Mufasa: The Lion King brings a fresh perspective to the classic tale with stunning visuals that are a feast for the eyes. However, the movie doesn’t quite reach the emotional depth and originality of the predecessor.
Despite this, there are moments of beauty and potential in the eponymous hero’s journey to be king. While hindered by its predetermined endpoint, director Barry Jenkins’ nuanced exploration of Mufasa’s story adds an intriguing element to the narrative.
In the 1994 animated original and the 2019 photorealistic reimagining, Mufasa (voiced by the late James Earl Jones) bestows some wisdom on his young cub Simba, telling him to “look at the stars. The great kings of the past look down on us from those stars” and concluded with whenever he feels alone to remember that those kings will always be there to guide you. And so will he.” It was that one line where many of us assumed that Mufasa was already the perfect king who had inherited his title just like any other king before him. However, the prequel, told mostly through flashbacks, is less about how one becomes a king and more about the misfits searching for their destiny and how a deadly villain tests their bonds.
Since Mufasa: The Lion King is a prequel, Jeff Nathanson’s script depends on the audience and fans’ interest in knowing more about Simba’s father. It uses the same musical and storytelling formula that made both Lion King films such a commercial success. It’s structured to give audiences a better understanding of how Mufasa came to be and that he wasn’t simply made a king but earned that title through his inquisitive nature, embracing the environment around him, and empathy. Though the coming-of-age of the titular enigmatic king deepens the mythology while also allowing audiences to connect with the characters, it’s a story that is part of an already successful franchise and a hit with its built-in audience.
So even though Nathanson’s script leaves little to the imagination, Jenkins’ direction gives the prequel the gravitas it deserves. His vision and storytelling of unseen characters experiencing a significant change as they go on their journey of self-discovery have varied in scale, but Mufasa: The Lion King is his biggest effort.
Simba (Donald Glover) is preparing for add a new member of to his pride as a pregant Nala (Beyonce Knowles) is about to give birth. While his first born Kiara (Blue Ivy Carter) is eager to tag along, he instructs her to stay behind. With the comedic dynamic duo Timon and Pumbaa serving as Pride Rock’s security detail, they are tasked with protecting Kiara from any dangers and forbidden to tell her stories – of which paint them as the heroes. Scared of the incoming storm, Timon and Pumbaa try to calm a frightened Kiara. But to no avail. Luckily, Rafiki (John Kani), Simba’s wisest advisor is there to distract Kiara with the story of Mufasa. It’s a story full of danger, adventure, romance, drama, and has some room for laughs. While the flashbacks features claw swiping and lions gnawing at each other, making for a pretty brutal film, the real-time events provides plenty of goofs and gags to give the origins story some levity.
As a cub, Mufasa’s (Braelyn Rankins) physicality and personality are the clear signs that he was destined for greatness. Despite their homeland experiencing a drought, his mother, Afia (Anika Noni Rose), and father, Masego (Keith David), share tales about reaching Milele, which means forever, a place beyond the last cloud in the sky. However, the family’s hopes and dreams of a better tomorrow on the horizon are shattered when a flash flood separates the young cub from his family.
Mufasa then finds himself far away from anything he’s ever known. After being saved by Taka (Theo Somolu), a lion cub from an esteemed royal bloodline, the two quickly become fast friends. However, highly respected Obasi (Lennie James) objects to bringing any outsiders into his pride, especially ones that would threaten Taka’s birthright. As such, Mufasa is forced to live beside the pride’s matriarch, Eshe (Thandiwe Newton). So while Mufasa learns how to hunt and familiarize himself with his surroundings, Obasi grooms Taka to be king. However, his lessons aren’t very king-like as he teaches his son that suspicion of outsiders, deception, and loafing around is what makes a great king.
Taka admits he’s always wanted a brother, but the film reveals why he despises Mufasa. Though the young prince is eager to please his father, Mufasa shows he has what it takes to be king in his demeanor and physicality. As such, Taka becomes despondent and grows more so whenever Mufasa defeats him in front of Obasi.
The years go by and the cubs get older, with an older Mufasa (Aaron Pierre) maturing and becoming a better hunter, and Taka (Kelvin Harrisson Jr.) becoming more like his father. When Mufasa and Eshe have a deadly encounter with a nefarious pride of lions during a hunt, Obsai is forced to make a difficult decision to send Taka away. Obsai tasks Musafa with protecting Taka, but still entrusts the royal line to Taka. As they escape, Kiros (Mads Mikkelsen) arrives to claim a new kingdom, breaking out into a song about Mufasa and Taka having to say bye-bye to the life and home they once knew.
So the two embark on a journey to find Milele while keeping a distance between themselves and Kiros’ pride. Along their journey, the two misfits add Sarabi (Tiffany Boone), a confident and courageous lioness looking for her tribe after a rogue group of lions killed hers and her trustworthy, ever-chatty, red-billed hornbill scout, Zazu (Preston Nyman), to their pride. Eventually, their pride grows by one more when Rafiki (Kagiso Lediga) joins the group. Outsted for being eccentric and unlike other baboons, Rafiki is equally wise and whimsical and carries an infectious laugh wherever he goes.
Themes about found family and brotherhood echo throughout the film. Everything Mufasa has learned about kindness and empathy from his original family, along with the hunting and defensive skills he’s acquired from his adoptive one, slowly but surely gives him everything he needs to be a king. At the same time, Taka believes that acquiring this land and the title of prince of the tribe correlates with his worth and identity. Mufasa and Taka’s relationship is the basis of the journey they embark on and the experiences they have. They would do anything for each other, as noted by Taka’s desire to have a brother by his side and Mufasa being indebted to Eshe for taking him in even when Obsai didn’t want to bring outsiders to his pride. And as their pride grows, so do the themes of familial bonds.
Mufasa’s kindness and mercy are a testament to his leadership. He isn’t one to look for glory or praise. Instead, his focus is on protecting the family he has. Considering that he lost his family at a very early age, he puts all of his attention into the one he has now. Mufasa refuses to create any tension that would threaten the familial bonds he has now, especially the one with his brother. So, he doesn’t take credit for certain executive decisions, nor does he draw attention to himself. But that doesn’t always work. As such, Taka grows to resent his brother. Even after Taka confides in Mufasa that he likes Sarabi, Mufasa tries to be the supportive unit in the relationship and refuses to engage in flirtations or show disinterest. So he diverts all of it to Taka. Still, Sarabi learns the truth, and soon, Taka learns that Mufasa can’t be trusted.
A prequel like Mufasa: The Lion King suffers from having a story of which we already know how it ends. Though the appeal of exploring the elusive past of the titular king is there, the character development and emotional stakes are lacking because of the knowledge we know about Mufasa and Taka’s relationship. That knowledge will always be in the back of the audience’s minds, at least for those who know either one of The Lion King films.
The ever-changing surrounding environments are stunning and often overshadow the story and the accompanying musical numbers — none of which help advance the plot and serve as emotional placeholders. Though these songs are Broadway-worthy and are sung by incredible talents, they don’t capture the spirit of its predecessor.
Mark Friedberg, Jenkins’ longtime production designer, doesn’t accurately portray Africa’s sprawling topography, but it helps reflect the story the film is telling. “Milele” is a transportation song that draws inspiration from real locations throughout Africa and helps to inform Mufasa’s journey to be king. The beauty and bold color help shape the envisioned paradise for the young Mufasa, who is currently living in a desolate wasteland. The choreography of “I’ve Always Wanted a Brother” and “We Go Together” has that stage musical feel to it and is reminiscent of the “I Just Can’t Wait To Be King” musical number and is a celebration of the themes of brotherhood and family. “Tell Me It’s You” is almost too perfect as wedding song. And Brother Betrayed is that tragic ballad that serves as the anti-villain song. Though these songs are great on their own, the context is already laid out within the story.
Given that Mufasa: The Lion King is a new sprawling adventure across Africa, cinematographer James Laxton’s visuals come alive in the journey and exploration of the varying regions. And the photorealistic effects create tactile layers that help make the world look and feel real. Knowing everything on screen was done on a computer, it’s quite spellbinding to see how all of this was put together.
Still, Mufasa: The Lion King suffers from prequilitis. Though I wouldn’t go as far as saying Mufasa’s origins story didn’t deserve to be visualized on the big screen, telling that story does take away from the imagination of how he came to be. It’s interesting to see how it justifies the ret-con by exploring how a young orphan cub, born into destitution and not of royalty, could become king through learning, empathy, and being one with his environment.
But because this is a prequel, the story demands that we sympathize with someone like Taka, who would earn his villainous namesake later on in the film. Nods to the original, like Taka digging his claws into Mufasa’s paws, are forced and do nothing for the story other than remind us of the brutal betrayal that’s to come. It’s hard to get past this kind of visuals, considering most know Mufasa’s fate.
Still, for all of its flaws, the voice cast and Jenkins’ direction help carry the prequel to the end. The Mufasa and Taka dynamic has echoes of Shakespeare within it, and Pierre and Harrison Jr.’s vocal performances help convey genuine emotions that help us connect to their characters. Likewise for Boone, whose voice as Sarabi is bold and confident, yet also has a hint of vulnerability.
In the end, Mufasa: The Lion King is something that one would enjoy if they are genuinely interested in exploring the brotherhood between Mufasa and Taka, and how the former became king and how the latter earned his namesake. Though the songs and story may not have what it takes to be king, but you can definitely feel the love and care that Jenkins and the cast put into a prequel that has plenty of heart and humor in an adventure of self-discovery. Though Mufasa: The Lion King may not be entirely perfect in its story or its music, the film relies on Jenkins’s vision and the cast’s strong vocal performances to carry the film all the way to its destination.
