The ‘mane’ cast just ‘lion’ around.
The Lion King has often been hailed by critics as one of the greatest motion-pictures of all-time, no small feat for a film back when the medium was still deemed by the average moviegoer as ‘just for kids’. Later animated flicks like Toy Story, Shrek, and Spirited Away began to change that perception, but this 1994 Disney feature continued Beauty & The Beast’s Oscar legacy by being the highest grossing 2D animated film of all-time in the United States and spawning two sequels and a Broadway adaptation.
The Lion King was one of my first unforgettable film experiences from my childhood. I remember watching it on VHS; the Elephant Graveyard sequence and the heartbreaking death of Mufasa brought me to tears as a six-year old. I remember my aunty, who watched the film with my siblings and I while babysitting us, desperately trying to cheer us up during the later ‘Hakuna Matata’ number. My dad later watched it on his own and became so enthusiastic about the Swahili expression, that he even wrote the phrase down and made my brother and I memorise the entire song.
This film holds a cherished place in my heart, and I haven’t seen the film in its entirety until now, sixteen years later, and in a theatre with surround sound, no less. Let’s get the most pressing question out of the way first - is the 3D worth the price of admission alone? Honestly, not really. There were a few great moments like the aerial shot of the flying flamingos during the opening sequence, or that iconic image of Scar leaping towards the audience with his claws out. But other than that, the added dimension didn’t really add much to the film, unlike movies like Avatar, How to Train Your Dragon and Legend of the Guardians, which had a lot of high-altitude flight sequences and multiple-planes shots.
But does it still stand the test of time? Unsurprisingly, yes. Unlike many contemporary ‘famliy’ flms like Transformers, Alvin & The Chipmunks, and Hannah Montana: The Movie, which will become dated within the next two months, TLK’s story is timeless, probably because it owes much of its plot to the epic Shakespearean play Hamlet. If you’ve been living under a rock for the past decade, here’s the story in a nutshell: A pride of lions rule an anthropomorphic kingdom of animals in Africa, led by the incumbent king Mufasa. His son, Simba, is next to ascend the throne, but Mufasa’s jealous brother Scar has other plans. There’s political manuevring, a love story, and a sweeping tale of redemption, betrayal, and destiny, all amidst the breathtakingly majestic plains and creatures of Africa.
As an adult, it is a real treat to rediscover a childhood favourite with new eyes. The subtext of Simba and Nala’s innocent game of ‘pinning’ as kids turning into something more as adults. The talented Nathan Lane’s wisecracks, Rowan Atkinson’s pun-laden morning report, or Jeremy Irons’ deliciously sardonic quips. The Zen-like philosophising of Robert Guillaume’s Rafiki. The gravity of change and renewal during the ‘Circle of Life’ exposition by Mufasa or the wildfire/thunderstorm climax.
And of course, the animation. You can tell the animators did their homework - the animals move naturally, whether they’re swinging through the trees, flying through the air, or beating the living daylights out of each other. With the exception of the comic-relief characters, there’s a certain theatrical quality to the acting that is not often seen in most animated movies nowadays, which tend to rely on Chuck Jones-style pose-to-pose movements. Not that the latter’s a bad thing, but the characters’ performance is more restrained and measured than say, Madagascar or Rio. It’s a reflection of a different era which lacks the hyperactivity and manic delivery of modern cartoon characters.
The score by Hans Zimmer is magnificent and evocative. ‘This Land’ was a highlight for me, as it is the musical representation of Simba and Mufasa’s father-son bond, and how that transcends even death. And of course, the catchy-as-heck musical numbers like ‘I Just Can’t Wait to Be King’, ‘Hakuna Matata’, and the evergreen favourite, ‘Can You Feel the Love Tonight’.
Did I mention the cast and crew list is a veritable dream team of animation and acting legends? Chris Sanders, Brenda Chapman, John Lasseter, Ed Catmull, Tim Rice, Elton John, Mark Mancina, James Earl Jones, Matthew Broderick, Whoopi Goldberg, Cheech Marin, and last but not least, Jim Cummings. Of course, I didn’t knew who on Earth these folks were as a kid, but many movies and a tertiary education later, I can now appreciate the immense talent behind this film. It is truly inspiring to see a few of these names with the knowledge that they will later go on to do great things in their subsequent years.
If there’s any criticism I have, is that some modern-day vernacular creeps into the dialogue such as “Jeez” and “fixer-upper”, as well as a few contemporary songs courtesy of Zazu. This might not seem remarkable in a movie where African animals talk in an American accent, but it does break my suspension of disbelief and ‘snap’ me out of the timeless quality of the setting.
In summary, it’s not like I would tell you to avoid this film. This is truly a motion-picture masterpiece that will be cherished for generations to come, and one that I fully admire even now as a grown-up. It was the glorious jewel in Disney’s crown during the Renaissance period, and still stands up to its revival now, despite the redundancy of the 3D conversion. Whether you liked it as a kid, or have never seen it before, or you just happen to be a fan of movies in general, go and see it on the big screen. I would’ve gladly settled for a 2D presentation, but it is just as amazing an experience with the clunky 3D glasses.
Now if you’ll excuse me, I’m off to re-memorise those snappy verses to Timon and Pumbaa’s catchphrase.
