At that moment the children are again in a similar situation tied to a pole. The lilac sky around the ship indicates that we are either in the same spot as in the beginning or it is the same time (see above). Hook may be shaved now (right), but the overall colors are the same as in the beginning (left) Time and clocks are a strong motif in this film about never ending childhood (think of Big Ben or the alarm clock within the crocodile) and at that moment we still do not know that - in the Disney version - we are inside Wendy's (rather the children's collective?) dream. It is hardly plausible, however, that Peter did not attempt to open his gift for a whole day - unless we are talking about dream time. While the children have been kidnapped late at night, the next scene on the pirate ship seems to take place during the following day. Hook tells us what happens to Peter when the clock strikes six. Except for his skin, feathers and white frill he practically blends in with his surroundings and only stands out because the background is less saturated (whereas Smee clearly reads against the ship. In closer shots, the lighting assumes the theatrical studio quality that is always possible in animation but was nevertheless carefully arranged to look "natural" enough:Īs we have seen in Hook's introductory scene, color-wise he is very much at home on his ship with all the reddish wood around him. It is unclear, however, whether these scenes were supposed to be color corrected to look more blue in the original Technicolor prints as this DVD was probably made from a later non-dye-transfer release print.Īlthough in the PETER PAN scene the greenery looks pretty blue because of the night, the costume colors are merely darkened and not really affected by the blue cast. However, dark characters against artificially darkened daytime landscapes was common practice to indicate night scenes when shot on location during the golden age of Hollywood. In studio shots, lighting conditions could be more closely adjusted to simulate night (left). Audiences were used to infer day or night from conventionalized lighting cues because color films had to be shot "day for night" as the following screenshots from LEAVE HER TO HEAVEN (Stahl, 1945) illustrate: The concepts of silhouettes against lighter backgrounds was a standard indication of nighttime scenes of the period. In the establishing shot the characters appear dark against the pool of moonlight.
13, the blue of Technicolor nights dominates the scene. When the pirates approach the hangman's tree during Wendy's song about mothers in Seq.
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