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Out of the unrestricted narrative (as the story is known to the audience), director Marc Forster externalizes the intrinsic meditation of J.M. Barrie (Johnny Depp) by visualizing his dimension of thoughts (i.e., a second spatial dimension in the film) to exemplify his expectation for fantasies. The film falls into the genre of biopic while elements of fantasies are precipitated.

The film witnesses the synergy of narrative and cinematography. The latter is featured by sporadic shots of non-frontality (very often tail-on shots) of Barrie. This comes as a visual means serving 2 narrative purposes: (1) bringing along an inside-out perspective of Barrie (i.e., how Barrie sees things around him), which is compatible to both the nature of the biopic and the narrative structure of externalizing Barrie's thoughts in the film; (2) expounding Barrie's invert character and dejected psychological status (especially when he is depressed with his unfavourable plays prior to "Peter Pan"). It is therefore notable that the depth of narrative information entails a mix of objective and subjective perspectives.

Depp and Winslet (as Sylvia Llewelyn Davies) stage very well. So does little Peter (Freddie Highmore). Barrie's imaginative mind and his prowess of innovating from childish games are concealed by Depp's cool outlook and meek facial expressions. Depp is able to master Barrie's extrinsically calm appearance and his "ever-land", the intrinsically fantastic mind. Though the story slightly swerves from the true event of J.M. Barrie and the entire diegesis is not particularly touching, the theme is made incandescent: positive imagination, sustained belief, approbation on and advocacy to the notion of seeing and deciphering things from different perspectives - an enlightening wisdom. It is a nice movie with a positive message indeed.

註：本評論純屬影評作者個人意見，並不代表本網立場。
Note: This views presented in this review is solely the views of the critic who wrote it and do not represent the stance of our website.

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