Why haven’t we heard more acclaim for “Mufasa”? Where’s the excitement and marvel at such an extravaganza of visual accomplishment? Why the snub for an Oscar nomination?
It’s a Disney animation feat of breaking-news magnitude. Its life-like lions have hair so real I desperately wanted to jump on, string my hands into Mufasa’s fur and ride on his gentle back off through the African savannah.
In the beginning, little lion cub Kiara, sweetly voiced by Beyonce’s daughter, Blue Ivy Carter (born 2012), daughter of Simba (Donald Glover) and Nala (Beyonce), is befriended by a red-nosed, blue-cheeked clever old mandrill named Rafiki (John Kani/Kagiso Lediga), a warthog named Pumba (Seth Rogan), and a meercat named Timon (Billy Eichner). They hang out together in a cave while Kiara’s parents are off tending to the birth of a new cub (even though Kiera looks too young for her mother to already be having a newborn). To pass the cub-sitting time, old Rafiki tells little Kiara the adventurous origin of her grandfather, Mufasa.
Rafiki explains that early on little Mufasa was swept away from his parents by a sudden flood (like the tsunami in “Flow”). He is eventually saved from crocodiles in a fast-moving river by Taka (Kelvin Harrison Jr.), a friendly lion club, and his mother, Eshe (Thandiwe Newton). Taka convinces his mother to accept his new friend, but his father, the resident King, refuses – because Mufasa is not of his tribe.
After a race that Taka lets Mufasa win, the King allows Mufasa to live, but not with the guys. He must live with the lionesses. This is a critically ingenious moment by screenplay writer Jeff Nathanson. Because Mufasa must live with the gals and not the guys, he is taught how to hunt, smell, and feel with his heart. Yet, because he is still a guy, his growing strength and size contribute to making him an especially gifted lion.
Soon savagely aggressive white lions, like white colonizers, sweep in to take over the African territory. Taka’s parents tell Mufasa and Taka they must flee. A voyage story, similar to Odysseus’s wanderings, ensues. Mufasa’s Ithaca is sunny Milele, the place his mother always told him about where the sun sets. There he expects to reunite with his parents once again.
He and Taka follow the sun with the help of Rafiki when he was young and his instincts were sharp. They suffer through an ice cold, barren Himalayan-like mountain range and cavort through a dangerous African savannah, both spectacularly depicted like National Geographic specials. Thematically, I am well aware these kingdoms are environments of challenge Mufasa must conquer to attain his potential and ultimate identity, but quietly I wondered, “How did the Himalayans end up in Africa?”
Unity in accepting, appreciating and capitalizing on differences is a major focus. But this concept created an unsolvable problem for screenwriter Nathanson. How are the lion friends going to eat? They are certainly hungry, and they talk about being famished, but all the predators and prey have become friends. Mufasa and Taka, as their manes begin to develop, seem to grow lean and tired, yet they also expend great energy in their travels and feats of battle. How can this happen without food?
So yes, there are parts that are tremendously realistic and make sense, but other parts that miss the mark. There are also moments that would delight a child and others that might be too terrifying, earning it a PG rating. [“The Lion King,” in 1994 was G.] I’ve decided not to show it to my best critic colleague, 6-year-old Eileen, because I think it could give her nightmares.
The best thing about “Mufasa” is the computer-generated imagery and photorealism which encompasses painting, drawing and graphic media. The second-best thing is the acting. The voices that Barry Jenkins directed fit. But like so many high-end animated productions, more attention needed to go to the story.
The Online Film Critics Society (OFCS) voted Jan. 25 and, like with the Oscars, “Mufasa” never even made it into the Top 5 for Best Animation. Since most OFCS critics did not receive a promo screener, it is possible there was a widespread Disney access snafu. This, by the way, is a significant problem encountered for most awards organizations – getting films to qualified voters in time for voting deadlines.
“Mufasa” is certainly better than some of the other Oscar nominees, but the inexplicables and violence in the story detract from its potential.
Credits
Director: Barry Jenkins
Screenplay: Jeff Nathanson
Based on “The Lion King” by Irene Mecchi, Jonathan Roberts, and Linda Woolverton.
Producers: Adele romanski and Mark Ceryak
Voices: Aaron Pierre, Kelvin Harrison Jr., Seth Rogen, Billy Eichner, Tiffany Boone, Donald Glover, Mads Mikkelsen, Thandiwe Newton, Lennie James, Anika Noni Rose, Blue Ivy Carter, Beyonce Knowles-Carter
Cinematographer: James Laxton
Editor: Joi McMillon
Music: Dave Metzger, Nicholas Britell (score), Lin-Manuel Miranda (songs)
Production Company: Walt Disney Pictures
Release: Dec. 20, 2024
How to see: https://www.imdb.com/title/tt13186482/
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