A Prequel with a Twist
As Mufasa: The Lion King gets expanded, the franchise dives into new lore regarding Simba’s father Mufasa, the captivating king of Pride Lands. One of the highlights of the movie includes Mufasa’s beginning as we closely follow the events that shaped him into the lion he is today. But when watching the film, there are a few others that could probably also fit it, such as “How Rafiki Got His Stick”, “How Scar Got His Scar”, and “How A Great Earthquake Created Pride Rock.”
This hysteria about back stories is one of the cons of the prequel genre. Comparing the thought of slightly explaining everything the franchise included; characters and settings sounds more common than explaining them in a fine manner. This makes it apparent that Mufasa: The Lion King strolls along the borders of the ridiculousness very often. You will be asking yourself,” Is that really how Rafiki’s stick came to be used for the first time?” and “So was Scars reputation built solely on him getting that scar?”. It gets redundant real quick.
Disney’s resolve to pinpoint even the minutest detail has compelled them to go that extra mile when designing characters. I’ve sometimes found those moments to be somewhat quite contrived and out of place within the context of the film. These little bits, are cut from the greater narrative and break the overall storytelling arc. Above all, there are clear indications that Ms. Disney forgets one simple lesson: not every character must have a back story. But not doing so might influence storytelling in future films. (Having watched the trailer for the Snow White film, I wouldn’t be surprised if it includes scenes where a mother sets out to grow apple trees to accommodate the circumstances behind their existence)
Mufasa’s Early Life
When the story of Mufasa begins, he is still young, adored by his parents in the peaceful Pride Lands. However, the peace is soon shattered when a flash flood separates him from his family, forcing him to navigate a difficult world alone. Mufasa’s survival instincts are put to the test as he learns to provide for himself in the wild. During this challenging period, Mufasa encounters Taka, played by Kelvin Harrison Jr., who rescues him from a crocodile attack. The bond between Mufasa and Taka quickly develops into a deep friendship, with Taka’s mother, Eshe, taking the young cub under her care. Eshe, portrayed by Thandiwe Newton, offers Mufasa protection, much to the dismay of King Obasi (Lennie James), who is adamant about not taking in “strays.”
On the other hand, Mufasa and Taka’s lives are taking shape with the coming of a shift in plot, which involves the development of a concerning strife. An ambitious Kiros urges a fierce pack of white lions to exterminate other prides in the objective of overpowering them. A greedy and violent faction that renders Taka and Mufasa to begging for their lives. When the two young lions run away, they escape through the dangerous parts of the Pride Lands without getting caught by Kiros and his group.
Searching for Paradise
It all begin with Taka, Sarabi, and Mufasa who are in search for a brand new world, a land called Milele. For Tarzan and Kiros the land is a myth that serves as hope. The harsh wrath of Kiros and his league is why they have been searching for Kairo. Mufasa and his friends encounter treacherous paths which challenge their ability to remain loyal, destroy them through fear, and even break the bond that was established between them throughout their journey. Younger versions of Lion King characters such as Zazu and Rafiki are seen during the transition, Nyman and Kagiso being the voices of the characters.
At its heart, Mufasa: The Lion King is an emotional tale of treachery and glitching friendships focused on essence of betrayals, glorifying Mufasa’s growth as a leader who was once a weak lion cub. While the film however tries to expand upon the lion king universe through context, the over elaboration may make one forget the central ideas of the first film.
One of the narrative choices that is captivating about The Lion King for me is that the elder Rafiki (portrayed by John Kani) is explaining the story of Mufasa to Kiara (voiced by Blue Ivy Carter), the daughter of Simba (Donald Glover) and his wife Nala (Beyoncé Knowles-Carter). This narrative technique coordinates intergenerational relations as it connects the original Lion King. But since the aim was to use this as a mean to give the audience something they are used to, one gets the impression that this was not the best of options. This fragment as usual is slight disappointment, especially when together they were paired with Timon (Billy Eichner) and Pumbaa (Seth Rogen) who tries to do comic relief but it is more of a pain than funny.
The Cynical Frame of Live-Action Remakes
One of the premises about the live action adaptations of Disney movies that is the most contested and almost leaves one with more questions than answers is the birth of these films in the first place. Now and then, these films are said to be nothing short of latching onto the hip of their best adored pieces of IP. The 2019 version of The Lion King directed by Jon Favreau is perhaps the worst offender in this regard, offering little more than a nearly shot-for-shot remake of the much-loved animated classic
As a result, many questioned the way in which Disney’s live-action images were brought to life, if there was ever a new creative touch to speak of and how time and again these images seemed to appear more as a tool for audiences to listen to their childhood songs and watch their childhood programs. Sadly, this is exactly the impression which is left by Mufasa: The Lion King — a rather strong feeling of rude awakening hinting at experiences short of new insight.
Mufasa: The Lion King could have been a good experience having in mind the fact that Barry Jenkins, who won an Oscar for the best directing of Moonlight, was attached to the project. Jenkins is a name registered as one of the most dynamic and an integral part of Hollywood movies today, so one thought that surely he would give a serious spin to The Lion King realm. The idea of recycling some characters in new narratives, maybe one may term it the “game of life”, was in all respect encouraging that new angle to the franchise would wee out citation overkill. But not all, for as promising as Jenkins’ direction sounded, the film crash landed.
A Retread of the Original
As Mufasa: The Lion King progresses, it becomes evident that a large chunk of the film is just taking a leaf out of its predecessor Lion King. The characters are placed into familiar situations, and while homage and references to the original are to be expected, they are overused to the point of redundancy. A specific scene in the opening sequence, where a flash flood caused by the rest of the family, brings young Mufasa quite strikingly close from the iconic wildebeest stampede that led to Mufasa’s demise in the first movie. This moment, where Mufasa holds onto a branch of a tree and cries for his dad almost exactly same as in original film. The scenes, including one’s where Mufasa and Sarabi are together, are set up with the intention of having a different view but gives somewhat a feeling of seeing same thing three times already.
I would agree that nostalgia has its rightful place in storytelling, though it seems that Mufasa: The Lion King leans on this theme a bit too much without creating anything new. The Lion King movie missed the point that there were some terrible renditions of great scenes because it couldn’t strike a good line between honoring the old and creating something new. The whole movie felt like it was devoted to retracing the steps of the old movie rather than creating something new altogether. This heavy dependence, or obligation, on nostalgia makes the movie hard to exist outside memories which brings bitterness among the viewers because something more could have been achieved. To conclude, Mufasa: The Lion King again fails to establish a new degree in this series instead, it stretches the previous films in an awkward and unpleasing manner.
Clever Nods That Fall Flat
Mufasa: The Lion King however manages to include some undertones, or relatively subtle and at times smart references back to the original. Undoubtedly the most fascinating part is the fact that Takas rescue of Mufasa from a river was almost exactly how Scar killed him in The Lion King. When Taka grasps the cub with his claws it is easy to see that it is likely a precursor to Scar’s behavior, but the film does not develop this idea beyond its early cleverness. This could have served as an ironic and quite moving scene which would reflect Taka as he turned into a scar, but instead, it is mostly a kind of wink to the audience.
The screenplay, penned by Jeff Nathanson, frequently stumbles under the weight of its own contradictions. Most importantly the filmmakers fail to believe the rationale that Scarlett has this unnatural animosity towards the main antagonist and tries to draw a line back to it.
Seriously, the story suggests that Scar’s descent into darkness can be traced back to envy over a girl. While it’s true that toxic ideologies can often spring from deep-rooted insecurities, reducing Scar’s complex character arc to such a simplistic motivation feels lazy and, frankly, insulting. Furthermore, the film tries to rewrite the existing lore by suggesting that Taka can find peace in Milele, yet Simba, now a king, refuses to speak his name again. This strained attempt to fit everything into a neat narrative box only weakens the emotional core of the story.
Barry Jenkins’ Visual Brilliance
Though the screenplay has its shortcomings, Mufasa: The Lion King benefits from the directorial vision of a seasoned director whose works are filled with high production values. Jenkins is a skilled painter and this reflects in each and every shot of his film. His camera revolves through the setting, showing glorious angles and striking close-up shots to view the Pride Lands from interesting angles. The action scenes, while having pivotal moments, are shot in a more dynamic way so that they seem more engaging, unlike the static scenes in Jon Favreu’s lifeless sequel of the Lion King released in 2019.
There are moments when you get the impression that Jenkins is overly agitated, or alternatively, he’s exerting excessive energy to inject life into a somewhat mundane tale. But as it stands, the film is more visually appealing and entertaining thanks to its cinematographic elements more than it would naturally have been.
Mufasa: The Lion King is certainly not a disappointment when it comes to the visuals. The computer generated lions and the land of the lion seem so real, so life-like that it feels as though the audience is right there in the middle of it all. This is one of the reasons the 2019 version of the Lion King looks so different from Mufasa, technology has really changed. Lush vegetation, well-designed characters, various and appealing actions are perfectly blended to refine the world. There is certainly no argument that the film’s graphics are the best, and the film serves as an excellent example of what is possible in today’s animation.
A Plot Struggling Under Its Own Weight
Such graphics in the show are appealing as they are but the writing of the script always seems to ruin the film because there are too many impossible scenes. Mufasa and his ever growing group of supporters are faced with a never-ending barrage of natural disasters; a flood, crocodiles, elephants, an avalanche, and even earth tremors. As a result of this multitude, the effect of each specific event is on a lower level. The original Lion King had the advantage of being focused on a single emergency; the stampede of the wildebeest, which was quite appropriately an event to catch hold of the audience‘s attention. But, in Mufasa, the massing stroke of crisis seems to reduce the tension rather than increase it. These problems that keep increasing instead of enhancing the tension just becomes an annoying circle which leaves the audience unamused when the action happens.
Ultimately, Mufasa: The Lion King struggles to find a balance between the emotional depth of its predecessor and the need to innovate. While the film’s visual beauty and Jenkins’ direction provide moments of excitement, the screenplay often feels overly complicated. The introduction of too many perilous situations leads to a lack of focus, and the film’s over-reliance on set pieces and dramatic events dilutes the emotional impact of the narrative. The original Lion King worked because its conflicts were clear and purposeful, with each danger serving to advance the plot and deepen the emotional connection with the characters. Mufasa, however, overwhelms the audience with spectacle, losing sight of the intimate, heartfelt storytelling that made the original so iconic.
Powerful Voice Performances
The actors’ behind the scenes creativity in Mufasa: The Lion King deserves appreciation because it enriches the characters and the story. Most notably, Mads Mikkelsen appears in the role of the villain, Kiros, whose performance is more than impressive because of his ability to speak ominously. There’s something disturbing about his depiction of Kiros, who is almost like a lion Hannibal Lecter, a depiction that is quite essential in the movie. His voice gives a sparkle of darkness to the character, making him a worthy and remarkable villain.
On the other hand, Aaron Pierre now has the big responsibility of succeeding James Earl Jones, who has been associated with the role of Mufasa for ages. Quite a big ask for Pierre but he weathers this storm with great distinction. Pierre introduces new vigor in the character’s voice composition without undermining the power dynamics that the lion king character exudes as the character rightfully calls for it. In all situations, Pierre’s characterization is both strong and wise which accentuates Mufasa, thus, presenting the audience with a thoughtful tribute of a much-loved character.
The same can be said of Mikkelsen and Pierre as all the other stars in the voice cast are able to insert a bit of themselves while cooking up the characters. Tiffany Boone, Kelvin Harrison Jr., Kagiso Lediga, and Preston Nyman all add value to the film through their unique interpretations of their respective characters. For example, Lediga’s rendition of Rafiki transforms the wise mandrill into a more mischievous character, thereby, enriching Rafiki’s playfulness as well as whimsy in quite a charming setting. Such playful energy creates a pleasant contrast to the more serious tones of the other characters, while also serving to broaden the dramatic range of the performances which is healthy for the film and the plot.
The Music: A Missed Opportunity
Apart from the visuals, Mufasa: The Lion King was fervently awaiting its music with Lin-Manuel Miranda taking over the reigns for new original songs. Miranda is a multi-talented and skilled composer whose talent seems to perfectly conform with Disney’s expectations after Hamilton musical. His style which is a combination of classical Broadway and modern rap should have added some much needed life and vigor to the movie. But unfortunately, in the end, the soundtrack apparently doesn’t meet the requirements. Certainly there are enough replacements for “I Just Can’t Wait to Be King” but the additions might as well be considered as filler material.
Miranda’s ability to portray bright, earnest and playful characters clearly struggles within a darker and more introspective world of director Barry Jenkins. While some of Miranda’s songs are essentially earworms, the songs in Mufasa became a haze and relatively indistinguishable. The result is disheartening considering the people involved relates to Miranda’s Standards and does not in any way do justice to the other props of the film.
The Lion King’s original music by Hans Zimmer is the true score of Mufasa: The Lion King, emotionally through and through. New additions from Miranda certainly disappoint, but the themes of Zimmer’s compositions resonate with greater vigor and emotion. These wonderfully used musical cues provide a sense of reminiscence and gravitas that the film sorely lacked, and they enhance the moments in which they’re employed. The opening sequence where James Earl Jones speaks for the ancestors watching over them and the music played is perhaps the most appealing scene, emotionally, for the film.
A Fractured Legacy
Though the movie is impressive to watch and listen to, Mufasa does not seem to measure up to the impact that its originator was able to achieve. Having been a Disney enthusiast all my life, this makes it hard to not believe that there was more potential in these beloved characters. For example, The Lion King 2: Simba’s Pride is an underrated sequel that went straight to the action. In contrast, Mufasa does not support such a character’s achievements with such epic tales.
The sequence where the film that stars Mufasa tries to expand and explain his origin does not connect emotionally and falls flat as per the expectations. This excess of emphasis on Mufasa’s past causes the film to shift focus from the awe-inspiring emotion-filled scenes that were a hallmark feature of the The Lion King, its predecessor. That too, this attempt fails to capture the magic of the original Lion King.
In trying to change perception about Mufasa, it ends up being desperate to introduce Mufasa. The Lion King’s world transcending legacy fails to be duplicated as the film is not able to merge the best of both worlds. The sequence where Mufasa says to Simba “You must never forget who you are”. But as it appears Disney now seems to have forgotten who they are, which is unfortunate, as they have fallen into the trap of history repeating itself and therefore can’t seem to innovate.
