REVIEW: "Mufasa: The Lion King" (2024)


WRITER'S NOTE: The following was originally posted on my Facebook page on December 27, 2024. 

In an endless parade of live-action remakes of beloved animated Disney classics (many of them easy cash-grabs), now comes a prequel to the 2019 take on The Lion King. But while its predecessor was basically a shot-for-shot remake of its traditionally animated counterpart, this 2024 release offers something more original and engaging, focusing on the backstory of the titular king of the Pride Lands. 

Trailers for this film made me wonder how director Barry Jenkins would bring his trademark filmmaking that he established with projects like Moonlight and If Beale Street Could Talk into a digital environment with photo-realistically-rendered animals. Here, the skilled auteur emphasizes family dynamics, especially relationships between (adoptive) brothers; perspectives and definitions of “outsiders”; examples of leadership, both good and bad (“To be a true king, he has to earn it”); a love triangle that causes a rift; and discussions—even Biblical allegories—of a heavenly paradise, all thoroughly rooted in African culture. 

Mufasa does sort of retcon the backstory of Mufasa, how he and Scar were/became brothers, their jealousy and betrayal, and how they went their separate ways before Simba was born. (Transformers One wasn’t the only 2024 tentpole with Shakespearean undertones.) A friend of mine, on the other hand, took issue with the fact that Mufasa would be portrayed as an orphan instead of coming from a royal bloodline. This is all intercut with a present-day subplot, where the wise baboon Rafiki (voiced by John Kani) tells Mufasa’s story to Simba and Nala’s daughter Kiara (voiced by Blue Ivy Carter, in her first film role), as well as Timon and Pumbaa (voiced by Billy Eichner and Seth Rogen). 

Part of what makes Mufasa work are the incredible vocal performances, including Aaron Pierre (Mufasa), Kelvin Harrison Jr. (Taka, who would become Scar), Mads Mikkellsen (as the menacing Kiros), Anika Noni Rose (Afia, Mufasa’s mother), Thandiwe Newton (Eshe, Taka’s mother and Mufasa’s adoptive mother), and Tiffany Boone (Sarabi). The visual effects artists even give the characters more defined facial expressions that were absent in the 2019 blockbuster. Jenkins has recently spoken out about how he much prefers live-action filmmaking over this. Yet, I can only imagine that working with the actors in the sound booth was one of his favorite parts of the filmmaking process here. 

Mufasa marks Lin-Manuel Miranda’s third contribution to a Disney feature (after 2021’s original Encanto and 2023’s live-action Little Mermaid); four if you count his supporting acting role in 2012’s Timothy Green. His infectious collection of tunes includes the profound “Milele” and the romantic “Tell Me It’s You.” There’s also new music by Lebo M., the legendary voice that opens the 1994 original—and this new film (with the track, “Ngonso”)—spectacularly. 

The thing is, as breathtaking as the world is, as rich as the performances are, as original as the music is, and as fitting as the opening dedication to late actor James Earl Jones is, things happen so fast that there’s very little room for the story to breathe. I think it could have benefitted from some more quiet moments and further character investment. And a few editing improvements, for that matter.  

Nevertheless, I do think this may be the best Lion King entry since the Shakespearean original, as well as 2003’s underrated, Rosencrantz & Guildenstern-esque mid-quel The Lion King 1 1/2. And it deserves accolades for its more original approach (including its new songs), for its visuals, for its dynamic voice cast, and for looking to the stars/skies. In the aforementioned parade of live-action Disney remakes, Mufasa is potentially exceptional. It roars. 

#filmfreeq #bekerianreviews #21stcenturycinema #disney #barryjenkins #mufasathelionking2024

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