‘Mufasa: The Lion King’ review: Jenkins delivers stronger film than 2019 remake
“Mufasa: The Lion King” roars in a way its predecessor couldn’t.
In theaters this week, this second live-action-meets-photorealistic-animation adventure tells an original story, whereas 2019’s “The Lion King” was a highly faithful update of the 1994 animated Disney classic.
Directed by acclaimed filmmaker Barry Jenkins, “Mufasa” is a visual wonder — it shows improvements in the technology behind it that have occurred in just half a decade — that crackles with life and courses with emotion.
On the other hand, it is, essentially, a prequel to “The Lion King,” so we largely know where the story is heading, even if the screenplay by Jeff Nathanson tells that story well.
“Mufasa” also is part sequel, the tale beginning with the adult king of the Pride Lands, Simba (voiced again by Donald Glover), and his queen, Nala (a likewise returning Beyoncé Knowles), ruling during a happy and peaceful time for the animals who live among them and continuing to celebrate “the circle of life.” Simba and Nala are the proud parents of daughter Kiara (Blue Ivy Carter, the daughter of Knowles and her husband, fellow music superstar Jay-Z), who is working on being brave in the face of things such as a coming storm.
Before the king and queen venture off on a bit of important business, Simba charges old pals Pumbaa (Seth Rogen) and Timon (Billy Eichner) — who see themselves as the royal security detail — with keeping an eye on and entertaining the princess while they are away. Although Pumbaa and Timon act offended by being relegated to “babysitting” duty, they put their backs into offering her a tale in the time the warthog-and-meerkat pair defeated the evil lion Scar.
Not a fan of this slice of revisionist history, primate shaman Rafiki (John Kani) takes over storytelling duty to weave a fact-based narrative, that of Simba’s father: late, great lion king Mufasa. (The film is presented in remembrance of the iconic James Earl Jones, the deep-voiced actor who brought such memorable life to Mufasa in both screen versions of “The Lion King” and who died in September.)
This origin story sees a young Mufasa (voiced as a cub by Cleveland native Braelyn Rankins), taken away from his loving parents by a raging river and found by another cub, Taka (Theo Somolu). The latter has always wanted a brother and lets Mufasa win a race that allows the latter to stay with his family.
However, because Taka’s father, Obasi (Lennie James), the king of this pride, has no love for “strays,” he insists Mufasa stay among the females.
Fortunately for Mufasa, Taka’s mother, Eshe (Thandiwe Newton), is loving toward him and recognizes his gift for perceiving what’s happening in the world around him, an ability other males typically fail to possess.
When Mufasa and Taka are a bit older (and voiced, respectively, by Aaron Pierre and Kelvin Harrison Jr.), the pride is threatened by another — a group of ambitious white lions led by a power-hungry king, Kiros (Mads Mikkelsen).
“The ‘circle of life’ is a prettier way of saying ‘predators and prey,’” the menacing Kiros states at one point.
Faced with the likely defeat of his pride and desperate to preserve his bloodline, Obasi sends Taka and Mufasa away, insisting the latter pledge his loyalty to the former and protect him.
Along their often-harrowing quest to find a safe home — the legendary Milele — the lion brothers make new friends: Rafiki; Sarabi (Tiffany Boone), a confident and initially independent lioness also separated from her pride; and her scout, Zazu, an African red-billed hornbill (Preston Nyman).
Unfortunately, Taka’s attraction to Sarabi, which she may not share, threatens the safety of the group as they are pursued by Kiros’ cunning minions.
Yes, if you’re familiar with the well-worn story of “The Lion King,” you will know where this is all going. Nathanson, another returnee from “The Lion King,” has a little fun with this, with Pumba and Timon hinting that they know who Taka will become … even if Pumba seems to think, for some reason, that it’s himself. (More self-aware fun involves Timon worrying about getting “letters from legal” if they continue singing the parody song “Hakuna Mufasa” and references to “the play,” the acclaimed, puppet-filled stage musical “The Lion King.”)
Sticking with the subject of the filmmakers, Jenkins (“Moonlight,” “If Beale Street Could Talk”) is a huge get, the director infusing “Mufasa” with more creativity and artistry than Jon Favreau managed with “The Lion King.”
Another heavy hitter involved with the production is Lin-Manuel Miranda, the musical genius behind “Hamilton,” who also contributed original songs to 2016 animated Disney hit “Moana.” Suggesting that he’s actually human, most of the small handful of songs he’s penned for this film are merely good, with numbers such as the Mufasa-Taka duet “I Always Wanted a Brother” and the Kiros-led “Bye Bye” fitting tonally within the world of “The Lion King.” However, even the strongest song, the lovely Mufasa-Sarabi duet “Tell Me It’s You,” doesn’t rise to the level of the best songs from the original by Elton John and Tim Rice.
The voice work is, as you’d expect, excellent across the board, but that of the compelling Pierre (“Rebel Ridge”) is worth that extra shout-out. He has stepped confidently into the (cough) mane role and nicely filled some rather big shoes.
A few flaws aside, “Mufasa” is a worthwhile celebration, not just of the legacy of “The Lion King” but of the value of working together and sharing the world and all it has to offer.
Makes you want to sing “Hakuna Mafasa,” er, “Hakuna Matata,” doesn’t it?
‘Mufasa: The Lion King’
Where: Theaters.
When: Dec. 20.
Rated: PG for action/violence, peril and some thematic elements.
Runtime: 1 hour, 48 minutes.
Stars (of four): 3.5.