Though I've been unkind to most Disney remakes, I'm hip to Jon Favreau's "The Jungle Book". Let's face it, there have been other adaptations of Rudyard Kipling's classic tale prior to and beyond the studio's exalted cartoon: case in point, Disney '94, live-action edition with Jason Scott Lee.
I'm also hip to Favreau's retelling of "The Lion King" for much the same reason. Whether new or old, "The Lion King" is a retread at heart, stealing shamelessly from "Kimba the White Lion" and "Hamlet". "Lion King" also captures the let's-crush-the-cuteness conflict of "Watership Down", as well as the prophetic power of Arthurian legend, but maybe I'm stretchin' it a tad. All the same, most media-savvy folks would label "Lion King" a fine, royal hodgepodge.
Unlike other recent Disney remakes, the new "Lion King" isn't truly live action. I suspect its redundancy could cause some distress among those desiring actual animals with simulated mouths. No matter how one spins it, "Lion King '19" is another animated endeavor, despite it looking "live". It's also rich in character and breadth and damn it, I do dig its colorful, CGI components, even though (I suppose) I shouldn't.
The top-drawer vocal talent doesn't hurt, either: Donald Glover and JD McCrary as Simba; Beyonce as Nala; Seth Rogan as Pumbaa; Eric Andre as Azizi; Kegan-Michael Key as Kamari; Florence Kasumba as Shenzi; Billy Eicher as Timon; Chiwetel Ejiofor as Uncle Scar; John Kani as Rifki; Alfri Woodard as Sarabi; John Oliver as Zazu; Phil Lamarr as Impala...and sticking to regal tradition, James Earl Jones as King Mufasa.
To fortify the familiar unfurling, Jeff Nathanson's script presents the same, epic setup that Irene Mecchi, Jonathan Roberts and Linda Wooverton offered in '94, albeit with a half hour of padding. At least Nathanson's extensions aren't as superfluous as those of the new "Aladdin" and "Beauty and the Beast". In fact, "Lion King'"s heft holds welcoming virility and ferocity: ideal for essaying the ups and downs of seizing one's rightful crown within that great circle of lion-eat-lion life.
These beefy additives balance well with the movie's intermittent levity. When those beloved, Elton John/Tim Rice songs (along with the Tokens' wondrous "Wimoweh") bounce off Hans Zimmer's reinstated score, the effort feels natural and never overdone, thanks to Favreau's dealt-in-moderation execution.
Impulse inspires me to call this remake the majestic exception to the rule, exceeding its famous foundation on all (or at the very least, most) aesthetic levels. I sure didn't see that coming, but it's made me darn glad and maybe a little more open-minded to future Disney rehashes.
On the other hand, an imprint is an imprint, and just because something hits the right chord at the right moment doesn't make Gus Van Sant-ish tactics acceptable. Will I get that "Lion King" vibe when I catch Disney's live-action "Lady and the Tramp" and/or "The Little Mermaid"? Probably not, but if my chord just so happens to be receptive...
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