The Lion King

Tags

1990's, Animated, Cheech Marin, Disney, Ernie Sabella, James Earl Jones, Jeremy Irons, Jonathan Taylor Thomas, Matthew Broderick, Moira Kelly, Nathan Lane, Rowan Atkinson, The Lion King, Whoopi Goldberg

Film Title

The Lion King

Directors

Roger Allers and Rob Minkoff

Voice Cast

• Matthew Broderick as Simba
• Jeremy Irons as Scar
• James Earl Jones as Mufasa
• Jonathan Taylor Thomas as Young Simba
• Moira Kelly as Nala
• Nathan Lane as Timon
• Ernie Sabella as Pumbaa
• Whoopi Goldberg as Shenzi
• Cheech Marin as Banzai
• Rowan Atkinson as Zazu

Emotionally stirring, handsomely drawn and beautifully voiced, The Lion King is a staggering achievement in storytelling and scope and stands as one of my favourite movies.

In the wild plains of Africa, a young lion cub is born to the King Mufasa and given the name Simba. One day, young Simba will rule over the animal kingdom. The birth of Simba begins to stir jealous emotions within Mufasa’s brother Scar, who has always wanted to be king but is now knocked down a place. The wise Mufasa teaches Simba about life and its many dangers, but the young cub is very rebellious and prone to trouble with his best friend Nala. Meanwhile, Scar has created a plan that will plant him on the throne. He puts this in motion by having his loyal hyena minions to create a stampede that will endanger Simba. Mufasa comes to his son’s rescue, but is killed by the evil Scar. The conniving and power-hungry Scar then makes Simba believe that he was responsible for his father’s death, causing him to flee into the wild. Scar then ceases power as ruler, while Simba runs away in exile. In the wild, Simba makes friends with double act meerkat Timon and warthog Pumbaa. The two animals take Simba under their wing and raise him. Simba learns of a carefree life with the help of Timon and Pumbaa and grows up into an adult lion. But then he comes across Nala, who has grown up and searching for help. Scar has started a rule of tyranny that has left the entire kingdom in danger. At first Simba is reluctant to return, but slowly he begins to see, through the guidance of Nala and shaman Rafiki that he is meant to be king and rightfully take his place as ruler by overthrowing cruel Scar.

From the very first frame of The Lion King, you know you’re in for an amazing experience. The animation is lively, stunning and vibrant as is to be expected of Disney. From the opening in which the animals rejoice at the birth of Simba to Simba’s vision of his father that causes him to return, the beauty and clarity of The Lion King is hard to match. The songs throughout this film are a real treat, in particular Timon and Pumbaa’s paean to forgetting cares in ‘Hakuna Matata’, the stunning opening number ‘Circle of Life’ and the romantic ‘Can You Feel the Love Tonight’ in which we see the blossoming love shared between Simba and Nala. This is truly an inspired musical score that resonates with everyone in some way. I love how The Lion King can be enjoyed by everyone, and also contain many lessons for life. Chief among these is finding one’s place in the world, which Simba goes through after the death of his father. There’s something of a coming of age tale within The Lion King that is perfectly balanced with emotions, laughs and music. I can’t wax lyrical enough about how well-constructed this movie is and how it can speak to all of us in different capacities and on many levels. The characters are so memorable and well thought out, with even the smallest role being full of presence. Special mention must go to the mandrill Rafiki, who watches Simba’s journey and provides a lot of insight into accepting oneself.

A consummate collection of voices add loving depth and strength to the characters. Matthew Broderick excellently voices Simba as an adult, having to find his place in the world and reclaim his birthright. The distinctive voice of Jeremy Irons fits the jealous and deeply evil Scar like a glove, with every condescending comment and angry growl well suited to the villainous part. Reverberating with paternal strength and wisdom, James Earl Jones provides the voice for the great king Mufasa, who teaches Simba the circle of life and how he is a big part of it. Jonathan Taylor Thomas has that youthful exuberance and energy that is just right for the part of Young Simba, while Moira Kelly’s sagacious voice provides quiet power as Nala. Nathan Lane and Ernie Sabella provides barrels of laughter as Timon and Pumbaa, with their quick comic timing and playing off one another. Whoopi Goldberg and Cheech Marin voice two of Scar’s loyal hyenas, who also provide humorous escapades. Rounding out the voices is Rowan Atkinson as Zazu, the hornbill and loyal subject of Mufasa.

I guess all I really have left to say about The Lion King is that it’s stunningly rendered and all-encompassing in its power and impact.

 

Mirror, Mirror

Tags

2010's, Armie Hammer, Comedy, Fantasy, Julia Roberts, Lily Collins, Mirror Mirror, Nathan Lane, Sean Bean, Tarsem Singh

Film Title

Mirror, Mirror

Director

Tarsem Singh

Starring

• Lily Collins as Snow White
• Julia Roberts as The Queen
• Armie Hammer as Prince Alcott
• Nathan Lane as Brighton
• Sean Bean as The King

A visually splendid but somewhat lacking retelling of the Snow White fairy tale, Mirror, Mirror is opulent to look at but not a wholly successful update. It is a movie of both positives and negatives, yet this comedy/fantasy still leaves you somewhat deflated after watching.

Once upon a time, we see that a young princess by the name of Snow White was born, though her mother died in childbirth. Her grieving father the King married a most beautiful woman, before he mysteriously vanished in the dark forest and was presumed dead. The beautiful yet insecure Queen takes guardianship over Snow White and began to show her true colours by locking her away from the outside world out of fear that her beauty will outshine hers. Her reasoning for this is her magic mirror, which informs her that her beauty will be surpassed by Snow White. The envious Queen has also left the kingdom destitute as a result of her increasing vanity. She is advised to seek out a rich husband and she finds an ideal candidate in the form of the hapless but dashing Prince Alcott. The problem is that he is besotted with the beautiful and innocent Snow White. Enraged, she sends her servant Brighton out into the forest to kill her. Brighton can’t go through with it and lets the young girl escape deep into the forest. There she is taken in by a group of dwarf bandits, who steal what they can from people crossing through the woods. Exiled by the Queen, the seven bandits begin to teach Snow White the tricks of their trade, helping her to grow stronger in order for her to take back the throne that is rightfully hers by birth before the evil Queen can bewitch Prince Alcott into marrying her.

Director Tarsem Singh brings his usual control over splendid visuals and wonderous imagery to the table in Mirror, Mirror. It must be said that the sets are spectacular to look at and the costume design is simply breathtaking in its extravagance. Yet visuals and style are not enough to make Mirror, Mirror a film of originality or power. The jaunty tone of the film is something of a double-edged sword; in certain instances the anachronistic approach works excellently and allows for a lot of laughs. But other times it spills over into the realms of juvenile ridiculousness that is just too unbelievable to take seriously. Just like Into the Woods, I didn’t mind the occasional bending of classic stories. As a matter of fact, many of these switch ups where quite enjoyable, particularly making the seven dwarfs bandits. But at times, Mirror, Mirror just strayed too far over the line of keeping it classic but with added twists that are needless. There’s just something missing here that I can’t put my finger on. The same can’t be said about the score which contributes lively glee and carefree spirit to the uneven film.

Thankfully most of the acting can rise above the flaws of the movie and be very enjoyable. Lily Collins possesses the porcelain beauty and winsome charm for Snow White, but manages to give her a plucky attitude later on and show that she is no mere damsel in distress. The character could have easily been the fawning and helpless princess we are used to seeing, but Collins radiates something different with her version of Snow White. Julia Roberts sinks her teeth into her role as the evil Queen, displaying her insecurity and catty remarks to others with the aplomb of a supreme bitch. Roberts is having a great time here and makes the most of the part, at least managing to give the audience something to laugh about during the course of the movie. The standout performance in Mirror, Mirror comes from Armie Hammer. I liked how he didn’t take himself to seriously here and how he gave Prince Alcott a goofball charm, a penchant for walking into trouble and a certain silliness. He is the prince of the narrative, but the fact that he isn’t the main hero and is often quite hapless in a fight was really funny to view. Nathan Lane is suitably hilarious as Brighton, the Queen’s lap dog who often finds himself in over his head but Sean Bean is wasted in the small role as Snow White’s father. I must give compliments to the actors playing the dwarfs as they really do have a great repertoire with each other and help give Mirror, Mirror some charm that it desperately needs.

So all in all, Mirror, Mirror is a visually dazzling and handsomely designed take on a fairy tale. But that’s all it really is, save for some impressive performances and tweaks to the traditional Snow White narrative.

 

Frankie and Johnny

Tags

1990's, Al Pacino, Comedy, Drama, Frankie and Johnny, Garry Marshall, Hector Elizondo, Kate Nelligan, Michelle Pfeiffer, Nathan Lane, Romance

Film Title

Frankie and Johnny

Director

Garry Marshall

Cast

• Al Pacino as Johnny
• Michelle Pfeiffer as Frankie
• Hector Elizondo as Nick
• Nathan Lane as Tim
• Kate Nelligan as Cora
• Jane Morris as Nedda

A funny and often touching tale of two people falling hesitantly in love, Frankie and Johnny is a romantic comedy drama boasting great performances and a poignant screenplay that pierces to the heart of the meaning of love for different people.

Johnny is a middle-aged men who has just been released from prison. He has an exceptional talent for cooking and whilst searching for a job is hired by Nick, the Greek owner of a busy diner in Manhattan. It is here that Johnny first lays eyes upon Frankie, a plain waitress who tries to keep emotional attachments at arm’s length. He is immediately smitten and tries to woo the distant Frankie, finding it will be a hard task to convince her that love exists as she seems to turn him down every time he tries to express himself. Through his relentless pursuit of her, he gradually gets her to emerge from her shell and speak of why she doesn’t like attachment. Prepare for funny and soul-searching moments as they gradually see the good in each other in this warm, romantic comedy.

As the happy, hungry for life Johnny, Al Pacino shows a flair for comedy as we watch his various declarations of love met with a no. He has excellent chemistry with Michelle Pfeiffer, and provides their scenes with a dramatic and tender charm. At the time of the film’s release, much was made by critics of Michelle Pfeiffer being “too pretty” for the role of the lonely and forlorn Frankie. Yet I disagree, as she adeptly rises to the challenge and creates a beautifully touching performance, filled with a dejected melancholy and vulnerability that eventually gives way to hope. Standout’s from the supporting cast include Hector Elizondo as the manager of the diner, Nathan Lane as Frankie’s gay neighbour who wants the best for his close friend and Kate Nelligan as the sassy, gum-chewing waitress Cora, whose discussions with Frankie regarding men are hysterical to watch. Garry Marshall manages to sidestep some of the usual formula involved in romantic comedies to form a tender love story that will make you laugh but touch your heart deeply, sometimes at the same time. Adapting from his own play, Terrence McNally fills the film with comedic and equally insights into the ways the heart works when it comes to love. This is most evident in the way he writes the scenes in which Johnny tries to impress Frankie with his knowledge of Shakespeare and old music. When he mentions that they were made for each other because their names also are the title of a song, she replies “Didn’t they end up killing each other”? Johnny’s hilarious answer to this is “No she killed him, so I’ve got the edge there”. This is one of many witty and loving sparks of dialogue that appear throughout the film to give it a tender but never cloying examination of hesitant romance.

Witty, warm and tinged with subtle melancholy, Frankie and Johnny provides excellent roles for the cast, sparkling chemistry between Al Pacino and Michelle Pfeiffer and makes an emotional connection with the audience, making the material very relatable.