Pete's Dragon (2016)

Disney’s latest live-action foray, “Pete’s Dragon,” is a carefully crafted and artful film that brings back the nostalgic feelings engendered by the 1977 original.

Directed by indie-sown filmmaker David Lowery, the new “Pete’s Dragon” is a “re-invention,” rather than a remake, of the well-known live action/animated film.  In this version, five-year-old Pete (Oakes Fegley) and his parents set out for a real “adventure” seemingly somewhere in the Pacific Northwest (in actuality, gorgeous New Zealand) but are abruptly stopped from reaching their plans when the family has a deadly car accident.  (Of note for children, the accident is strikingly sensitively filmed from the inside of the car, focusing more on Pete’s floating, as the car turns, rather than showing its young audience something more terrifying). 

Only Pete survives the accident and he, eventually, tearfully retreats into the heavily forested landscape.  When wolves soon find young Pete, the boy is saved by the most unlikely of superheroes, a large green dragon (who can camouflage himself into his environment if the occasion arises).  Pete stays with his new, green, fuzzy, winged, and immensely large guardian, who becomes his best friend, and names him Elliot (after the character in the one book Pete had rescued from the car accident).  Together, the boy and dragon form a loyal bond in the wooded wilderness:  sleeping, eating, and, well, flying together.  Flash-forward to six years later:  logging has lead to continued deforestation of the heavily foliaged community, and civilization has crept closer to the idyllic, wild life of the pair.  When forest ranger Grace Meacham (Bryce Dallas Howard as the warm heart of the story) finally catches a glimpse of wild Pete, she finds herself drawn to help him and finds out that his backstory is more than she could have ever realized.

Lowery’s kind reimagining of the original bittersweet, but kid-friendly, musical is much more than would have been expected at first glance.  Of note, Lowery’s attention to detail in his 70s setting is striking, as one often forgets how quiet life once was before the din of smartphones, laptops, and constant digital involvement.  Lowery captures that different era in every scene -- from the yellow-daisy sheets to the buzz of dialing in a car radio -- without having the film ever feel kitschy.  His indie sensibility gives the best-of-both-worlds approach to the gorgeously shot film, combining the best of indie sensitivity with big-budget shots of the grandeur of verdant New Zealand and the fantastic CGI rendering of Elliot (seen in the detail of his dog-like wet nose, green hair that blows in flight, and broken front canine tooth). 

And yet, even with the big budget attached to the Disney name, “Pete’s Dragon” feels small, intimate, and sweet.  The audience is easily enveloped into the loss both Pete and Elliot feel for their families, and, later, for each other.  And, Howard translates her character’s motherly concern for the boy in such an empathetic, sensitive manner that the emotion almost seems palpable to the audience.  And, so, it is that the film shares a three-way heart (Grace, Pete, and Elliot) with the audience in such a touching way that brings wonder, beauty, and, at times, moments of magic back to filmmaking.

Be advised, that for the smallest audience members among us raised on quick-cut video clips and thumping soundtracks, “Pete’s Dragon’s” coffeehouse soundtrack, tender moments, and emphasis on wonder may take a bit of getting used to.  But, parents and kids, alike, soon realize that the wondrous flight is worth the wait.