As a seasoned movie enthusiast who has traversed the savannas of Disney animations and live-action films alike, I must admit that “Mufasa” left me with a sense of confusion rather than the anticipated enchantment. While the film undeniably boasts stunning visuals and a star-studded cast, its narrative seems to be caught in an endless cycle of plot twists and turns, much like the winding paths of the African wilderness it seeks to portray.
The latest production, “Mufasa: The Lion King,” by Disney, carries an evident discomfort as it’s another example of their aggressive intellectual property exploitation. This sequel to Jon Favreau’s criticized 2019 live-action remake of the cherished 1994 film serves as a narrative exploration into Mufasa’s life and the deadly rivalry between him and his brother Scar. However, under Barry Jenkins‘ direction, it primarily becomes a stage for tense interactions between the creative visionary and corporate stakeholders.
This type of conflict isn’t new. In the movie industry filled with watered-down intellectual properties, Jenkins isn’t the first director laboring within a billion-dollar system. Disney, driven by profit, has been actively replacing their 2D animation library with “live-action” remakes, sequels, and prequels. While some have garnered modest approval from audiences, many have been largely dismissed due to lack of purpose. These films, produced at a rapid pace, are primarily safe bets designed to minimize risk.
In 2019, Disney’s remake of “The Lion King” stands out as one of the more questionable examples of their strategy to cash in on established properties. The film, with its almost lifelike animal characters and near-identical scenes to the 1994 original, didn’t add much beyond setting up future Pride Lands expansions. Remember the pivotal scene where Scar, now self-proclaimed ruler of the savanna, calls on Sarabi for a discussion. “Long ago,” says the cunning predator (Chiwetel Ejiofor) to the noble lioness (Alfre Woodward), “you chose Mufasa over me.” Their exchange suggests a complex past between them, one that left Scar bitter and Sarabi angry.
As a fan, I’d like to express that in the screenplay for “The Lion King,” director Jon Favreau skillfully infuses fresh life. Drawing from Jeff Nathanson’s script, Favreau delicately smoothes over a potentially cumbersome narrative with his personal and thoughtful touch. There are moments where you can sense the director pushing boundaries, subtly challenging Disney’s established order through close-ups, low angle shots, and strategic wide panoramas. These techniques, while still maintaining a certain coldness, manage to reveal warmth and tactility. Although the film, which I had the privilege of watching in IMAX 3D, isn’t entirely transformed by Favreau and his team (including producer Adele Romanski, cinematographer James Laxton, and editor Joi McMillon), it undoubtedly benefits from their collective efforts.
A tribute card at the beginning, honoring James Earl Jones who passed away in September at 93, resonates with tender feelings as his deep voice gave life and character to Mufasa for countless Lion King fans over the years. Moreover, the cast, consisting of fresh faces like Aaron Pierre, Kelvin Harrison Jr., Tiffany Boone, and Mads Mikkelsen, delivers powerful performances that add a delightful touch to a film that appears somewhat muddled in its message.
The story unfolds post-2019’s film, penned by Nathanson. With a looming storm threatening their realm, Nala (Beyoncé Knowles-Carter) prepares for childbirth. In haste, Simba (Donald Glover) entrusts Pumbaa (Seth Rogan) and Timon (Billy Eichner) to look after his firstborn, Kiara (Blue Ivy Carter). Although reasons abound for this arrangement, they are largely inconsequential. Ultimately, the scene serves as a prelude for Rafiki (John Kani) to recount tales of Kiara’s late grandfather, Mufasa.
The story of the mandrill begins when a young mandrill named Mufasa (Braelyn Rankins) experiences a devastating flood that forces him away from his family. This scene mirrors the story of baby Moses drifting down the Nile, as Mufasa finds himself adrift in a river, bereft of kin. It is Taka (voiced initially by Theo Somolu), a lively prince, who becomes his savior, rescuing him from two menacing alligators. A quick and heartwarming friendship develops between them, with Taka confessing on multiple occasions that he has long desired a brother.
Taka’s parents have differing opinions about Mufasa. His mother, Eshe (Thandiwe Newton), is sympathetic towards the orphaned cub, while his father, Obasi (Lennie James), displays disdain, considering him a stray. Despite Mufasa eventually becoming part of the pride following a significant race against Taka, Obasi remains unaccepting, instructing him to socialize with the female lions instead. This situation unexpectedly proves advantageous as Mufasa learns hunting skills and, much like other Disney protagonists, develops a remarkable affinity with nature. His keen sense of smell and nimble intellect enable him to detect even the subtlest scents and skillfully track both predators and prey.
For several years, this compromise holds up, and Jenkins orchestrates a seamless transformation as the cubs mature into strong lions. Performing Lin-Manuel Miranda’s initial tunes capably but not necessarily timelessly, Mufasa (voiced by Pierre) and Taka (Harrison Jr.) exhibit a deep respect and dedication towards each other. Many poignant scenes unfold during this developmental phase. Jenkins underscores their bond through close-up shots of their emotive faces and interactions, capturing their playful camaraderie or secretive scheming to trick the elders. The genuine chemistry between Pierre and Harrison Jr. illuminates these scenes, making the screenplay’s expository parts more palatable.
Following their growth years, the flow of “Mufasa” becomes more disjointed and unclear. This is partly due to an excessively dense narrative. Nathanson adds numerous generic phrases and scenes that could potentially expand the series. During their adolescent phase, Mufasa and Taka are faced with challenges to their courage and loyalty as a gang of white lions invade their pride. The backstory of these “Others/Foreigners,” as they are frequently called in the movie, remains unexplored. However, after the prince of the white lion tribe perishes in a fight with Mufasa and Eshe, Kiros (Mikkelsen), their ruler, seeks retribution.
To safeguard the royal bloodline, Obasi instructs Mufasa and Taka to flee with their pride and seek refuge elsewhere. He also makes Mufasa swear an oath to never leave Taka, to always look after his brother. The two young lions embark on their journey in search of Milele, a paradise-like destination where they can hide safely and establish a new realm. On their escape, they encounter Sarabi (Boone) and her guide bird Zazu (Preston Nyman), as well as a youthful Rafiki (Kagiso Lediga).
Accompanied by a strong group, Mufasa embarks on a typical voyage featuring unlikely companions. However, the enchantment from the initial scenes begins to fade with each new development in the storyline. A conventional love triangle emerges, along with the betrayal that poisons the bond between the lion siblings and foreshadows the tale’s allusions to Adam and Eve as well as Cain and Abel.
It’s unfortunate that Sarabi, an important member in this makeshift team, doesn’t receive the thorough development she should. Surprisingly, she doesn’t have a solo song, which could have provided insights into her emotions. Likewise, Taka’s transformation, hinted at frequently, falls flat instead of making a strong impact. Given who his character ultimately becomes within the franchise, this aspect of his origin story is quite underwhelming.
As Mufasa and Taka approach this promised land, a subtly political theme surfaces, focusing on the people’s power and unity against oppressive forces. However, these messages seem to lack their intended impact due to the monarchy-centric foundation of the franchise. Despite this inconsistency, Mufasa remains steadfast in his beliefs, sparking more questions than providing answers as the story hurtles towards its conclusion.
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2024-12-17 20:26