Star Rating: 5/5
Many argue (and not without justification) that the re-release of old Disney films in 3D is simply a scam to make more money. Well, whether true or not, the magnificent 1994 The Lion King is fully worth paying to see again. (Warning, this review contains spoilers.)
The movie starts with the presentation of the birth of Simba, the future King of Pride Rock. From early on, cheeky young Simba (voiced by Jonathan Taylor Thomas) learns from his father, King Mufasa (voiced by James Earl Jones – Star Wars IV-VI, Criminal Intent, The Lion King II: Simba’s Pride), about the circle of life and how to become a responsible king. Simultaneously, Scar (voiced by Jeremy Irons – The Man In The Iron Mask, The Borgias, The Words), Mufasa’s younger brother and Simba’s uncle, secretly plots to kill both Mufasa and Simba. Using his three main hyena henchmen, Shenzi (voiced by Whoopi Goldberg – Sister Act I & II, For Coloured Girls, The Muppets), Banzai (voiced by Cheech Marin – From Dusk Til Dawn, Cars I & II, Machete) and Ed (voiced Jim Cummings – Aladdin I-III, Hercules, Zambezio), Scar intends to usurp the throne.
He half succeeds. Scar kills Mufasa, but Simba escapes, fleeing into exile. There, Simba meets a Meerkat, called Timon (voiced by Nathan Lane – The Producers, Stuart Little I & II, The English Teacher), and a Warthog, called Pumba (voiced by Ernie Sabella – The Lion King II & III, Listen To Your Heart). Simba grows up with them and enjoys life, forgetting that he is meant to be ruling the now-ravaged plains of Pride Rock. It is only when Nala (when young, voiced by Niketa Calame; when adult, voiced by Moira Kelly – The Lion King II: Simba’s Pride, Dangerous Beauty, One Tree Hill), Simba’s childhood friend, and Rafiki (Robert Guillaume – The Lion King II: Simba’s Pride), a wise baboon and an old family friend, find him that Simba realises that he must return to the Pride Lands and fight his uncle for the kingdom.
The Lion King’s storyline is easy to follow and gripping. Ostensibly for children, adults can like the movie just as much. (If not even more!) Whilst children may enjoy the sing-along-songs and the funny Timon and Pumba; adults can appreciate the intelligent, wry humour (not to mention how appalling some of Timon’s jokes are), as well as the satire in the film, such as Scar’s Hitler-like moment when he’s standing on a podium addressing his army of goose-step marching hyenas.
Adults and children may get pleasure from different aspects of the film; yet, everyone can equally be enamoured with the movie’s beautiful music, composed by Hans Zimmer (Gladiator, Pirates of the Caribbean I-IV, The Dark Knight Rises). Much of the film adopts Zulu-style music, which is not only apt for the setting (after-all, The Lion King is based in South Africa), it enriches every scene wonderfully.
The music, though, would not have the same impact if the characters and the dialogue were not so well defined, written and articulated. All the characters have great depth, from the cunning, forked-tongued, yet cowardly Scar (that he is such an offhandedly sinister villain, rather than a pantomime one gives him an added chilling dimension); to the mischievous-cum-deferent-cum-bold Simba; to the stupid, moaning hyenas; to the funny but sensitive Pumba, to mention four of many.
The fine brilliance of the music and the dialogue is epitomised in the scene following Mufasa’s death. Seldom in Disney films (where death is surprisingly common) have audiences, in general, been reduced to tears. The empathy one has for Simba at that point is heart-breaking. That this is followed by Scar wickedly manipulating the situation to his advantage (as intelligent, psychopathic leaders always do) makes the dosage so much more potent. Since this scene, perhaps only the ending to the excellent Toy Story 3 has come close to making viewers feel the same way again, and for very different reasons.
The music and the dialogue in The Lion King has rightly been praised. Likewise, although it’s easily missed, should the expressions of the characters. Since the majority of the characters are not human-like, since they don’t have arms and legs, the producers/artists had to rely on the characters’ body-language and body-movements to make up for it. Indeed, the way each character moves is indicative of his/her personality and circumstance at any given point. For instance, mischievous little Simba walks (struts) very differently to when he is guilt-riddled in exile. The producers/artists should justifiably take credit for this, as it gives the characters greater subtlety and complexity.
Similarly, the hard work that the producers/artists put into the graphics should also be recognised. 2011 viewers may find the graphics antiquated or unsatisfactory. If this is the case, it is most unfair. One has to remember that this film was initially released in the pre-Pixar era, at the time of Beauty & The Beast (1991) and Aladdin (1992), meaning one cannot compare the results of today’s technology with those of the early 1990s. And irrespective of the relative backwardness of the graphics, The Lion King has been converted magnificently into 3D. Unlike recent animations like Rio or The Legend of the Guardians: The Owls of Ga’Hoole, the 3D here makes a difference to the extent of making The Lion King spell-binding; especially, during the fight between Simba and Scar at the end.
All-in-all, The Lion King is a Disney classic for many reasons. Bringing it back to the cinemas in 3D may be a ploy to make more money, but one should see it anyway and treasure this encapsulating masterpiece once again.