This film’s look is nothing short of spectacular; the blend of animation, photo-real CGI and cinematographer James Laxton’s live-action contribution is amazing. All the animals, as well, look and move with impressive authenticity.
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Ideally, though; you shouldn’t spend much time wondering, thanks to Jeff Nathanson’s riveting screenplay. He includes everything: family bonding, friendship, love, betrayal and often brutal Shakespearean drama. Indeed, this film’s PG rating seems generous, given the level of violence and nature’s harshness.
The often varied African landscape can be unforgiving.
Mufasa opens as Simba and his mate, Nala (Donald Glover and Beyoncé, returning to their roles from 2019’s The Lion King), temporarily leave their young daughter, Kiara (Blue Ivy Carter), in the care of the wise mandrill shaman, Rafiki (John Kani). The cub is frightened by a ferocious thunderstorm, so Rafiki calms her with the saga of her grandfather, Mufasa, who rose from humble origins to become the beloved king of the savannah.
This story frequently is interrupted by the antics of wisecracking meerkat Timon (Billy Eichner) and gassy warthog Pumba (Seth Rogen), who attempt to interject their trademark slapstick ... along with repeated attempts to sing “Hakuna Matata.”
(Children will find their antics hilarious. In point of fact, they quickly become distracting, even annoying.)
The core tale thus unfolds via a lengthy flashback. It opens under grim conditions, as young Mufasa and his parents, Masego (Keith David) and Afia (Anika Noni Rose), join other desperate animals in a search for water during a lengthy drought. Masego celebrates his son’s speed and adventurous spirit; Afia regales him with stories of Milele (“forever”), a cherished savannah “beyond the last cloud in the sky.”
A sudden monsoon rainstorm initially seems like salvation, but the resulting flash flood separates Mufasa from his parents; the helpless cub is washed many, many miles downstream.
Exhausted when the current finally recedes, barely able to keep his head above water, Mufasa escapes becoming an alligator’s dinner thanks to the timely intervention of Taka (Theo Somolu), a kind-hearted cub from a nearby pride. Alas, this generous act violates the pride’s rule that forbids outsiders, strictly enforced by Taka’s father, Obasi (Lennie James). His more forgiving mate, Eshe (Thandiwe Newton), perceives Mufasa as a lion capable of enhanced senses. Mufasa is allowed to remain.
Time passes; Mufasa and Taka mature into inseparable young lions. Obasi’s pride suddenly is threatened by a horrific foe: Kiros (Mads Mikkelsen), the nihilistic leader of a pride of massive white lions, who covets total control of the domain ... and viciously orders his followers to kill all lions who stand in the way of this goal.
Having finally recognized Mufasa’s value and talents, Obasi orders him to protect Taka while the two young lions flee, thus protecting the pride’s bloodline. But it won’t be that simple; Kiros and his followers are relentless trackers.
Shortly after beginning what becomes a lengthy journey, Mufasa and Taka meet the confident and courageous Sarabi (Tiffany Boone), sole survivor of a pride earlier destroyed by Kiros’ white lions. She’s accompanied by Zazu (Preston Nyman), a chatty red-billed hornbill who serves both as a valuable advance scout ... and this film’s comic relief (far more entertaining than Timon and Pumba).
This quartet next encounters young Rafiki (Kagiso Lediga), recently banished from a troop of baboons, where he had enjoyed a temporary haven despite being an “outsider” (much like the hostility Mufasa initially faced from Obasi’s pride). The mandrill is oddly unconcerned about the possibility of becoming the lions’ dinner, which baffles the latter; they’re equally confounded by Rafiki’s cackling laughter — infused with equal parts wisdom and whimsy — and his tendency toward theatrically flourished predictions.
This unlikely quintet then embarks on an “incredible journey” toward Milele — which Taka and Sarabi doubt even exists — all the while being pursued by Obasi.
The voice talent is uniformly excellent. Pierre’s handling of Mufasa’s developing maturity is particularly nice, and Lediga’s young Rafiki is a total hoot. The pre-credits nod to James Earl Jones also is a nice touch.
As was the case with The Lion King, this new film is laden with numerous songs. The early choral chants, which later serve as occasional interludes — “Home,” “Kuqondile” and “Find the Way” — are performed by Lebo M and the South African Gospel Choir; they’re uplifting and regal.
The character-driven songs by Lin-Manuel Miranda, on the other hand, are a mixed bag. All are marred by relentlessly repetitive lyrics, although that doesn’t detract too much from “I Always Wanted a Brother,” a celebratory ode to friendship; “Tell Me It’s You,” a pas de deux love song; and the vibrant “We Go Together,” which unites the newly formed heroic quintet.
“Bye Bye” is another matter entirely.
Miranda and director Barry Jenkins may have intended this patter song, chanted by Kiros as he’s about to destroy Obasi’s pride, to be sinister. They missed by a mile. It emerges as an inane, sing-song children’s ditty with the oft-repeated refrain of “Go bye-bye,” which casts a silly, infantile cloud over what should be a horrific sequence.
The tune brings this film to a grinding halt, the way the cheek-slapping sequence similarly destroyed the momentum in Red One.
It takes a bit for Jenkins to regain control of his film; fortunately, Nathanson’s script is up to the challenge. He cleverly sets the stage for the upcoming events and conflicts established in 1994’s animated Lion King; there’s also a strong suggestion, as this new film concludes, that we’ll soon be graced by a “next chapter.”
Mufasa is much better, overall, than 2019’s CGI retread of The Lion King. Jenkins and Nathanson (mostly) have firmer control of this new material, and the result certainly is suspenseful and — at times — quite exhilarating.
It’ll be popular family fare during this holiday season.
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