‘Mufasa: The Lion King’ Review: If Real Beasts Could Talk … Barry Jenkins Pushes Virtual Performances in Impactful Origin Story

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As a film critic who has spent years analyzing the intricacies of animated features, I must say that “Mufasa” is a remarkable addition to Disney’s ever-expanding universe. This movie not only pays homage to the original 1994 classic but also manages to carve its own unique path, much like how Mufasa navigates through the African landscape.

At the beginning of “The Lion King,” the charming but indulged African prince Simba roams his father Mufasa’s territories, teasing potential subjects with the tune “I Just Can’t Wait to Be King.” In theater lingo, it’s a well-known “I want” song, expressing what’s on the character’s mind during this stage of the movie. The events of tragedy, exile, love, and responsibility later transform this carefree cub into a deserving heir to the throne.

Fast forward to the prequel of “The Lion King” titled “Mufasa: The Lion King,” directed by Barry Jenkins, who’s known for movies like “Moonlight.” Here, we find Mufasa in a contrasting state of mind. In no time, the scene shifts from him being a future king to losing his parents in a tragic flood that displaces him far from home and into an unfamiliar pride’s territory. Instead of being recognized as royalty, he is viewed as an outsider and perceived as a potential danger to their current power structure.

King Obasi (Lennie James) and his son Taka (Kelvin Harrison Jr.) can rest easy knowing that the weary newcomer harbors no royal aspirations. If young Mufasa had a solo, it could be titled “Being a King Is the Least I Desire,” which is ironically the trait that will make him an exceptional king when the need arises.

In contrast to Jon Favreau’s 2019 remake of “The Lion King”, which was more stylized but not necessarily “cartoony”, Jenkins’ portrayal of Mufasa provides a deeper insight into the respected father figure, whose voice as James Earl Jones once boomed with authority saying, “Remember who you are”. (The film starts with a tribute to the late “The Great White Hope” star, who passed away in September.)

In this production, Braelyn Rankins portrays Mufasa as a cub initially, while Aaron Pierre takes over in his adolescent years. Neither actor matches the vocal prowess of James Earl Jones, but it would be challenging for anyone to do so given that Mufasa is not yet the wise old leader at this stage. Instead, director Caleb McLaughlin and returning screenwriter Jeff Nathanson have envisioned a more humble version of Mufasa, one who embodies heroism instinctively rather than exuding confidence. As a result, Rankins and Pierre must convey a sense of doubt that was absent in Jones’ original performance.

Instead of trying to improve something that’s already working well, the movie starts with a scene similar to “Circle of Life,” where various animal species come together to honor the birth of Simba’s daughter, Kiara (portrayed by Blue Ivy Carter, Beyoncé’s child). It’s likely that Kiara will have her own story told in future films. In this way, “Mufasa” serves two purposes: it deepens the emotional aspect of the original tale and sets the stage for potential sequels.

Jenkins introduces Timon (portrayed by Billy Eichner) and Pumbaa (Seth Rogen), Simba’s unrefined companions, in the current timeline. Rafiki, the wise mandrill resembling Yoda, serves as narrator, sharing his story that predates his encounter with Mufasa. Throughout the tale, Timon and Pumbaa interject humorously at various points, offering comic relief with their quips about lawyers, script adjustments, and a popular song they believe everyone is tired of (although only Disney workers and parents driving carpool karaoke feel that way about the slightly altered version titled “Hakuna Mufasa” in this film).

The narrative structure seems somewhat misplaced, primarily serving to postpone and disrupt the central focus, which is the backstory of Mufasa. Prior to the tragic loss of his parents, Mufasa discovers a utopia called Malele, a place that will serve as the ultimate destination for a transcontinental voyage in search of a new home. However, before embarking on this journey, Mufasa must earn the allegiance of numerous characters, including Taka (Kelvin Harrison Jr.), who is also a cub and next in line to rule in the land where he arrives.

Immediately after their first encounter, Taka rescues Mufasa by clawing him gently and flinging him to safety. This act earns Mufasa’s lifelong loyalty from the stranger. Meanwhile, Taka’s father, Obasi (Lennie James), views Mufasa with mistrust, instructing him to live among the lionesses. Unfortunately, this arrangement separates the two cubs, who view each other as the brothers they never knew they had. As the movie’s “I want” song plays, we hear: “I Always Wanted a Brother.

In a stark contrast to Simba’s upbringing as an only child, Mufasa’s character in “The Lion King” is given a refreshing depth to delve into. The “Lion King” series (including “The Lion King II: Simba’s Pride,” which focuses on Kiara) heavily emphasizes the concept of destiny. We are already aware of Mufasa’s end, and we speculate about Taka, though the final revelation still caught the little boy next to me off guard. Despite standing independently, Nathanson skillfully links this fresh storyline with characters and details from the initial movie.

The script is rich with subtle connections to previous events. It introduces Simba’s mother, Sarabi (played by Tiffany Boone), as a skilled hunter, reveals Rafiki’s background, and even shows the creation of Pride Rock. Just like “Wicked” (where characters from the first act are integrated into the well-known “Wizard of Oz” storyline in its second act) or “National Treasure” (which offers an imaginative explanation for the Liberty Bell’s crack), these ties to established intellectual properties delight audiences, especially when they are unexpected.

Lately, Disney movies have been trying to move away from typical villains or even omitting them entirely, as seen in “Encanto” and “Raya and the Last Dragon.” However, “Mufasa” deviates from this trend, similar to how Scar was portrayed, by introducing the ruthless Kiros (played by Mads Mikkelsen), leader of a group of outcast “white lions” (interpret that as you wish). In Jenkins’ film, there are moments of intense violence, though the PG rating likely explains why all on-screen deaths occur off-camera.

Mufasa” may seem like an unexpected direction for Jenkins, given the broad reach of his recent work such as the Prime miniseries “The Underground Railroad.” However, it’s evident that Jenkins’ artistic and cultural authenticity is still apparent in virtually every decision he makes. Jenkins hasn’t compromised his principles; instead, the studio has embraced his vision, one that honors the original 1994 film and acknowledges the impact its role models and lessons have had on young viewers.

Despite the technical brilliance displayed by the computer-animated characters, one can’t help but feel a longing for the hand-drawn technique used in the original that lent it such charm. Instead of perfecting Favreau’s pseudo-live-action style, Jenkins might have opted for it. In the 2019 film, every scene was crafted to appear photorealistic, much like a Richard Attenborough-style nature documentary. Jenkins demands greater subtlety and emotional depth from the virtual animals’ facial expressions, which enables us to empathize with their feelings, albeit pushing them towards the uncanny valley – particularly when they speak or sing. (If you can, watch “Mufasa” in 3D stereoscopic as it minimizes the somewhat artificial look of traditional projection. Although animation is timeless, I worry that this style may not hold up over time.)

Whereas Elton John’s music translated brilliantly to Broadway, the studio has since moved away from traditional show tunes in favor of Lin-Manuel Miranda’s motormouthed lyricism (listen to how the “Hamilton” creator compresses the words “no other animal” in the first line of the sibling song). Still, Miranda’s talents remain an odd match for Disney, leaving Lebo M — a vocalist from the first movie — to elevate the soundtrack once again, reinforcing the connection to Zulu rhythms and chants.

Despite Disney putting forward the mentioned duets for Oscar nomination, the standout song is actually a group number titled “We Go Together,” inspired by an African proverb: “If you wish to travel swiftly, go solo; however, if your goal is distance… ” Throughout the movie, Mufasa’s struggles closely resemble those that Simba will later face. The film emphasizes Mufasa’s humility rather than his power. While his empowering self-belief was crucial in the original storyline, in this version, he imparts a contemporary message: the importance of unity and treating one’s subjects with respect.

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2024-12-17 20:17