Mufasa: The Lion King – Review

The Disney animation renaissance of the 1990s, a period marked by critical and commercial triumphs like Beauty and the Beast (1991) and Aladdin (1992), gave rise to a new generation of animated classics. Among them, The Lion King roared into theatres in 1994, alluring audiences with its Shakespearean storytelling, vibrant animation, and unforgettable characters. Mufasa, the majestic lion king portrayed by late acting legend James Earl Jones of Coming to America (1988) and Star Wars fame, stood as a symbol of strength, wisdom, and paternal love, with his near-untouchable presence leaving an indelible mark on popular culture.

Near-untouchable to almost anyone, except the House of Mouse, who decided that the story audiences thought they knew from the animated classic was only a single chapter in a much larger saga. What if the journey to becoming Mufasa, the king, was one of trials, tribulations, and unexpected detours? Mufasa: The Lion King, Disney’s latest foray into the African savanna, explores the characters many already know so well, offers an ambitious origin story that deviates from Alex Simmons’ A Tale of Two Brothers, the first book exploring Mufasa’s origins in the non-canonical spin-off book series The Lion King: Six New Adventures (1994).

Mufasa serves as a prequel sequel to Jon Favreau’s photorealistic 2019 jaunt, itself an adaptation of Disney’s animated film but without the baggage of any ancillary books or direct-to-video spin-offs that the original film inspired. This allows writers to spin a new tale on Mufasa’s tragic narrative and this time, the studio has enlisted the talents of Barry Jenkins, the Academy Award-winning director behind Moonlight (2016) to helm the project. While the film retains the photorealistic animation style of its predecessor, Jenkins brings his signature intimacy and emotional depth to the story.

More than that, one of the most striking improvements here are the enhanced expressiveness of the lions, which the predecessor was criticised for, due to its lack of emotional expressiveness particularly in the faces of the lions. Some argued that this hindered the film’s ability to connect with the audiences on an emotional level, while others felt it hewed too closely to the original, offering little in the way of fresh perspective.

Thanks to Jenkins’ keen eye for detail and his ability to elicit emotion even from the most technologically advanced animation, as well as a fresh take on the story, Mufasa: The Lion King elevates the approach that Disney has taken in revisiting its existing properties for a new audience.

But you also don’t fix what’s not broken and the opens with the familiar, soul-stirring vocals of South African composer Lebo M, this time in the form of the evocative ‘Ngomso’. As a storm gathers over Pride Rock, a young Kiara (Blue Ivy Carter, Renaissance: A Film by Beyoncé), daughter of Simba (Donald Glover, Atlanta) and Nala (Beyoncé Knowles-Carter, Epic), seeks solace in the wisdom of the wise mandrill Rafiki (John Kani, Black Panther). He calms her fears by recounting the legend of her grandfather Mufasa, a tale that begins with a devastating flood separating a young cub from his parents. 

As a cub (voiced by Braelyn Rankins, Doom Patrol), Mufasa is separated from his parents, Afia (Anika Noni Rose, The Princess and the Frog) and Masego (Keith David, Coraline), during a devastating flood and swept far from his home. Stranded and orphaned, he faces isolation and adversity in a world vastly different from the familiar savanna. Aaron Pierre (Rebel Ridge, Genius) takes on the mantle of an older Mufasa, delivering a refreshing performance that captures both the vulnerability of a young lion grappling with loss and the early glimpses of the leader he is destined to become. 

Fate intervenes in the form of Taka, a young lion voiced by Theo Somolu (Mighty Express) as a cub and Kelvin Harrison Jr. (Elvis, Chevalier) as he matures. Taka, who will later become the infamous Scar, rescues Mufasa, and the two form an unlikely bond. Taka’s camaraderie with Mufasa is both poignant and tragic, a fitting prelude to the betrayal audiences know is coming. Their relationship is nurtured under the watchful eyes of Taka’s parents, Obasi and Eshe, voiced by Lennie James (The Walking Dead) and Thandiwe Newton (Westworld), respectively. While Obasi is cautious of strays like Mufasa, Eshe sees promise in him and takes on a maternal role.

Taka’s youthful ambition is evident as he dreams of controlling the world around him – a vision Mufasa gently but firmly challenges. Their evolving relationship and growth, highlighted by a musical montage set to ‘I Always Wanted A Brother’, one of seven original songs by Lin-Manuel Miranda (Hamilton, Encanto), is poignant and brimming with foreshadowing. As Taka sings about ruling over birds and other animals, Mufasa offers quiet wisdom, pointing out the freedom of nature that cannot be controlled. 

Musical mastermind Miranda’s talent for blending meaningful storytelling with infectious melodies shines here – a stark contrast to the musical missteps seen in recent Disney sequels like Moana 2 (2024). Seamlessly integrating his work into the established musical legacy of The Lion King, Miranda’s songs feel at home alongside the timeless work of Elton John and Tim Rice from the 1994 animated classic. While The Lion King has always been celebrated for its music, Miranda’s compositions bring a contemporary flair that complements the grandeur of the Pride Lands and the story’s emotional beats.

But harmony doesn’t last long in Taka’s pride. A new threat emerges in the form of white lions known as The Outsiders, led by the ruthless Kiros, voiced by Mads Mikkelsen (Casino Royale, Hannibal). Kiros is a chilling antagonist, commanding his followers with a nefarious charisma that makes him as enthralling as he is dangerous. Mikkelsen’s performance is brought to life in his villainous anthem, ‘Bye Bye’, a number that highlights his nihilistic worldview and ambitions for dominance. The Outsiders’ campaign of terror brings devastation to Taka’s pride, leaving Mufasa and Taka no choice but to flee, embarking on a perilous journey in search of the legendary Pride Lands, known then as Milele, a Swahili word meaning ‘forever’.

On their journey, the duo is joined by Sarabi, a determined and resourceful lioness voiced by Tiffany Boone (Nine Perfect Strangers). Known to audiences as Mufasa’s future mate and Simba’s mother, Sarabi’s younger self is introduced as a lone survivor of another royal family displaced by The Outsiders. Accompanying Sarabi is a youthful red-billed hornbill Zazu, voiced by Preston Nyman of Ben & Holly’s Little Kingdom (2009) fame.

Long before his days advising Mufasa, Zazu served as Sarabi’s loyal scout, showcasing a lesser-seen side of the character that ties into the overarching themes of loyalty and survival. Adding wisdom to the ensemble is Rafiki, the shamanistic mandrill who reveals his own backstory as a wanderer rejected by his tribe, becoming a guide for the group as he claims to know the way to Milele.

The path to Milele unfolds across a variety of breathtaking landscapes, extending far beyond everything the light touches. Inspired by the diverse ecosystems of southern Africa, from vast grasslands to lush tropics in Botswana, the visuals create an expansive sense of wonder, contrasting sharply with the original Lion King which remained primarily within the Pride Lands and its surrounding oasis.

And it is on this path where Mufasa and Sarabi fall in love, a development that sparks jealousy and resentment in Taka who also has feelings for the lioness. At first, Mufasa steps aside, playing wingman and supporting his brother’s affections, but Sarabi sees through the charade, leading to a heartfelt and sweeping duet, ‘Tell Me It’s You’. Miranda’s touch shines in this original love ballad, blending his signature rhythmic flair with a poignant melody that captures the vulnerability and passion between the pair.

Mufasa and Taka’s bond becomes strained as Taka grapples with feelings of betrayal and resentment. Harrison Jr. masterfully portrays the cracks in Taka’s composure, hinting at the bitterness that will eventually consume him. Taka’s yearning for power and recognition, fueled by the promise of a kingdom that seems to slip further from his grasp, culminates in a powerful solo performance, ‘Brother Betrayed’. In this moment, Harrison channels the essence of Chiwetel Ejiofor’s Scar, delivering a performance that highlights the growing chasm between the two brothers and foreshadows Taka’s transformation into the villain audiences have come to know.

Drawing inspiration from the animated sequel The Lion King II: Simba’s Pride (1998), the dual timelines serve as a bridge between past and present, following Mufasa’s rise alongside Kiara’s journey in the present day. Kiara’s role provides a thematic throughline, connecting the generations and reinforcing the cyclical nature of leadership in the Pride Lands.

However, the levity provided by Timon and Pumbaa, voiced again by Billy Eichner (Bros) and Seth Rogen (Superbad), feels somewhat misplaced. While their comedic interruptions offer brief moments of fun, they undercut the gravitas of Rafiki’s storytelling, creating an uneven tone that detracts from the film’s emotional resonance.

By exploring Mufasa’s past, the film sheds new light on the events that shaped him into the noble leader we admire, offering a powerful reminder that true strength lies not just in power, but in the courage to embrace one’s destiny. After all, even legends have their beginnings, and that the journey to greatness is often paved with unexpected challenges and profound self-discoveries.

And in the end, as the storm clouds dissipate and Kiara finds her own strength, Rafiki’s words echo with a profound resonance: “Mufasa lives in you,” and by extension, all of us. Honouring the legacy of The Lion King while carving its own unique path, Mufasa: The Lion King invites us to embrace the circle of life anew and find inspiration in the timeless journey of a king.

Natalie

Natalie is a big fan of anything related to movies, TV shows, and anime — you name it. When she’s not reading or being a dedicated cinephile, she’s probably playing gacha and tabletop games, or daydreaming of Sylus from Love and Deepspace.