“Pete’s” dull and generic “Dragon”
There were many things I questioned when watching the 2016 update of “Pete’s Dragon.” I was well aware director David Lowery wanted this take to be far removed from the 1977 musical. Honestly, I don’t blame him. I have a huge soft spot for the original, but will admit it does have flaws. The 1977 version is bloated and too goofy in certain spots. But perhaps, there is where the entertaining aspect came from. As I tried to accept the new version, I found myself at least appreciating it tried, but found myself hard to be engaged with it. Seeing it did get heavy praise from critics, is there something they missed or is there something wrong with me?
The plot for this new version takes the spine of the original and adds more meat to it. Pete (Oakes Fegley) is now a feral child that lost his family and seeks refuge with the green dragon. I give credit due to Fegley’s acting. His performance is going for a wild child take and it does work. But there was something problematic about it to me. For a kid that is lost in the woods for six years and goes “Tarzan,” chances are his vocabulary will either be limited or his speech will be underdeveloped. Having taken up psychology in college, I read up on cases where kids would be treated and lived like animals to the point they act like primitive; most notable is Victor of Aveyron. For if a child like Pete can’t understand what a balloon is or even the purpose of a sandwich, then why have him speak at all?
The reason for his survival is under the wing of a giant dragon he names Elliot. Much like the original, Elliot is big, green and the ability to turn invisible. What’s different this time around is that he’s all CGI and covered in fur. I guess someone had Falkor from NeverEnding Story in mind when designing him, but it goes against the idea of Elliot’s original design. Not only did Don Bluth animate the 1977 version, but he was also modeled after a Chinese dragon in respect for how good they are. There’s a sense of innocence and mischievous personality that feels lost in the new take. Despite the good efforts of WETA Digital, this new Elliot doesn’t have much personality and takes on the feel of a big dog. Again, I know the intent was to make this akin to being cute, but this Elliot was anything but interesting as the story expects us to know his relationship with Pete and not see it develop. I think it would have been wiser to see their relationship much like how Tarzan grew with the apes in 1984’s “Greystoke” instead of just expecting us to accept it.
The new incarnation is also treated to an array of new elements that are either there to distinguish itself or try and improve things. Gone is the fishing town Passamaquoddy, and we get an unnamed town with a logging industry. Bryce Dallas Howard replaces the character of the lighthouse keeper with a forest ranger that takes Pete in and tries to understand his survival. Robert Redford is underused as a man who claims to have seen the same dragon in comparison to the overzealous town drunk Mickey Rooney played. A scheming medicine doctor is replaced with a hunter (Karl Urban) that seeks to capture the dragon. And the list goes on.
As I watched this new version, I kept wondering just how these different elements work or even pay off in this version. Some of it does have a sense of good set up like a subtle environmental message which disappears once it gets introduced. Even character motives are lost in the group showing perhaps this version should have been thought out more. Once Urban’s character captures the dragon, he claims to have big plans when he honestly just spitballs a few ideas and claims to own the dragon. There is no real motive outside of just existing for the sake of being a conflict here. I even hoped there would be more purpose to things added in like the logging company playing a part or even Redford’s character. But most of is minimally used or gets abandoned upon first sight.
In a nutshell, “Pete’s Dragon” tries to be more like the typical fantasy family film without a drop of edge, but falls into an unfortunate trap. Instead of giving characters with interesting motives and despite doing different things, it falls into the category of boy or family gets a unique creature and does something with it. I can’t tell you how many variations I have seen of this story line ranging from “Harry and the Hendersons” to “*batteries not included” to even “D.A.R.Y.L.” It’s hard to tell if director Lowery’s intentions were to pay homage to these kind of movies, but I can say what sets itself apart from those is a lack of darkness. “Pete’s Dragon” plays itself so safe, that you can very much predict what will happen before the end credits roll. And even then, the samples I just mentioned are FAR more creditable than this one.
This one is certainly harder to recommend simply because it feels more like an outline for a “Pete’s Dragon” reboot and less like an actual fleshed out story. I found myself nearly nodding off at times due to the slow pace and had a hard time trying to keep focus for what was meant to be a simple story. I guess kids might be ok with this movie. And yet after the theatrical experience I had, my thoughts are starting to question that. Midway through the movie, a family actually walked out of the theater as wrapped in their arms was a sleeping kid. Even near the trash cans, a little girl was more fascinated with the garbage instead of the “wonder” on the screen. And she was gone right before the end credits even began. I argue that little kids might be bored or even grow tiresome about midway after how slow and plodding things are. If I walked out on this movie, I wouldn’t have regretted it. But my honest regret about this new “Pete’s Dragon” was not walking out on it.
Posted on August 20, 2016, in In Theaters (Sort of), Uncategorized and tagged 1980s, 2016, Bryce Dallas Howard, David Lowery, Disney, Dragon, Elliot, family film, Fantasy, Karl Urban, Oakes Fegley, Pete's Dragon, Reboot, reimagingin, remake, Robert Redford, Summer Blockbuster. Bookmark the permalink. Leave a comment.