The Lion King

This was my third favourite iteration of the beloved, original classic. 

First, of course, is the 1994 original, then the Julie Taylor-directed 1997 musical spectacle, and lastly this 2019 CGI version. 

Technically, the almost-photorealistic, VR/AR and mo-cap technology used here were astounding, but aesthetically, it was highly distracting with its glaring artificiality (for one Pride Rock and the surrounds have absolutely no wind or even a slight breeze?!); emotionally, the near 2-hours film was empty and soul-less, and rode along the goodwill coattails and nostalgic fondness of the original and/or the musical.

There were beautiful still shots interspersed throughout but the obvious directorial choices by Jon Favreau to absolutely minimise showing the animals directly speaking to the camera was annoying, frustrating, distracting and ultimately led to its emotional and dramatic emptiness. 

Narratively, this 2019 film was an amalgamation of the 1994 original and the 1997 musical with some new, original moments (and musical interludes) in this film. The new stuffs mostly worked, especially when it pertained to Pumbaa and Timon, but it also only served to remind how much better the original, traditionally-drawn animation was. 

The less than convincing voice acting by most of the cast, save the indomitable James Earl Jones (reprising his magnificent Musfasa), Chiwetel Ejiofor (adeptly and menacingly taking over from Jeremy Irons), John Oliver (nailed Rowan Atkinson’s hilarious Zazu), Florence Kasumba (scarily terrifying as Shenzi and nowhere as darkly comedic as Whoopi Goldberg), and Billy Eichner and Seth Rogan (Timon and Pumbaa effectively stole their scenes again and effortlessly brought the most laughs), did not help the film at all. 

Musically, the new score by Hans Zimmer was effective but not really memorable; better were the Lebo M’s musical-inspired tracks. 

Elton John’s and Tim Rice’s songs have also been rearranged and it mostly, kind of worked, although - hate to say this - Beyoncé butchered “Can You Feel the Love Tonight” and her new song “Spirit” was out of place both tonally and narratively. Also, the new John and Rice song at the end credits failed to excite. 

This film had so much going for it, especially after Favreau’s success with “The Jungle Book”, but as much as technology has advanced it will still take a lot more years to do perfect a live-action remake of talking, singing and emotionally-resounding animals. 

Now, we dread and await The Little Mermaid and hopefully, James Cameron’s Avatar saga will save the genre.