Review: Unnecessary ‘Mufasa’ shows the Lion King franchise to be running out of lives
As a long-time enthusiast of animated films and a connoisseur of the Lion King franchise, I must say that “Mufasa: The Lion King” left me with mixed feelings. On one hand, the photorealistic animation was breathtakingly beautiful, capturing the essence of the African savannah in stunning detail. The scenes where sunlight dappled upon fur or felines flexed their claws to assert power were particularly mesmerizing, and I found myself constantly marveling at the artistry on display.
It’s surprising that Barry Jenkins, the director behind the Academy Award-winning “Moonlight,” is set to direct a spin-off of “The Lion King.” This seems almost unbelievable given the industry’s past reluctance to fund heartfelt projects like his, even in the ’90s. Today, just getting a major project greenlit requires a fierce struggle. The film, titled “Mufasa: The Lion King,” scripted by Jeff Nathanson, has been on Jenkins’ agenda since 2020. However, upon closer inspection, it appears that he is not heavily involved in the project; there are only fleeting moments of his signature style, such as an ethereal scene where three lions interact in the grass.
This film is undeniably a box-office hit, appreciated primarily by studio accountants and parents. I’ll admit to accepting it under those conditions because it’s beneficial when children are encouraged to attend the cinema. Yes, it’s understandable to criticize Disney for milking franchises excessively. In fact, they’ve even found a way to make profits from self-parody, which is evident in this movie where an animal laments, “Don’t bring up that play again.” The enthusiasm of Disney for prequels has led to a movie featuring two kittens, one of whom we’ve previously witnessed meet a tragic end. Surprisingly, “Mufasa” begins by killing one of them yet again.
The storytelling method involves Simba and Nala (Donald Glover and Beyoncé Knowles-Carter) entrusting their daughter Kiara (Blue Ivy Carter) to three caretakers: Pumbaa the warthog (Seth Rogen), Timon the meerkat (Billy Eichner), and Rafiki the mandrill (John Kani), who keeps insisting he’s not a baboon. Rafiki narrates Kiara’s grandfather’s backstory, while Pumbaa and Timon provide comic relief, interrupting occasionally with nervous energy: “Let’s have less drama about the past, more meerkat fun!” Timon exclaims.
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Discussing ‘Mufasa’, ‘The Fire Inside’, and making a comeback after a close brush with disaster on ‘The Underground Railroad’, filmmaker Barry Jenkins shares his thoughts, as he prepares for the release of two upcoming films next month.
Primarily, we traverse Tanzania with a young orphaned cub named Mufasa, voiced by Braelyn and Brielle Rankins initially, then Aaron Pierre in his prime, and his adopted brother Taka, who comes from a royal lineage (portrayed by Theo Somolu and later Kelvin Harrison Jr.). In these adaptations of “The Lion King”, my issue lies with Simba being overly bratty and Mufasa being excessively perfect. Characters repeatedly praise Mufasa’s perfection, which seems unrealistic. Not only is he flawless, but Mufasa also demonstrates exceptional knowledge in elephant migration patterns and botany.
In order to enhance the biographical narrative, the storyline inadvertently contradicts itself at times. For instance, during an early altercation, it appears that Mufasa kills a nameless lion, but this fact isn’t explicitly shown onscreen until a later scene when Kiros (played by Mads Mikkelsen) discovers his child has died from injuries sustained in the fight somewhere between scenes. The pursuit of vengeance by Kiros serves as a recurring theme throughout the film, and Mufasa’s first kill is significant in this context, although it won’t be his last. However, this pivotal event seems to elude the understanding or moral consideration of our noble protagonist entirely.
they all miss their families. The recurring themes of family dynamics – dads, moms, siblings – become so repetitive that it’s refreshing when Zazu (Preston Nyman), the hornbill character, doesn’t bring up his missing egg.
In “Mufasa: The Lion King,” an acclaimed lyricist conveys a mix of upbeat, jubilant verses amidst the intricate plotlines surrounding deception.
Taka, the more cowardly lion, will eventually earn a name that isn’t going to surprise anybody. The bigger jaw-dropper is: Why wasn’t this movie pitched as “Scar”? This innately good-hearted princeling is the only compelling character. From his point of view, Taka can make a legitimate case that a golden god like Mufasa is exasperating to be around — this stray has literally destroyed his pride. Plus, Taka’s voice actors, Somolu and Harrison Jr., deliver dynamic performances with mercurial emotions and a delightful Cockney accent. During the song, “I Always Wanted a Brother,” the photorealistic lion croons about his “bruvaah” with the surreal gusto of Growltiger in “Cats.”
The subtlest animation looks the best, especially when sunlight dapples upon fur or felines flex their claws to assert power. (I write this while struggling to keep a 20-pound Maine Coon off my desk.) There are opportunities for dreamlike images: a flock of birds zooming like warplanes, a herd of antelope emerging from a horror-movie mist, and an unexpected amount of gorgeous and terrifying swimming sequences as these so-called kings of the jungle are continually bested by gravity and water. Occasionally, the look goes gonzo for viewers watching the movie in 3D. Think a slow-motion raindrop hurtling toward your face, or shots of the animals racing around like they’ve got a GoPro camera on their collar.
The ending feels similarly rushed, although there’s nothing in particular I’d rather spend more time with than the songs by Lin-Manuel Miranda. The cast belts them at a terrific, breathless, breakneck pace, scaling octaves as demanded. There are only a few numbers, but most of them are marvelous constructions with sinewy arrangements and overlapping harmonies that tangle around each other during duets. Good luck pulling them off at karaoke. But it’s hard to call any one song a showstopper. They aren’t built for bombast, and none are as in-the-moment ear-wormy as “Hakuna Matata,” although there’s a slithery villain’s ditty by Mads Mikkelson that became my favorite once I came around to the lyrics: “Cause I’m gonna be / the last thing you see / before you go / bye-bye.” I still think this prequel didn’t need to exist, but at least I left humming.
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2024-12-19 14:35