3.0 out of 5 star rating
It’s often more effective for iconic villains’ backstories to remain mysterious or left unexplained, as the allure of their enigmatic nature can be lost if we delve too deeply into their past. For instance, while Heath Ledger’s Joker humorously dismissed the idea of origins in The Dark Knight, one might argue that Darth Vader would have retained a greater impact had his angsty teenage years not been revealed. Frequently, these origin tales can feel more like a formulaic checklist than a captivating narrative about an imposing figure.
Considering the circumstances, it’s remarkable how skillfully director Barry Jenkins (of Moonlight) and screenwriter Jeff Nathanson manage to create a captivating version of this less-than-perfect but occasionally potent CG prequel to Jon Favreau’s The Lion King remake.
In an era where character histories are crucial, the movie sometimes struggles to break free from the feeling that Scar’s wickedness and Mufasa’s greatness are undermined by simplistic psychological profiles. However, Jenkins manages to inject his portrayal of brotherhood and deceit with vibrant personality and flair, boosted by catchy tunes from Lin-Manuel Miranda that effortlessly continue the original’s legacy.
The narrative promptly sets the theme of legacies with the phrase “He lives in you,” as it quickly becomes evident. The storytelling structure incorporates Simba (Donald Glover) and Nala’s (Beyoncé Knowles) daughter Kiara (Blue Ivy Carter), who listens to the account of Mufasa (Aaron Pierre) and Taka, the future Scar (Kelvin Harrison Jr), guided by the wise mandrill Rafiki (John Kani). In a flood, a young Mufasa is displaced from his home, left orphaned but rescued by another cub, Taka.
Over time, they grow inseparable like close companions, even imagining a future together in a new place. However, their bond is tested when they both develop feelings for lioness Sarabi (Tiffany Boone) and aspire to become king. Additionally, the scheming of the resentful white tiger Kiros (Mads Mikkelsen) will eventually create discord between them.
Although the storyline echoes the classic Lion King tale, Jenkins adds a unique touch by focusing on intricate visual elements. Despite the unusual feeling when realistic big cats engage in dialogue, these creatures exhibit more emotional depth compared to those in Favreau’s version.
With the assistance of his cinematographer James Laxton acting as a wingman, Jenkins emphasizes details by shifting his ability to capture live-action in intimate close-ups to filling IMAX screens with images of whiskers, teeth, and eyes. Meanwhile, close-ups of retractable claws submerged in water and rippling fur demonstrate a keen eye for small but significant details.
This sense of intimacy extends to some graceful touches, like the moment where Sarabi and Mufasa’s whiskers entwine lovingly. Fine voice work helps, with Pierre and Harrison Jr projecting conflict and chemistry through the CGI. Child voice actors Braelyn Rankins (Mufasa) and Theo Somolu (Taka) endear, especially singing the winningly propulsive I Always Wanted a Brother. And Mikkelsen delights with the coldly insinuating villainy of his song, Bye Bye.
The impressive display of natural scale is just as awe-inspiring. Jenkins skillfully employs 3D to draw you into the expansive scenery, where rushing waters and bouncing rocks convey an elemental danger. Just like a young Mufasa, one can’t help but exclaim, “Wow”. There’s also a graceful agility to Jenkins’s direction: when the camera takes on a cat’s perspective as it swiftly traverses the landscape, you find yourself moving along together.
Occasionally, interruptions and advancements slow down the pace, yet there are moments that bring a smile to your face, such as Timon (played by Billy Eichner) and Pumbaa (Seth Rogen), who add humor but perhaps detract from the intensity of the main story. Meanwhile, Zazu’s (Preston Nyman) comedic role as a hornbill could be more than enough for viewers. As for Scar’s transformation portrayed by Taka, it is visually impressive with the subtle changes in eyes and shoulders, but the reasons behind his actions against Mufasa seem insufficient for such complex characters as Scar and Mufasa.
Regardless of how Scar’s storyline has been carefully crafted with intrigue, there remains a lingering feeling that a matter of romantic envy might have been handled in a less violent manner.
As a movie reviewer, I found myself deeply moved by director Jenkins’ poignant exploration of themes that echoed throughout the film. The underlying struggle between tyranny and unity was as relevant today as it was centuries ago. Additionally, the movie delved into profound questions about home and heritage, which were beautifully brought to life in the climactic scenes that felt almost mystical.
Regardless of whether the original remains unchallenged, Jenkins’ tale about fractured relationships and enduring legacies adds nothing to its shame.
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2024-12-17 21:34