1994’s The Lion King, for me, is Disney Animation’s masterwork. The film was the last of the great offerings during the Disney Renaissance which began in 1989 with The Little Mermaid and included such films as Beauty and the Beast and Aladdin. There is no denying the strength of those films mentioned above, but The Lion King felt like it was on a level that transcended its animation. On the one hand, it’s a highly engaging children’s film, and on the other hand, it’s an epic tale of family, treachery, betrayal and ultimately, triumph.
During a recent special celebrating the history of the film and the release of its live-action remake, Robert Iger, Chief Executive Officer of Disney, called The Lion King their most important movie. Out of all of their catalog, it’s likely the most universally well-known and it has spawned a Broadway show that has earned an estimated $8.1 billion since its launch in 1997. Not to mention, the animated film is the highest-grossing traditionally animated film of all-time.
It’s no surprise with the recent influx of live-action Disney adaptations that The Lion King would be a top choice for the studio. Choosing Jon Favreau to helm the project was a wise choice given his success with directing the live-action version of The Jungle Book. Had that film not been a success, Disney may not be trying to crank out a live-action take on most of their catalog.
There have been a lot of opinions as to whether The Lion King is a live-action reimagining of the animated classic or not. A term thrown around recently has been “photo-realistic,” but it’s pretty safe to say that this version of The Lion King is probably the first mainstream animated film to be remade as an animated film. This criticism is by no means a dig, but the initial marketing was touting this as live-action is misleading. Cinematographer Caleb Deschanel and Jon Favreau have been said to have used one real background shot while the rest of the film was created on a computer using animation techniques.
Maybe this is why the film has received such a mixed reaction from critics. A lot of the film is essentially a shot-for-shot remake of the 1994 movie we have come to know and love, albeit, with a different kind of gloss that is intended to wow the audience. Most of your enjoyment of this version of The Lion King will be determined by how fondly you remember the original film and I must say, this represents another win for Disney because, with a healthy dose of nostalgia and game-changing visuals, this take on The Lion King is a highly entertaining effort, although it doesn’t achieve greatness because it’s mostly more of the same.
For those familiar with the plot of the original film, the same themes of guilt and redemption are at play. The precocious Simba (JD McCrary as a child, Donald Glover as an adult) is heir to the throne of his mighty father, Mufasa (James Earl Jones). Simba looks at becoming king with child-like wonder, but Mufasa tries to instill in him the importance of being ready for the task of ruling the kingdom should something happen to him. Someone who doesn’t think Simba is worthy of his rightful place as king is Mufasa’s brother, Scar (Chiwetel Ejiofor), a treacherous personality who tragically orchestrates his brother’s death and manipulates Simba into believing it’s his fault. The trauma of the event makes Simba abandon his land and his people to live in a state of anonymity where he meets new friends, Timon (Billy Eichner) and Pumbaa (Seth Rogen). They promote a carefree way of existence but Simba, now an adult, finds the pull of Pride Rock hard to ignore when long lost best, Nala (Beyoncé) comes looking for help and urges him to accept his responsibility as king.
The one criticism of The Lion King is that it is a handy rehash of the animated film. Even though there are an extra 30 minutes including a new song and a longer climax and a bit more drawn out, Jon Favreau leans heavily on the source material. After seeing the film, I don’t quite understand the complaint. If it’s not broke, don’t fix it and had The Lion King done too much to differentiate itself, it may have added or tweaked moments that could’ve been a detriment to the film.
The one prime example of a shot-for-shot remake is the dreadful remake of Psycho, but the critical difference between that film and The Lion King is that Psycho didn’t improve on anything from Alfred Hitchcock’s classic. It was a pointless retread without a tread of artistic integrity, and copying that film only made it feel more inferior. The ace up The Lion King‘s sleeve is that it’s a visual wonder to behold and puts a fresh take on some of the classic scenes from the animated film. The opening “Circle of Life” sequence, primarily considered a highlight from 1994 film, is lovingly re-created and delivers goosebumps similar to seeing the full images for the first time. The stampede sequence, featuring one of the most heartbreaking conclusions in cinematic history, is just as painful to watch this time around as it was 25 years ago. Since the lions felt more like living, breathing characters, I thought the moment had a much different emotional impact. Not necessarily better, but different and still entirely gut-wrenching. I know some have said the characters almost look so real that they don’t appear to emote but I personally never felt that feeling, especially during moments such as this one.
Your reaction to the voicework on display will largely depend on your preference and connection to the original film. I thought JD McCrary’s take on Young Simba was on par with the youthful enthusiasm of Jonathan Taylor-Thomas while Donald Glover’s Adult Simba was a bit more emotive than Matthew Broderick’s. John Oliver’s Zazu seemed more or less like an imitation of Rowan Atkinson’s work from the original film, but Billy Eichner and Seth Rogen put their on own spin on Timon and Pumbaa that showcase their easy-going chemistry. Nathan Lane and Ernie Sabella certainly have their stamp on those roles, but I’d say, Eichner and Rogen, give the best vocal performances of the film (other than the great James Earl Jones who sounds just as mighty as ever as Mufasa). Chiwetel Ejiofor is a worthy successor for Jeremy Irons although it’s hard to top Irons’ signature evil in the role. And what of Beyoncé? Much ado has been made of her vocal work with some calling it great while others have been less than kind. I land in the opinion of her persona was necessary to bring this Nala to life, and some of that star power is present. I also thought Beyoncé and Donald Glover sounded great together on “Can You Feel The Love Tonight.”
Speaking of the music, a lot of the classics remain intact. “Be Prepared” is altered and not given the full song treatment, but many of the classics sound just as good as they did in 1994. Beyoncé gets a new song that she wrote called “Spirit” that isn’t bad but feels more like it was made to get the Best Original Song nomination at the Oscars merely. Hans Zimmer also returns to rework, revamp and expand his Oscar-winning score and reminds us why he’s one of the best movie composers works today.
The best thing to say about The Lion King is that it stays in its lane. Had the film been more than the 1994 film with a brand new coat, I’d probably consider it a crowning achievement. It wouldn’t be fair for me to say this is an excellent film because it doesn’t do a lot to pave its way, but there is no denying that it’s solid entertainment that for older audiences, may make them appreciate the original film even more, and for a newer generation, they just may have the movie they’ll show their kids when it’s time to reminisce.
