★★★☆☆

As a lifelong admirer of timeless storytelling and captivating visuals, I must say that Mufasa: The Lion King leaves me both impressed and somewhat divided. Director Barry Jenkins, renowned for his work on Moonlight, has skillfully navigated the complexities of origin stories in this CG prequel to Jon Favreau’s Lion King reboot.

Mufasa: The Lion King is in cinemas from Friday 20 December. Add it to your watchlist

It’s often best to keep the backstories of intriguing villains either untouched or shrouded in mystery. Heath Ledger’s portrayal of The Joker poked fun at the concept of origins, and perhaps Anakin Skywalker’s transformation into Darth Vader could have been more impactful if his angsty teenage years had remained unexplored. Often, these narratives can feel like they are merely checking off boxes instead of maintaining the aura of an intimidating character.

In consideration of this, it’s remarkable how director Barry Jenkins (of “Moonlight”) and writer Jeff Nathanson manage to create such a captivating adaptation of the computer-generated prequel to Jon Favreau’s reinvention of “The Lion King”.

In today’s era where backstories are prevalent, the movie sometimes struggles to escape an impression that Scar’s villainy and Mufasa’s greatness feel less impactful due to summarized psychology. However, Jenkins manages to infuse his story of brotherhood and betrayal with vibrant character and artistic elements, which is enhanced by catchy tunes from Lin-Manuel Miranda that effortlessly continue the original’s legacy.

In the narrative, I quickly learn about the concept of legacies – “He lives in you,” as it were – through the story of Mufasa and Taka, who later becomes Scar. This tale is shared by the wise mandrill Rafiki to my parents, Simba (Donald Glover) and Nala (Beyoncé Knowles), and eventually reaches me, their daughter Kiara (Blue Ivy Carter). Amidst a torrential flood, young Mufasa gets separated from home, left orphaned but rescued by Taka, another cub.

The two bond strongly, like inseparable partners in crime, as they grow up together and fantasize about discovering a new place to live. However, their bond is tested when they both develop feelings for lioness Sarabi (Tiffany Boone) and aspire to become the king. Additionally, the manipulations of the resentful white tiger Kiros (Mads Mikkelsen) will eventually cause tension between them.

Although the storyline echoes the enduring grandeur of the classic “Lion King,” Jenkins grounds it with intricate visual elements. Despite the peculiar mental disjunction when viewing realistic big cats engaging in conversation, these characters exhibit a greater range of expression compared to those in Favreau’s version.

As your guide through the world of cinema, alongside my trusty wingman cinematographer James Laxton, I deliberately magnify every detail to make sure you don’t miss a beat. By shifting my live-action lens to giant IMAX screens, we capture every whisker, tooth, and eye in breathtaking close-ups. Diving deeper, we scrutinize the intricate details like retractable claws and rippling fur underwater – a testament to our keen attention to detail.

In this production, I found myself deeply connected as I witnessed tender moments like when Sarabi and Mufasa’s whiskers gently intertwined affectionately. The vocal performances were exceptional, with Pierre and Harrison Jr skillfully conveying tension and chemistry even amidst the CGI. Young actors Braelyn Rankins (as Mufasa) and Theo Somolu (as Taka) captured my heart, particularly during their powerful rendition of “I Always Wanted a Brother.” Lastly, Mikkelsen’s chilling portrayal of the villain in his song “Bye Bye” left quite an impression.

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The grandeur of natural elements is strikingly apparent in this portrayal. Jenkins skillfully employs 3D to immerse you within the immense terrain, where rushing waters and bouldering rocks instill a primal sense of danger. Remarkably, as a young Mufasa observes, “Wow” captures the essence. The director’s approach is graceful yet agile: when the camera mimics a cat’s perspective while racing across the scenery, you find yourself effortlessly drawn along for the ride.

In the storyline, some interruptions and advancements slow down the pace, nonetheless. In the overarching narrative, Timon (played by Billy Eichner) and Pumbaa (Seth Rogen) add humor but lessen the intensity; Zazu the hornbill (portrayed by Preston Nyman) provides more than enough comedic relief in the main storyline. The visual transformation of Taka into Scar is flawless, with his narrowed eyes and sloping shoulders, yet the reasons for such fierce adversaries as Scar and Mufasa appear too insignificant. Even when Scar’s character is skillfully kept complex, it’s challenging to dismiss a feeling that romantic envy could have been less lethally dealt with.

Still, Jenkins makes resonant work of other themes, from a subtext of tyranny vs unity to the ideas of home and heritage that underpin the mystical climax. Composer David Metzger provides respectable accompaniment, invoking Hans Zimmer’s classic score while adding his own strident cues. Even if there’s no dislodging the original’s crown, Jenkins’s fable of broken bonds and binding legacies does it no dishonour.

2024-12-18 19:34

Mufasa: The Lion King review – Disney’s CG prequel is flawed but fitfully powerful

★★★☆☆

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