In most cases, it can be somewhat challenging to find a justification for a remake to exist, as we question the distinct lack of original ideas in Hollywood, watching contemporary filmmakers persistently tread over precious ground. But in the case of Pete’s Dragon, which first hit our screens back in 1977, you can see exactly why this narrative was in need of a modern makeover, for technology has progressed in unfathomable ways across the last 40 years, vindicating David Lowery’s endeavour to bring this enchanting, perennial tale to the silver screen.
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Pete was the lone survivor in a car accident that killed both his parents, scared and lost, he wandered into the forest, where he was confronted by the supposedly mythical dragon. Fast forward a few years and Pete (Oakes Fegley) is still living in the wilderness, and still with his guardian dragon, who he has named Elliot. But then he youngster is discovered, and while the law enforcement and social services seek to house this young boy, Pete wants nothing more than to be reunited with Elliot, protesting the latter’s existence to forest ranger Grace (Bryce Dallas Howard) and her father (Robert Redford). While they believe his tales, the former’s brother-in-law Gavin (Karl Urban) is more concerned with gaining notoriety by hunting the great beast.
Pete’s Dragon is a tale steeped in cinematic tradition, firstly by focusing in on a child protagonist who begins the narrative by becoming orphaned. Be it The Jungle Book, or the recently released The BFG, it lays the foundations for so many features to thrive off, alienating the child, adding to their underdog status. However the one film that Pete’s Dragon does have the most in common with is E.T., not just because of the name Elliot, but we’re studying a friendship in the face of adversity, where adults don’t appreciate the affinity between a child and a supposedly fearful monster. Needless to say this picture isn’t in the same league, but the standard is rather high to say the least.
Studying that kinship between a human and an animal is a notion that allows the How to Train Your Dragon franchise to revel in, and what allows films of this nature to remain relatable, in spite of the supernaturalism on show. For we resonate with the relationship between Pete and Elliot by comparing to our own experiences we share with pets, that unconditional love that exists, the fact they don’t judge us. In many regards it’s an exercise in narcissism, but so what of it. The crafting of Elliot in this film further enhances that sentiment too, as he’s made to represent a clumsy animal that shares much in common with a dog, particularly in his fur, the way he shakes his head, his wet nose and nasal breathing when asleep, again making what is otherwise a surrealistic creation ever so slightly authentic.
However what Pete’s Dragon lacks is the magic that should illuminate this narrative. While undoubtedly engaging, there’s a distinct lack of enchantment that the story deserves. Lowery comes to this project off the back of Ain’t Them Bodies Saints and while he should never compromise his own artistic integrity to craft a tale for a family audience, he seems to have made a film for himself, and not for kids, and the charm has been lost somewhere along the way. That’s not to say you should ever disrespect children, Spielberg has taught us that the best way to speak to them is on a level, free of patronisation, but this title is just a little too moody and perhaps inaccessible to the target demographic.
