Sergei Prokofiev's
children's symphony Peter And The Wolf has been adapted to film and television
multiple times, and has become such a common part of elementary-school
curricula that it hardly seems worth revisiting the piece yet again. But
there's never been a Peter And The Wolf like Suzie Templeton's Oscar-winning 2006
short. It isn't just that Templeton's Peter is a little darker than
most; it also adds a layer of thematic depth that's about more than identifying
which instrument represents which character.
Opening with a lengthy
silent sequence—and eschewing narration throughout its 30-minute running
time—Templeton's "Peter & The Wolf" makes its Russian setting more
paramount, emphasizing the hardscrabble existence of the adventurous Peter and
his overprotective grandfather. This Peter wears an expression of burned-in
resentment over his lot in life, though during the time he spends frolicking
with his animal friends in the woods, Peter comes to realize that even nature
has its bullies: Birds chase each other, a cat chases the birds, the wolf
chases the cat, hunters chase the wolf, and so on. Though Templeton's
insistence on keeping her short film dialogue-free makes the action and the
motivation a little obscure at times, her "Peter & The Wolf" carries a
pervasive, profound sense of life's fundamental unfairness. And in keeping with
that sense of injustice, Templeton tinkers with Prokofiev's ending, aiming for
something that's less pat and triumphant, and more reflective of the growing
kinship Peter feels with the feral.
Key features: Extensive looks at the animation
process—including a fascinating Templeton commentary over a partially
complete version of the film—plus the obligatory instrument-to-character
key.