Mufasa is a princely improvement, but still no match for the original King
The 2019 photorealistic remake of the 1994 classic The Lion King was a global box office sensation, but lacked the joy, energy, and instantly-memorable character portrayals of the original. When Oscar winner Barry Jenkins (Moonlight) announced he’d be directing a follow-up to the 2019 film, the choice seemed a peculiar one for the accomplished filmmaker. Upon watching Mufasa: The Lion King, however, we can clearly see (and feel) that Jenkins cared passionately about the thematic elements of the proposed prequel. Combined with original songs by Lin-Manuel Miranda and improved character designs, Mufasa: The Lion King is a superior follow-up to the 2019 film, even if it still fails to break new ground in any meaningful way.
Mufasa: The Lion King plays mostly as a prequel, though it’s narrated by “present day” Rafiki (John Kani) in a handful of interspersed scenes to Kiara (Blue Ivy Carter), the daughter of Simba and Nala, and returning comic duo Timon (Billy Eichner) and Pumba (Seth Rogen). The story follows the young Mufasa from cub to young lion (Aaron Pierre), starting when he was orphaned and became brothers with another young lion, Taka (Kelvin Harrison Jr.), who was in line to become king of his respective pride. A group of outsider white lions, led by Kiros (Mads Mikkelsen), threaten to take over all prides they encounter and intend to sever any lingering royal bloodlines. Mufasa and Taka end up on the run from the outsiders in the direction of “Milele,” a oft-mentioned lush paradise of legends.
The character designs are the most noticeable improvement from 2019’s The Lion King. The previous film was so interested in its photorealism that the filmmakers forgot that the characters need to emote to be engaging to audiences. The result was an odd-toned, slowed-down replica of the 1994 original. Mufasa, on the other paw, allows its characters a wider range of expressions, even if they subsequently appear more cartoonish and less realistic. The benefit of faster pacing and speedier dialogue gives the film a fun and energetic feel. The original songs by Lin-Manuel Miranda also give the film bursts of energy. While they’re not nearly as immediately catchy as The Lion King melodious classics like “Circle of Life”, “Hakuna Matata”, “Be Prepared” (which the 2019 film completely butchered), and “Can You Feel the Love Tonight?” … Come to think of it, none of the new songs are as good as any one of the old songs. Yet, the new songs are animated brilliantly, carry the plot forward, and are worth multiple listens. That is, if you can get past the continuously jarring fake-British accented pronunciation of “brother” as “brathaaa” in the song, “I Always Wanted a Brother.”
Let’s circle back to why Jenkins wanted to helm this project to begin with. Mufasa: The Lion King is more about mysticism, bloodlines, and the duality of brotherhood than the previous films. In Jenkins’s other films, like Moonlight and If Beale Street Could Talk, he explores the complex relationships between individuals in broken families and how redemptive arcs can be sought within nurturing communities. In Mufasa, he’s also able to explore these ideas while keeping the unfolding plot on par with traditional Disney storytelling contrivances so kids don’t get bored. I wish Jenkins took more risks in Mufasa. That isn’t to suggest the film isn’t entertaining or without merit. It is a substantial improvement upon the 2019 film. We just shouldn’t expect Mufasa to capture the hearts of a generation like 1994’s The Lion King, or for the Mufasa soundtrack to supplant the top Lin-Manuel Miranda music being listened to in homes (that’s still the Moana soundtrack).
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Mufasa: The Lion King opens in theaters on Friday, December 20th.
