PG, 118 minutes
3 Stars
Review by © Jane Freebury
There’s less hakuna matata on the savannah in the much-loved star-performing Disney franchise this time round. The lion may be king of the jungle but there isn’t much time to stretch out on a rock and laze the day away. Instead of happy-go-lucky musical interludes to celebrate a life free of worries, there are plenty of dynamic, free-flowing action scenes through the terrain beyond Pride Lands, and it all looks spectacular.
This prequel telling the story of Simba’s father, Mufasa, king of Pride Lands who died because of the treachery of his brother, Scar, who believed that he was rightful king. It may have been just backstory, but his life cut short in a wildebeest stampede was surely traumatising for at least some of the young audience. The wonderful bass baritone of James Earl Jones voicing the role made experiencing the loss even more keenly felt. Of course, Mufasa needed a story of his own and is now voiced here in sonorous tones by English actor Aaron Pierre.
Since The Lion King kicked the whole thing off in traditional animation form back in 1994 there has been a stage musical on Broadway, and a photorealistic remake in 2019 that occupies a comfortable position on the list of the most successful movie franchises ever. And more. How will the folks who were kids loving it when it first came out react now they are into their 40s with kids of their own?
Plenty of free-flowing, race and chase action
This prequel that gives Simba’s father a backstory is nothing if not a race and chase movie, with action that begins the moment Mufasa (Braelyn Rankins as the lion cub) has to run for his life during a flood filling the rocky channels and dry riverbeds of the wastelands with churning torrents. The rain has finally come, but Mufasa’s parents are swept away. He nearly drowns too but bobs his way back to dry land downriver.
The floodwaters deposit him in the territory of Obasi (voiced by Lennie James), whose son Taka (Theo Somolu as a cub, and Kelvin Harrison as a young adult) takes a shine to him. I always wanted a brother, he declares, and the two become best of mates even though Mufasa, viewed by a hostile Obasi as a contender, is unwelcome and must spend his time with the females. They are, of course, the ones who do the hunting.
It’s another fateful coincidence in his coming-of-age. Under the guidance of Obasi’s wife, Eshe (Thandiwe Newton), Mufasa absorbs knowledge and learns finely tuned hunting skills that complement his superior speed and strength. He becomes faster and smarter than his adopted brother, with the skills of lionesses a timely addition to his talents. The screenplay by Jeff Nathanson, based on the original Lion King characters created by Linda Woolverton, Irene Mecchi and Jonathan Roberts, makes sure we don’t miss the point here, that the attributes Mufasa will need to become an effective leader include male and female characteristics and strengths.
Could have done with less childhood trauma and more meerkat
In the end, the over-riding impression is of fast-paced action. Though it’s often exciting and well staged, audiences need more to work with than this. So, at nearly two-hours’ running time, there is too little drama for the young audiences it is aimed at to engage with. Let alone enough of the charm we enjoyed in the original. Some of the fantastic songs written by Elton John and Tim Rice for the original are heard again, but music that was so transporting in The Lion King has less of a role here.
This is all rather surprising in a film directed by Barry Jenkins, the Oscar winning writer-director who has made such impressive, atmospheric dramas like Moonlight and If Beale Street Could Talk. Certainly, there is space for more humour too. As though anticipating future perceptions, Timon the meerkat (Billy Eichner) says at one point there should be ‘less childhood trauma and more meerkat’.
The combo of meerkat and warthog (Seth Rogen) are funny and sweet, though short-lived, but Rafiki (John Kani) who frames the action for Mufasa’s little granddaughter and for us, is allowed some presence. We could have done with more of him. As is so often the case, we need more story and more character for the photorealistic visual extravaganza that goes with it.
First published in the Canberra Times on 20 December 2024. Jane’s reviews are also published at Rotten Tomatoes