My affection for The Lion King started in 1994 and continues to this day, looking at the two movie and stage production-based Simba plush toys on my dresser. But between helping Spider-Man save the world, Happy Hogan actor and Iron Man director Jon Favreau is fronting a new version of the acclaimed Disney animated classic, and there are some impressive performances and impressive looking CGI animals. The side effect, however, is that it’s gorgeous as a Renaissance painting, but also as stiff as one, compared to how intense and expressive the first film was.
Granted, the story (which is basically a fusion of Osamu Tezuka’s Kimba the White Lion with dashes of Shakespeare’s Hamlet) and the basic idea behind these characters are still as engaging as they were before. We see the memorable overhead shot of Pride Rock during the Circle Of Life song, and my audience exclaimed “aww” as they did before when the infant Simba appears and Rafiki (John Kani) holds him to his subjects. Chiwetel Ejiofor is theatrically evil as the bitter brother Scar, who wants Mufasa’s title for himself and isn’t happy about the new prince ahead in succession.
Once again, he plots to assassinate the young cub with the help of a pack of hyenas (this time Shenzi, Whoopi Goldberg’s hyena now voiced by Florence Kasumba, is the pack leader) and a wildebeest stampede. The distraught cub goes on a journey after being exiled by the vengeful sibling, meeting two friends in the desert who teach Simba a more carefree philosophy in life. But he can’t escape his destiny to rule his father’s domain, now under Scar’s inept leadership.
Throughout it, I’m asking myself: if I never experienced the Lion King story before seeing this film, would I get into it as much as I did in 1994 as a plucky nine-year-old? Because Favreau can be a very effective and emotive director, but I didn’t like his version of the “I Just Can’t Wait To Be King” number at all. The backgrounds and scenery, just like most of the film are incredibly impressive, and that’s what the cinematography emphasizes. But because of Disney’s desire for the movie to feel like the story’s happening outdoors right in front of you, Simba and Nala’s limited expressions and movement make the scene feel awfully muted from before.
Don’t get me wrong, some of these new CGI animals are very cute, but it’s hard for me not to make comparisons. Note how confident and emotive the original Simba is here from the same musical number. OG directors Rob Minkoff and Roger Allers didn’t strive for an overly serious look here, rather they went full Broadway and allowed Simba to be a charismatic cartoon.
It was easy for everyone in the audience to know exactly how he felt when Jonathan Taylor Thomas (who had a remarkably great performance) wasn’t speaking, and both kids and their parents cried along with him when he realized he lost Mufasa. And the new crew (including a game JD McCrary as the new younger Simba) tries their hardest with that infamous scene, but it still feels like something’s missing in terms of the visceral impact.
There are periods in this movie where it feels like it’s too deeply in love with its own technology. One good example is how it tracks the journey of a strand of Simba’s hair back to Rafiki, indicating that he lives. I get what they’re they’re trying to do, but the original film didn’t spend anywhere near as much time on what’s actually a fairly mundane detail and got on with its story.
On the positive end, what really helps this film is the talent of the voice actors. Billy Eicher’s Timon is extremely entertaining, capturing the original meerkat’s adorable wit without copying Nathan Lane, as does Seth Rogen with his charming Pumbaa. John Oliver as Zazu is perfect casting, while Donald Glover and Beyonce’s Simba and Nala are both pretty solid.
James Earl Jones reprises his role as the noble king Mufasa, and he never actually surpasses how amazing he was the first time around, but still remains a convincing leader. And some of the songs are fairly enjoyable, like Beyonce’s “Spirit” and Eichner and Rogen’s cover of “The Lion Sleeps Tonight”, which goes a bit longer this time.
But when the smoke clears, this new Lion King is still a cartoon, albeit barely. This is a similar problem I had with films like Happy Feet and Tintin in which the models are far too stiffened and restricted to get as much engagement from the audience one would hope for, despite my enjoyment of the story.
And I don’t need all my animation to be extremely off-the-wall and rubbery on the other extreme either- Looney Tunes is great, but I can appreciate a variety of cartoon styles, Still, if their sister company Marvel Studios can render Rocket Raccoon’s face- a talking animal next to live actors- with a considerable amount of emotion, what’s Walt Disney Pictures’ excuse?
I can’t say I flat-out hated Favreau’s new Lion King, there’s many moments of beauty in it and some nice humor, and I feel many younger kids will enjoy it but won’t be as engrossed or on the edge of their seats this time around. Nothing about it will make you especially angry, but overall it’s just sort of mediocre, and it doesn’t have the energy or willingness to take more risks that the team working on the new Aladdin did. I’d suggest it as a rental at best or something to have playing in the background on TV, but I’d say stick with the 1994 film if you really want to feel this story’s impact.
But what did you think? Did you love the new Lion King, hate it or were just sorta “eh”? Hop on @Official_FAN at Twitter as always and feel free to share your thoughts!