Captain Hook and Improving Disability Representation in Modern Media
Ask anyone on the street to name a canonically disabled character, and there are a few who immediately come to mind—Daredevil, Professor X, Bucky Barnes, Geordi La Forge, and both Anakin & Luke Skywalker just to name a few. Hook should also make that list but ironically, even though his very NAME suggests his disability, it’s easy to forget that he is, in fact, an amputee.
In part, I think this is because historically, it has been intentionally glossed over in many film and TV versions. He is almost never shown without the iron claw attached at the end of his arm, and even the subject isn’t spoken about much in film. For example, in Spielberg’s 1991 film, Hook, and in Fox’s Peter Pan and the Pirates (1990-1991) we see a few shots of Hook sleeping in his bed and yet still wearing his prosthetic. Likewise, no matter how many times Disney’s (1953) Hook gets his clothes shredded by the crocodile, we never see his injured arm fully laid bare. (In fact, in the few shots where his left shirt sleeve has been torn off, the hook seems to be almost physically unable to be separated from his body. The skin simply stops near the wrist and then we have the iron base of the claw with no sort of harness to actually keep it in place.) Even when Peter begins to tell the story of how he cut off Hook’s hand to the mermaids, he barely gets a few words in before the audience’s attention is purposefully redirected to the captain himself in all of his glorious villainy so we don’t get to thinking too much about the fact that the entire reason he has that hook to begin with is because our hero seriously injured him. We aren’t meant to think of Hook as much beyond the stereotypical “scary amputee villain” character because if we examine him too closely, we’ll start to humanize him and risk asking questions that the filmmakers aren’t prepared to answer. (How did the hand loss occur? Was it a fair fight? Who started it? How much should we sympathize with Hook? How much should we trust Peter?)
More recent visual media has, however, made some improvements in this area. In particular, I’d like to take a closer look at two very different (but equally important) portrayals of Hook that have occurred in the last few decades—Jason Isaacs’ Hook (from P.J. Hogan’s 2003 Peter Pan) and Disney’s more recent spin on the captain in Jake and the Neverland Pirates (2011-2016).
Isaacs’ Hook—arguably the most Barrie-like incarnation we’ve seen on film—is introduced to us in a way unlike any other. He’s not standing proud out on the deck barking orders at his crew or strolling through the forest in search of Pan’s hideout (though we certainly see those moments later). Instead, our first glimpse of the captain shows us who he is underneath all the silk and ceremony—a troubled man pained both mentally and physically by the loss of his hand.
Looking disheveled, he wakes from a dream about Pan and slowly raises the injured arm for the audience to see. It isn’t the nice, smooth stump one would expect to see if a surgeon had performed the operation. Instead, it looks as though the hand had been crudely cut away. The skin is uneven and scarred. And while we aren’t meant to pity Hook here—the man can clearly take care of himself—we are supposed to see his humanity and recognize that he has experienced trauma. Suddenly, he isn’t just a villain anymore—he’s a person who not only experienced immense physical pain when he lost his hand but continues to experience discomfort daily when he dons the leather harness that must be wrenched tightly into place to keep the claw secure during battle.
It’s a brief scene overall, lasting only a few minutes, but it adds a lot to his character and the story as a whole. His disability isn’t the main focus but it is openly and respectfully acknowledged. This version of Hook—intended for older children and adults—shows us the darker, more complicated parts of the Captain in a way that hits unsettlingly close to home. Suddenly, his intense responses to the crocodile (and ticking) seem less comical and more akin to the PTSD response one might expect from a soldier who lost a limb in wartime from an explosion hearing fireworks go off.
Another more recent take on Hook that does a good job of normalizing his status as an amputee character is Disney’s Jake and the Neverland Pirates series. While many adult Hook fans have complained about the series making the character too silly, I believe that for the intended audience (pre-school kids), it actually does a great job of showing that disability isn’t something to be feared or made fun of. Taking their target audience into consideration, Disney did a lot in the Jake series to tone down Hook’s scarier elements both in terms of his personality (more of a bully with self-esteem issues than a truly dangerous villain) and his physical appearance (He is visibly less angular with more rounded edges to everything from his facial structure to the claw itself). In an interview, Corey Burton even explained how he vocally changes up a few things between his “traditional” Disney Hook sound and the voice he uses for Hook in the show. He also mentions in one interview that some people were concerned that “a guy with a hook for a hand might be too scary” for little ones, but the series makes it seem so natural that it really doesn’t feel like a big deal. While in the original film, we only see Hook changing out the claw once (for a fancier golden hook), in the Jake series, it happens so frequently that there is literally an entire episode (“Captain Hook’s Hooks”) that is focused on all the different attachments he has and includes a fun song about them.
Although some of the “hooks” are rather outlandishly imaginative and altogether improbable if not impossible in real life, there are many that DO mimic actual modern prosthetic attachments (a hammer, for instance, or attachments that allow for recreational activities like sports or fishing). In fact, the captain’s set of hooks are made out to be so interesting and fun that Disney Jr. actually had an online game called, “Ready, Set, Hook,” where the player had to help Hook and Smee choose the right prosthetic attachment to complete a set of challenges. What’s more, they even released a set of toy “hooks” for children so they could pretend to be the one-handed captain himself!
Jake’s version of Hook may not be the intimidating character we have come to expect, but he’s a likable guy with a cool set of hooks who bridges the gap in explaining physical disability and prostheses to young children. In the show, Hook doesn’t feel “other” for missing a hand; rather, switching out prosthetic attachments are so much a part of who he is that nobody thinks twice about it.
Overall, Hook has come a long way in terms of disability representation on-screen, and I hope we continue to see more of it in future productions.
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