Mufasa (voiced by Aaron Pierre) in Disney’s live-action MUFASA: THE LION KING. Photo courtesy of Disney. © 2024 Disney Enterprises Inc. All Rights Reserved.
When the magic is lost, can you get it back?
This was the case of 2019’s ‘live action’ version of The Lion King. Although the film was a massive financial windfall, it was derided by critics and fans who felt it was lifeless. Gone was the magic of the original, replaced by a sort of hyper-realism that didn’t seem to fit with a film that includes singing animals. Now, with Mufasa: the Lion King, we are transported back to Pride Rock for a sequel/prequel that, thankfully, greatly improves upon the previous effort with energy and enthusiasm.
Directed by Barry Jenkins, Mufasa: the Lion King frames its story through the eyes of Rafiki (John Kani) as he attempts to pass on the legend to Simba and Nala’s daughter, Kiara. Through flashbacks, we meet Mufasa (Aaron Pierre) as a young cub who is taken from his family. As he floats down the river, he meets Taka (Kelvin Harrison Jr.), a sympathetic lion who brings him into his pride. Growing up as brothers, the two lions forge a deep bond. Yet, that relationship is tested when they find themselves in the crosshairs of the brutal killer Kiros (Mads Mikkelson), a white lion with intention to be the one true lion king.
After 2019’s live action version The Lion King was chastised for its stale performances and blank CGI, Mufasaseems to have addressed these issues well. Without trying to force realism, the animals now show greater expressiveness in their eyes and faces. Strong performances by Kelvin Harrison Jr. and Aaron Pierre make the dynamic between Taka and Mufasa compelling to watch as it unfolds. There’s even a greater sense of whimsy to the film as we’re invited into moments of imagination, as opposed to cold, CGI reality.
And, most importantly, the fun is back.
Unburdened by the legacy of the original classic, Mufasa feels like a story that stands on its own. Yes, there are many nods to the previous film but there’s a playfulness and freedom to this piece that wasn’t present in the 2019 reboot. We already care about these characters because of their legacy but it’s the new material that fleshes them out.
Musically, the film has more bounce as well. By re-teaming with Lin-Manuel Miranda, the new songs have an energy that’s often infectious. While not every song is a hit (‘Milele’ can’t compete with ‘Circle of Life’), tracks such as ‘I Always Wanted a Brother’, ‘Tell Me it’s You’ and ‘Brother Betrayed’ genuinely give life to the film and help its storytelling.
But the most engaging aspect of Mufasa is the way that it keeps the focus on the film’s ‘big three’: Mufasa, Taka & Sarabi. This is the tale of two found-brothers who are attempting to navigate their status as ‘strays’. All three have suffered great losses but all three have found something in their unique community. Together, they are creating a new home where all are welcome as they move towards Milele. (In this way, the film carries comparisons to The Wizard of Oz as well.)
However, Mufasa also wants to explore the meaning of good leadership. Torn between their past and the future, both Mufasa and Taka bear the weight of their family history. For Mufasa, he has been told his whole life that he is not ‘worthy’ of belonging, simply because he was an outsider. As a result, he battles a certain insecurity about his own abilities. Yet Taka’s upbringing takes him on a different path. As the son of royalty, he is raised to believe that power must be maintained at all costs. (“Deception is a tool of a great king,” he’s told.) This tension of worldviews helps drive the wedge between these two brothers creating drama between them, especially as they move slowly towards their inevitable futures.
Admittedly though, Mufasa is far from perfect. As a prequel, there are certain things that need to happen in order for the franchise to make sense. As such, the film’s third act feels bumpy as it attempts to connect the dots with what we already knew about Mufasa’s legacy and leadership. (Its worth noting that this is not an uncommon problem for prequels as there are always certain ‘markers’ that need to be hit in order to line up continuity.) What’s more, there are times where Rafiki’s storytelling becomes jarring as it takes away from the drama that’s playing out onscreen.
But these are also fairly minor quibbles. In the end, Mufasa: the Lion King has far more positives than negatives. The franchise seems to have found its footing again with an engaging and fun story that doesn’t feel out of place. Even with its flaws, Mufasa is a return to form for a franchise that had lost its magic. And, if the time comes to return to the African plains in a third entry, my confidence is restored that these characters can roar once again. Long live the king.
Mufasa: The Lion King is available in theatres on Friday, December 20th, 2024.
