Small Details You Missed In Mufasa: The Lion King

Contains spoilers for “Mufasa: The Lion King“

After five years, we’ve finally found out what acclaimed Academy Award-winning filmmaker Barry Jenkins has been working on with his photorealistic ‘The Lion King’ prequel. It appears that he is creating a movie that addresses many issues from the 2019 film and expands the ‘Lion King’ universe, offering Jenkins an opportunity to delve into his personal directorial interests.

Titled by Jeff Nathanson, “Mufasa: The Lion King” employs the same realistic animation style as its predecessor, serving concurrently as a sequel and prequel to it. A storyline encompassing the lives of Simba (Donald Glover), Nala (Beyoncé), and other main characters post-Simba’s coronation as king of the Pride Lands is presented within a framing narrative. The film also delves into the life of Mufasa (Aaron Pierre), father of the second most beloved “Lion King” character, through the eyes of Rafiki (John Kani). Over the span of 118 minutes, “Mufasa” narrates the journey of this character from a small nomadic pride, his separation from parents, and his eventual bond with Taka (Kelvin Harrison Jr.), who would later be known as Scar.

As a fellow gaming enthusiast who just finished binging on ‘Mufasa’, let me share some intriguing aspects of storytelling, cinematography, universe creation, and character development that might have slipped past your radar. Enjoy the replay!

A trailer shot turns out to be a lot less momentous in reality

At the start of “Mufasa”, we see Simba (Donald Glover) and Nala (Beyoncé) welcoming their first child, Kiara. Later on, the movie introduces its main storyline: While Simba and Nala travel to an oasis to have a second child, Kiara (Blue Ivy Carter) remains in the Pride Lands and seeks refuge in a cave under the care of Timon (Billy Eichner), Pumbaa (Seth Rogen), and Rafiki. Before Rafiki arrives, Timon and Pumbaa amuse Kiara with their fictional account of how they supposedly defeated Scar (Chiwetel Ejiofor) – even reenacting the final battle between Simba and Scar from “The Lion King”, except this time Timon and Pumbaa play the part of Simba.

In watching “Mufasa,” you might have missed a humorous yet blatant example of trailer manipulation – bait-and-switch. The scene where Timon and Pumbaa shove a lion off a cliff amidst flames is comically presented in the “Mufasa” trailer, but without any context and from an angle that hides the lion’s identity. This led many viewers to expect these characters to have significant roles in the film’s plot and action scenes. However, it turns out that the scene itself was merely a tall tale – fittingly so, given Timon and Pumbaa’s nature of storytelling!

The cave where Kiara takes shelter is not the Pride Rock cave

Without a doubt, Pride Rock stands out as the most memorable setting in “The Lion King”. It functions not only as a stage for the royal family to showcase their power and keep an eye on their entire domain simultaneously, but also as a comfortable dwelling place for Mufasa, Sarabi, and later Simba and Nala. Significant events like Rafiki presenting Simba to the world and Simba reclaiming his throne occur at the edge of this rocky summit. Additionally, many scenes depicting family life with Simba are set within the cave embedded in the Rock.

In both the 1994 original and the 2019 remake of “The Lion King”, you might think the shelter cave where Kiara and her caretakers seek refuge during the storm in the framing narrative is, in fact, Pride Rock’s very own cave. However, upon closer inspection, it becomes clear that this isn’t the case – it’s just another hidden cave nestled somewhere within the vast expanse of the Pride Lands. Considering Simba and Nala’s temporary absence, it makes sense to conceal young Kiara in a less noticeable location than the grand Pride Rock, which serves as the royal family’s official residence right at the heart of the kingdom.

The animals have much clearer facial expressions this time

2019’s revival of “The Lion King” was an enormous success financially, but it wasn’t universally loved by critics and even casual viewers had some reservations. A common complaint about the film was that the characters resembled real-life animals so closely they lacked distinct facial expressions, making their emotions difficult to decipher; a fan, in fact, recreated the “Lion King” cast with more exaggerated expressions. Despite these criticisms, it managed to be an unusual movie that still grossed a billion dollars at the box office.

In the creation of “Mufasa,” either driven by artistic ambition or Disney’s strategic caution in a film not backed by a closely matching original, the challenge of portraying animals’ facial expressions was addressed. Stepping away from rigid adherence to realistic animal behavior, the animation of “Mufasa” permitted the characters to convey their emotions through their faces – enabling lions, for example, to flash broad smiles, furrow brows, and even distort their mouths in human-like expressions of surprise and fear. This minor yet significant shift in visual style – one you might not have picked up on consciously due to the film’s overall naturalistic environment and character designs – adds a personal touch, making the story of Mufasa and Taka more relatable and emotionally impactful.

Taka is immediately curious about Mufasa as he approaches the river

The film “Mufasa” showcases Mufasa’s journey from self-doubt to great leadership as King, bringing harmony among all creatures in the Pride Lands. However, it’s Taka who undergoes the most profound transformation. While his turn to villainy appears triggered by the perceived betrayal and sorrow he feels upon discovering Mufasa and Sarabi’s (Tiffany Boone) love affair, the movie suggests that his resentment towards Mufasa has been simmering for a long time beneath the surface. He portrays his actions of saving Mufasa from the river and their subsequent relationship as a providential, life-altering choice he made out of respect for Mufasa, but one that may not have been necessary at all.

Pay attention to the opening scene of the movie featuring Taka: From the outset, it’s evident that Taka’s gaze is fixed on Mufasa as he approaches the river. While Taka’s visit to the river was primarily for fetching water, it’s clear that Mufasa sparks an immediate curiosity in him; it’s not just a casual glance. Essentially, Taka has been under the impression that his decision to save Mufasa was detrimental to himself, but in reality, this choice was conscious and deliberate on his part.

Obasi’s pride behaves more like a typical real-life lion pride

The idea that a “lion king” represents the dominant male leader in his pride (and theoretically, his entire kingdom) can be questionable from a biological perspective. It’s true that many prides have only one or few mature males, who often father cubs and can be displaced by newcomers. However, it’s important to note that lions’ social structure is more akin to a matriarchy rather than a patriarchy. A typical pride primarily consists of female relatives and their young, with adult males typically leaving the group upon reaching maturity and moving between prides throughout their lives. Lionesses are responsible for hunting and raising cubs, while the role of males is generally confined to mating and protecting the pride. The majority of a male lion’s day is spent sleeping or resting.

In contrast to the lion-lioness ratio in “The Lion King’s” Mufasa’s pride, the TV show “Mufasa” presents a more authentic representation of a lion pride with characters Obasi (Lennie James) and Eshe (Thandiwe Newton). Unlike traditional lions, Obasi mostly sleeps as king while the lionesses do most of the hunting. The show humorously emphasizes that his role as “king” is minimal. However, Eshe’s respect for Obasi regarding Mufasa joining the pride is a creative decision, as in reality, it’s the lionesses who primarily lead prides and decide which newcomers they allow.

It’s not just trauma that makes Mufasa uncomfortable in water

A pivotal incident in Mufasa’s past is the river flood that takes him away before he could learn to swim, causing him to be separated from his parents, voiced by Anika Noni Rose as Afia and Keith David as Masego. Despite their valiant attempts to save him, they were unable to do so. This experience left a deep-seated fear of water in Mufasa, which is evident throughout the movie. This fear, instilled by the traumatic event, is what makes him hesitant to join Taka when he jumps onto rocks over a river to escape Kiros’ pride. Mufasa believes that they will drown if they try to swim due to this ingrained apprehension towards large bodies of water.

Apart from the fear triggered by his past traumas, Mufasa is also hesitant to enter the water due to another factor. You see, Mufasa possesses an extraordinary skill – sensing and mapping his surroundings using sounds, smells, and vibrations. This ability, skillfully taught to him by Eshe during hunting lessons, becomes almost a superpower, particularly useful in critical situations. However, this talent is compromised when Mufasa is in the water, as he can’t truly feel the Earth beneath him. This makes it difficult, if not impossible, for him to use his most valuable asset in such environments.

Taka’s terror during the elephant stampede rhymes with what he later does to Mufasa

In one of the film’s most thrilling action scenes, Mufasa, Taka, Sarabi, Rafiki, and Zazu (Preston Nyman) are cornered near an elephant parade as Kiros’ pride moves towards them from a canyon on the other side. It is then that Sarabi proposes a daring plan: to drop a beehive in the middle of the elephants, causing them to panic and stampede. In the confusion, Sarabi collapses after being hit by an elephant, and Mufasa shields her by pushing her under a rock for safety. Meanwhile, Rafiki climbs up a tree, while Zazu takes flight.

In the chaos of the stampede, Taka winds up trapped and isolated. To survive, he hides himself under a large stone. His fear is evident as elephants thunder overhead, and it intensifies when one of Kiro’s henchmen jumps onto him only to be squashed by an elephant. A closer look at his face reveals panic, and the sight of Mufasa passing him without pausing seems strangely familiar. This traumatic event from his past could have played a role in Taka’s later actions, such as setting loose a herd of gnu to kill Mufasa – a chilling act that mirrors the terror he experienced himself.

Taka’s fearfulness isn’t inherently bad, just frowned upon

A significant aspect of Taka’s character development revolves around his feeling of remorse and embarrassment towards what he considers as his own ‘timidity’ – this being his tendency to react with fear rather than confronting danger directly. This guilt is particularly intense when he fails to act swiftly to shield his mother from Kiros’ henchmen, choosing instead to flee. His father scolds him severely for this, but his mother offers forgiveness, reassuring him that his moment of bravery will present itself in due time.

Throughout the movie, Taka consistently exhibits a cautious nature, shying away from direct confrontations with danger. However, this trait is later portrayed as beneficial rather than detrimental. For instance, his reluctance to fight saved both him and Mufasa when they were surrounded by Kiros’ pride on the edge of a waterfall. Had Mufasa chosen to engage the entire pride, they would have undoubtedly perished. The true issue that Taka faces is not his fearfulness itself, but the overwhelming sense of shame he carries due to his father’s expectations. In line with his past work, Barry Jenkins addresses the theme of masculinity once more, exploring how the demanding and psychologically damaging pressures associated with it can affect young men – or in this case, lions.

What makes Milele special is not the geography but the fauna

Initially in “Mufasa,” characters Afia and Masego softly serenade Mufasa with an optimistic tune about a place called Milele, which they believe is a heavenly haven that can be attained if they manage to traverse the desert. Throughout his life, Mufasa yearns for Milele, eventually embarking on a quest to find it with assistance from Rafiki. True to their word, Mufasa’s parents reveal that Milele is, in fact, a thriving, lush territory teeming with water, greenery, and life: the Pride Lands.

In terms of geography, the Pride Lands as portrayed in “Mufasa” are not exactly the vibrant, flower-filled paradise that Afia, Masego, and Mufasa imagine during the “Milele” musical number. Instead, they resemble a typical East African savanna: Gorgeous and abundant, but similar to other locations visited by the characters, including Simba and Taka’s homeland, which also boasted rivers, wetlands, and ample water resources. The real charm of Milele lies in its teeming animal populations that have migrated there from various places, creating a rich, thriving ecosystem. This suggests that what makes Milele so lively is not just the geography or the flora, but the diverse creatures who call it home. It seems the message in “The Lion King” is that a place’s greatness comes not from its physical attributes but from its inhabitants, regardless of their origins. Essentially, any location could be Milele.

The movie features plenty of classic Barry Jenkins close-ups

It’s not surprising that Barry Jenkins, renowned for films like “Moonlight,” has taken on a remake project. Known for expressing his affection for big-budget movies with artistic merit, he has praised Ryan Coogler’s work on “Black Panther: Wakanda Forever.” Although Disney’s management and heavy use of CGI in “Mufasa” may obscure Jenkins’ unique directorial style, it doesn’t diminish it entirely. His signature close-up shots are still prominent, especially in the intimate, face-forward framing he is known for.

Although some directors might be reluctant to use such close-up shots when working with no live-action actors, Ava DuVernay (Jenkins) effectively employed this technique in “The Lion King” remake. This is evident through numerous expressive, empathetic close-ups of the CGI characters, some even centered unusually. While these faces might not be human this time, they are still a recurring visual element throughout the movie, much like they would be in films such as “If Beale Street Could Talk” or “The Underground Railroad.” This directorial choice, while it may go unnoticed due to the non-human characters, is present frequently. Furthermore, this decision demonstrates Jenkins’ faith in the animators to make the CGI lions’ expressions more nuanced compared to the original 1994 version, which had fewer close-up shots.

Jenkins’ penchant for water as a symbol of reckoning shows up too

In “Mufasa,” Barry Jenkins’ distinctive style is not limited to close-ups alone; large bodies of water and the protagonist’s immersion into them are also recurring themes reminiscent of Jenkins’ work. Two significant instances in the movie depict Mufasa submerging himself in water, each carrying heavy symbolism. Initially, during the flood that separates him from his family, he sinks deep underwater and musters the courage to swim upwards, indicating his newfound self-responsibility. Towards the end of the film, in a symbolic act of rebirth, Mufasa engages in a fight with Kiros within an underground lake. After battling against the elements, he once again resurfaces, signifying his transformation into a capable ruler and leader of his pride.

In essence, two scenes strongly recall the emotional “Moonlight” scene where Juan (Mahershala Ali) guides young Chiron (Alex Hibbert) into the sea and teaches him to swim – a pivotal moment marking Chiron’s initial attempts to find his place in the world and learn self-reliance, while also demonstrating healthy love and care from a parental figure. Unlike “Moonlight,” Disney’s “Mufasa” may not delve as deeply into existential themes, but it underscores director Jenkins’ fondness for vast bodies of water and poetic swimming sequences as symbols of personal growth and introspection.

2025-01-13 00:03