Mufasa: The Lion King Review: Barry Jenkins’ Lively Animated Adventure Gets Weighed Down By Too Much Prequel Material

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As a longtime fan of Disney’s animated classics, I found myself both captivated and slightly underwhelmed by “Mufasa.” As someone who has spent countless hours analyzing and appreciating the artistry that goes into these films, I feel qualified to say that while the visual effects have undeniably improved since Jon Favreau’s 2019 remake of “The Lion King,” the film itself seems to be stuck in the past.

Revisiting “Mufasa: The Lion King” only a few days after reviewing “Kraven The Hunter” might seem peculiar, given that both movies showcase CGI lions. Before viewing these films, my skeptical side questioned the depth of Hollywood’s approach to the franchise titles. However, I silenced those doubts by recalling the exceptional directors leading each project: Barry Jenkins and J.C. Chandor. These talented filmmakers have earned their acclaim, and I remained optimistic that the studios would uphold the visionaries’ visions, and that their abilities would lend substance to projects perceived as lacking in it by an outside perspective.

Mufasa: The Lion King

Mufasa: The Lion King – Insights on Its Release Date, Trailer, Main Cast, and More

Chandor struggled with ‘Kraven The Hunter’, whereas Jenkins had slightly better luck with ‘Mufasa: The Lion King’. The CGI creatures in this movie are significantly improved compared to those in the comic book film, and there are intriguing character developments hidden within the grandeur of the lifelike digital landscapes. However, these positive aspects are offset by a slow first act filled with story setup and the later acts succumbing to the tiresome prequel trope of addressing questions that no one ever asked. The familiar aspects can be forgiven to some extent due to the older target audience, but only up to a point where the film is deemed acceptable.

The storytelling method in the 2019 remake of The Lion King by Jon Favreau brings us back to Pride Rock. Here, we find Kiara (Blue Ivy Carter), the offspring of Simba (Donald Glover) and Nala (Beyonce Knowles-Carter), being looked after by Rafiki (John Kani), Timon (Billy Eichner), and Pumbaa (Seth Rogen). As her parents attend to an unspecified matter, a rainstorm approaches, causing Kiara to feel afraid. To keep her mind off the storm, they engage her with tales about her grand legendary ancestor.

It’s revealed that as a cub, Mufasa (Aaron Pierre) was separated from his biological parents (Keith David, Anika Noni Rose) and grew up among another pride of lions as a stray. Despite being looked down upon by King Obasi (Lennie James), he finds acceptance with Queen Eshe (Thandiwe Newton) as her son, and Taka (Kelvin Harrison Jr.) as his brother. Later, when the cats discover an approaching rival pride of white lions known as the Outsiders, Mufasa is given a significant task: to flee with Taka so that he can safeguard the royal bloodline from the ambitions of their leader, Kiros (Mads Mikkelsen), who seeks dominion over all.

Mufasa: The Lion King takes a long time to really get going.

The movie “Mufasa: The Lion King” lasts approximately 40 minutes, and these 40 minutes are quite leisurely paced. Unfortunately, it starts off somewhat clumsily by attempting to closely mirror its predecessor – from the scene where various animal species congregate around Pride Rock, similar to the gathering in the opening of the original, to a dramatic close-up of young Mufasa’s face (a la young Simba during the stampede) as he gets swept away by a flood. However, what stands out more is how painstakingly it sets up the main plotline for the story that follows.

Upon considering the storyline, it’s quite unusual that Mufasa doesn’t seem to miss his parents much after getting lost (their story remains unresolved post-flood), which makes the starting point of “Mufasa: The Lion King” feel more like a calculated plot device moving the protagonist around like a chess piece, rather than launching an emotional journey. Unfortunately, this pattern continues as we move from A to B. While some tension is created by introducing Obasi, a suspicious and power-hungry ruler who’d rather consume Mufasa than accept him into his pride… this tension quickly dissipates when the film abruptly jumps forward in time, transforming cubs Mufasa and Taka into adults seemingly overnight. (It should be noted that this time jump occurs during one of the movie’s best musical numbers written by Lin-Manuel Miranda, “I Always Wanted A Brother.”)

The movie doesn’t truly find its footing until Mufasa and Taka embark on their joint escape, for it sets a clear path (the Outsiders are hot on their trail, intent on their deaths) and establishes a primary objective (reaching Milele, a legendary plain beyond the horizon, which they learned about from their parents). In this phase, the movie also clarifies its main intention: to illustrate the bond between the brothers (it’s no secret that Taka ultimately transforms into the antagonist Scar in The Lion King) and delve into the perils of power inheritance. Regrettably, this voyage is burdened by attempting to maintain connections to the original animated tale excessively as well.

Once it gets going, Mufasa: The Lion King gets too bogged down in prequel-centric material.

Have you ever pondered about how Rafiki obtained his staff or how Pride Rock was built? Frankly, I’ve never given it much thought, and I don’t believe you have either. However, Jeff Nathanson’s screenplay seems to be meticulously addressing these details as if fulfilling a trivia checklist for fans who eagerly crave such information. Moreover, the stylistic resemblances from the initial act suggest that Mufasa: The Lion King struggles to establish its own identity due to its excessive reliance on its predecessors.

In the given context of the movie, it’s more understandable how Rifiki, as the storyteller, is developed with some background details when he appears in the story. However, characters like Sarabi (Tiffany Boone) and Zazu (Preston Nyman) are introduced without much explanation or depth, seemingly joining Mufasa and Taka’s journey without adequate setup. While Zazu provides a bit of comic relief with his character, Sarabi seems to serve primarily as a plot device. Essentially, the relationship between the three forms a basic love triangle that causes tension between the brothers.

Visually, lessons have been learned from Jon Favreau’s The Lion King.

Similar to how Jon Favreau’s 2019 reimagining of The Lion King showcases the advancements in visual effects, Mufasa similarly illustrates this progression. However, some of the same concerns from that production persist. This time around, the animals appear more emotionally expressive, a trait accentuated by Barry Jenkins’ penchant for characters gazing directly into the camera. Unlike the original 1994 version, this film doesn’t have to measure up to it in terms of direct comparison. Yet, the realism seems to hinder the animation’s potential. The movie initially suggests it will offer a visually distinct experience compared to Favreau’s blockbuster, as evidenced by the musical sequence for “Milele”, where Mufasa’s drought-stricken land transforms into the lush paradise as described by his mother and father. However, it fails to take similar risks in exploring the fantastical.

Fundamentally, Mufasa: The Lion King revolves around a Shakespearean-style family drama, where the concept of power as an inherent right causes friction between siblings. One brother naturally emerges as a leader, while the other relies on entitlement. Unfortunately, this core narrative is often overshadowed by excessive prequel content and a rigid plot structure. Nevertheless, there are enough positive aspects to counterbalance the negatives, and optimistically, it may provide Barry Jenkins with the necessary influence for his next project to realize any vision he desires.

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2024-12-17 20:09