one girl is more use than twenty boys."
"I'll give you a kiss, Peter, if you like."
"Now shall I give you a kiss?"
"Peter, how old are you?"
"I ran away the day I was born—"
"—because I heard father and mother talking about what I was to be when I became a man."
"I don't ever want to be a man. I always want to be a little boy and to have fun."
"So I ran away and lived a long time among the fairies."
"Peter! You know fairies?"
"Yes, but they're nearly all dead now."
"You see, Wendy, when the first baby laughed for the first time, its laugh broke into a million pieces and they all went skipping about—"
"—and that was the beginning of fairies."
"But children know such a lot nowadays—"
"—and every time a child says, 'I don't believe in fairies', there is a fairy somewhere that falls down dead."
"A fairy! Oh, Peter, if she would only stand still and let me see her!"
"She's called Tinker Bell because she mends the fairy pots and kettles."
"Oh, lovely! Peter, you may give me a kiss."
"I don't mean a kiss. I mean a thimble—like this."
"Tink says she will pull your hair every time you give me a thimble."
"She said, 'You silly ass'. She's quite a common little fairy, you know—"
"I'm going to the Never Never Land, to the Lost Boys—they are always afraid of pirates when I'm away."
"The Lost Boys are the children who fall out of their perambulators when their nurses aren't looking."
"I'm captain!"
"Oh, Wendy, come and be our mother!"
"I'll teach you to fly and you will tell us stories—"
"—and darn our socks and tuck us in at night."
"Of course, it's awfully fascinating, but…"
"John, wake up! There is a boy here who is to teach us to fly."
"He's going to take us to the Never Never Land. He says there are mermaids and redskins."
"I say, I'll get up at once."
"Hello, I am up."
"Michael, this boy is going to take us to the Never Never Land. He says there are pirates there."
"You just think lovely, wonderful thoughts…"
"… and they lift you up in the air."
"Come now—beautiful thoughts!"
"I forgot!—first I must blow the fairy dust on you."
"I flewed! I flewed!"
The Never Never Land—
The Forest of Make-Believe.
"Everyone shudders at the approach of Captain Hook!"
"'Twas Peter Pan cut off me hand and flung it to the crocodile."
"It liked the taste of me so well it has followed me ever since from sea to sea."
"In a way, Captain, it is a sort of compliment."
"I will feed the crocodile this clock—and before he can ever reach me, I will hear the tick—and bolt!"
"To the day when I'll shake the hand of Peter Pan with this. Oh, I'll tear him!"
"Tink says Peter wants us to shoot the Wendy bird."
"This isn't a bird—"
"—it's a lady! I remember ladies!"
"A lady—and I have killed her!"
"Always when ladies used to come to me in dreams I said, 'Pretty mother'. But when at last she really came, I shot her!"
"Great news, boys. I have brought at last a mother for us all."
"Dear Wendy, have you gone away?"
"Will you never be here any more to play? Wendy, mother!"
"And I thought it was only flowers that died!"
"Oh, dastard hand!"
"Strike, Peter—strike true!"
"I cannot strike. There's something stays my hand."
"Strike me instead—then I shall be with Wendy to help her if she's frightened at being dead."
"She lives—the Wendy lady lives!"
"See, the arrow struck against the kiss I gave her. It has saved her life!"
"Ay, that's a kiss. I remember kisses."
"Tink's crying because the Wendy lives!"
"It was she who told me to shoot the Wendy!"
"Begone from me forever!"
"—well, if not forever, for a whole week anyway!"
"I have it—let's build a house round her!"
"We must have a knocker!"
"And a chimney—we must have a chimney!"
"Oh, Wendy lady, be our mother!"
"Of course, it's frightfully fascinating—"
"Very well, then, I shall be your mother on one condition—that Peter is willing to be father."
"We attack the Lost Boys tonight."
The underground home of the Lost Boys in the Never Never Land.
"Peter Pan is the sun. He is the moon. He is the stars. Us no let pirates hurt li'l boys."
"What Peter Pan give Tiger Lily for guarding him?"
"Wendy, I'm too big for a cradle."
"You are smallest—and a cradle is such a homey thing to have about the house."
"Got a thimble for me, little woman?"
"There's nothing pleasanter of an evening when the day's toil is over, than to sit by the fire with one's smiling missus…"
"… and the little ones near by."
"I was just thinking—it's all make-believe, I'm not really their father—am I?"
"Peter, what are your exact feelings for me?"
"Those of a devoted son, Wendy."
"You're so puzzling. Tiger Lily's just the same. There's something she wants to be to me, but she says it's not my mother."
"Oh, dear! Oh, dear! I'm sure I sometimes think that spinsters are to be envied!"
"I expect it's just those bothersome fairies again!"
"You promised to tell us a story, Mother."
"Well, once upon a time there was a gentleman—"
"I had rather he had been a lady."
"There was a lady also—and what do you think they had?"
"They had three descendants."
"I wish they had been white rats."
"What's descendants?"
"Well, white rats are descendants—"
"—almost everything's descendants."
"They flew away to the Never Never Land where the Lost Children are."
"And, though the children stayed away for many moons, the beautiful mother always left the window open for them to fly back."
"I do like a mother's love—don't you?"
"I do just!"
"It isn't that kind of a pain."
"Wendy, when I flew back to my mother's, the window was barred—"
"—and there was another little boy sleeping in my bed."
"We must go home—perhaps mother is in half mourning by this time."
"The first who does not behave to Wendy like an American gentleman, I'll blood him severely."
"Come with us—father and mother will adopt you—it will just mean putting a few beds in the drawing room."
"Tinker Bell will take you across the sea."
"Get up and dress at once, else I shall open the curtain and we shall all see you in your negligee."
PETER'S
MEDICINE
"You must take your medicine before you go, Peter."
"I'm not going!"
"Nobody's going to make me grow up."
"Peter, not even to find your mother?"
"No. I just want always to be a little boy and have fun."
"Peter isn't coming."
"Now then—no blubbering!"
"It's over!"
"If the Indians have won they'll beat the tomtom—that's always their sign of victory."
"Boys, goodbye."
"All turn away your faces so that you can't see your captain crying."
"Goodbye, Wendy."
"Peter, you will remember about changing your flannels, won't you?"
"—and you'll take your medicine?"
"Peter, what are you to me?"
"You are my—what?"
"Your son, Wendy."
PETER'S
MEDICINE
POISON
"Who's there, I say? I won't open the door until you speak."
"What! The Redskins defeated?"
"Wendy and the little boys captured by the pirates?"
"I'll rescue her!"
"That's only my medicine."
"Poisoned? Nonsense! Who could have poisoned it?"
"Tinker Bell, you've drunk my medicine—"
"What's the matter with you?"
"You're poisoned? You did it to save my life?"
"Tink, dear Tink, are you dying?"
"She's dying!"
"Her light is growing fainter… if it goes out… that means she's dead!"
"Her voice is so low I can scarcely hear what she's saying…"
"—she says she thinks she could get well again if children believed in fairies—"
"DO YOU BELIEVE?"
"Oh, say quick that you believe!"
"If you believe, clap your hands… like this!"
"Don't let Tinker Bell die!"
"More!… MORE!… That's it!"
"See! Her light is growing stronger…"
"She is all right, now."
"Oh, thank you! Thank you!"
"And now to rescue Wendy!"
In Kid's Creek the Jolly Roger floated immune in the horror of her name.
"Quiet, you dogs, or I'll cast anchor in you!"
"Are all the prisoners chained so they can't fly away?"
Peter appels to the Mermaid Queen.
"I seek the crocodile."
"The Lost Children are in danger, only he can help me!"
Gems of Deportment
AND
HINTS OF ETIQUETTE:
THE CEREMONIALS OF GOOD SOCIETY, INCLUDING VALUABLE MORAL,
MENTAL, AND PHYSICAL KNOWLEDGE, ORIGINAL AND COMPILED
FROM THE BEST AUTHORITIES, WITH SUGGESTIONS
ON ALL MATTERS PERTAINING
TO THE SOCIAL CODE.
A Manual of Instruction for the Home.
"Now then, Bullies, six of you walk the plank, tonight—"
"But I have room for two cabin boys—"
"—which of you is it to be?"
"You see, sir, I don't think my mother would like me to be a pirate."
"Didst ever want to be a pirate, my hearty?"
"Oh, yes, sir! But shall we be faithful to the Stars and Stripes?"
"NO!"
"Then I refuse!"
"AND, I REFUSE TOO!"
"That seals you doom! Bring up their mother."
"Silence all, for a mother's last words to her children."
and other beautiful and precious objects; such as "Young
Diamond," "Young Gold", "Young Heaven," "Young
Flower."
SALUTATIONS AND REPLIES AMONG THE NATIONS OF THE
EARTH—"WHEN GREEK MEETS GREEK"—THE
BIBLE CODE OF POLITENESS.
The people of ancient Greece has a variety of forms to
express there pleasure, surprise, on anger upon meeting.
"What occupies you?" was a business form of salutation
"Dear, dear boys, I feel that I have a message to you from your real mothers."
"We hope our sons will die like American gentlemen."
♫ "'My country 'tis of thee,
Sweet land of liberty'." ♫
"See here, honey, I'll save you if you promise to be my mother."
"Never! Be a mother to such as you! I'd almost rather have no children at all!"
"It"s gone, Captain—there is not a sound."
"Fetch the cat-o'-nine-tails, Jukes—it's in my cabin."
"Cock-a-doodle-doo!"
"Jukes is dead—stabbed!"
"Cecco, go back and fetch me out that doodle-doo."
"I'll bring out that doodle-doo!"
"You like it, do you?"
"Drive them in. Let them fight the doodle-doo for their lives."
"Cock-a-doodle-doo!"
"Never was luck on a pirate ship wi' a woman on board."
"Fling the girl overboard."
"Wendy, I've killed a pirate!"
"It's awful, awful!"
Jolly Roger
"Put up your swords—this man's mine!"
"Proud and insolent youth, prepare to meet thy fate!"
"Dark and sinister man, have at thee."
"'Tis some fiend fighting me!"
"Who are you, Pan?"
"I'm youth—eternal youth!—"
"—I'm a little bird that has broken out of the egg—"
"—I'm joy, Joy, JOY!"
RUMGun PowderDYNAMITE
"I've fired the powder magazine and in two minutes the ship will be blown to pieces!"
"James Hook, thou not wholly unheroic figure—farewell!"
"Peter Pan, no words of mine can express my utter contempt for you."
"Wonderful! Peter, you're just like Napoleon!"
"That's who I am—Napoleon! He was little, too!"
RUM
"Oh, George, never do that! The window must always be left open for them—always!"
"Quick, Tink! Close the window!"
"Now when Wendy comes, she won't be able to get in and she'll think her mother has barred her out—and so she will have to come back to me."
Home! Sweet Home!
COMPOSED BYHENRY R. BISHOP.
'Mid plea – sures and pa – la – ces
"She's a pretty lady…"
"… but not so pretty as my mother."
"Her mouth is full of thimbles…"
"… but not so full as my mother's."
"I'm fond of her, too…"
"… we can't both have her—lady—"
"Wendy, I think I have been here before."
"Who's that lady?"
"It's mother!"
"Then are you not really our mother, Wendy?"
"Oh, dear! It was quite time we came back."
"So often in my dreams I hear their silver voices calling…"
"My little babies whom I shall see no more."
"Father!"
"Please keep them, Mother, they're such nice boys."
"You don't feel you would like to say anything to my mother about a very sweet subject?"
"—about me, Peter?"
"If you'll stay with us, Peter, I shall bring you up as one of my own children."
"Would you send me to school?"
"And then to an office?"
"—and soon I shall grow up to be president?"
"Oh, Wendy's mother, I don't want to go to school and learn solemn things—don't want to be president!"
"I want always to be a little boy and have fun."
"Tinker Bell is going to put the little house we built high up among the tree tops, where the fairies sleep at night."
"Come with me, Wendy!"
"But he does so need a mother."
"I will let Wendy go to you one week each year as your mother to do your Spring cleaning."
"Now you give me a thimble, Wendy."
And so it will go on as long as children are gay and innocent and heartless.
THE END
A
Paramount
Picture
This work is in the public domain in the United States because it was published in 1924, before the cutoff of January 1, 1929.
Copyright law abroad tends to consider the following people authors of a film:
- The principal director
- The screenwriter, and/or other writers of dialogue
- The composer/lyricist (if the film is accompanied by sound)
- The cinematographer
- By extension, the authors of any works that may serve as the basis for a film's plot
The longest-living of these authors died in 1979, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 44 years or less. This work may be in the public domain in countries and areas with longer native copyright terms that apply the rule of the shorter term to foreign works.
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