The very first film version was released in 1924, directed by Herbert Brennon and starring Betty Bronson as Pan and Ernest Torrence as Hook.
Betty Bronson was born in Trenton, New Jersey in 1906. She began her film career as a teenage bit played before rocketing to stardom in Peter Pan, hand selected by none other than J. M. Barrie, himself, supposedly winning the role over Gloria Swanson and Mary Pickford. While one might envision Pickford as “the boy who never grew up,” it is impossible to imagine Gloria Swanson in the role. Bronson seemed destined for superstardom but her career never ignited and she was shunted aside by the public who preferred the shenanigans of adult flappers like Clara Bow and Colleen Moore. She retired from the screen and married in 1933. Bronson died in Pasadena, CA, in 1971.
Peter’s entrance. He has come to reclaim his shadow that Mrs. Darling had accidently captured by shutting the window. Legendary cinematographer James Wong Howe backlights Bronson to achieve a supremely dramatic effect. Many individual frames of his exemplary camera work can be cut from the whole and mounted as perfect illustrations of J.M. Barrie’s imaginative classic.
The coveted role of Wendy was given to Mary Brian, born in Corsicana, Texas in 1906. Taken to California by her widowed mother with the intention of getting her daughter into movies, she entered and won a bathing beauty contest and a letter of introduction to Herbert Brennon. Her career flourished for several years during which she worked with such major stars as James Cagney and Cary Grant, but the opportunities faded by 1937 and she returned to the stage. She made a few appearances in poverty row productions at Monogram Studio and found work on television in the early 1950’s. Brian retired after the death of her second husband. The actress once nicknamed “The Sweetest Girl in Pictures” died of natural causes in Del Mar, CA, in 2002.
Wendy attempts to sew the shadow onto Peter’s feet. James Wong Howe’s masterful composition and lighting creates an image of sublime enchantment.
The flying lesson that will get everyone to Never Never Land. The children in flight look remarkably smooth despite the primitive rigging needed to elevate them. Bronson comes off best, displaying a more athletic prowess than the others. For its time, it must have astonished the children in the audience who were rarely exposed to films of such sophistication.
Howe’s low intensity illumination turns a light gliding through the room into a living creature that hovers over Wendy’s bed before streaking away.
Tinker Bell, Peter’s Fairy companion, is played by Virginia Brown Faire. These brief images of Faire using giant sets and props are tremendously effective and the shot of her tugging on Wendy’s hair is flawless.
Our first look at Never Never Land, mermaids playing on a beach. The sudden switch from the stage bound interior of the Darling house to an actual beach is an unexpected jolt.
William K. Everson, ghost writing Joe Franklin’s book Classics of the Silent Screen, faults Herbert Brennon for not opening up the stage play for the wider scope of the motion picture screen. But is that necessary when dealing with a classic fable like Peter Pan? MGM’s The Wizard of Oz was entirely studio crafted with no one lamenting the loss of outside location shooting. Indeed, the mythic quality in The Wizard of Oz depends on the creation of a fantasy universe uninterrupted by reality.
In a later scene, Peter enlists the help of the mermaids to rescue Wendy from Hook. The mermaid costumes are quite well done, although it is clear they are an encumbrance to the actresses a few moments later as they swim away.
Ernest Torrence was one of the most prolific character actors of the silent screen. Born in Scotland in 1878, the 6’ 4” actor towered over his fellow cast members and, with his glowering features, was adept at portraying villains and comic roles at the roll of an eyeball. He worked with everyone from John Barrymore to Buster Keaton in a career that began in 1918 and ended in the sound era in 1933. He died in New York City in 1933 of complications following a gall stones operation.
Torrence as Capt. Hook wastes no time telling the audience he is a scoundrel through and through.
Hook relates to fellow pirate Smee the circumstances of losing his hand to a crocodile
And on that cue, the croc appears.
At which time Hook drops an alarm clock into the croc’s mouth so he can hear the reptile coming.
The use of actors in costumes is well staged. The croc may be a bit flaky, but Nana, the Darling’s housemaid dog, is a plush, beautifully designed creation, suitable for hugging. Adept at drawing the children’s bath, Nana also provides transportation to the tub and measuring out their nightly spoonful of medicine.
Herbert Brennon directs the movie in traditional style. Long shots of the Lost Boys clothed as animals talking in the forest and the interior of their underground lair, complete with

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