At The Movies: Mufasa: The Lion King a visually stunning tale of the cub who would be king

Mufasa: The Lion King (PG) 

118 minutes, opens on Dec 19
★★★☆☆

The story: This photorealistic origin tale of the future King of the Pride Lands begins when young Mufasa (voiced by Braelyn Rankins and, later, Aaron Pierre) finds himself alone and adrift. He encounters Taka (Theo Somolu, then Kelvin Harrison Jr), a lion prince who adopts him as a brother. Together, they join the royal family on a journey across Africa, dealing with threats such as Kiros (Mads Mikkelsen), a lion driven by ruthless ambition. They befriend the younger versions of wise mandrill Rafiki (Kagiso Lediga), lioness Sarabi (Tiffany Boone) and hornbill Zazu (Preston Nyman). Mufasa’s life story is recounted in the present day by Rafiki (John Kani) to Simba (Donald Glover) and Nala’s (Beyonce) daughter Kiara (Blue Ivy Carter).

This is a bomb-proof project, boosted by the tremendous goodwill The Lion King franchise has generated over decades. With such a lucrative property, Disney takes no chances.

Just as the 2019 film closely mirrored the 1994 original, merely swopping stylised animation for photorealism, this prequel adapts one of storytelling’s oldest narratives.

At its core, Mufasa’s story mirrors the Old Testament tale of Moses, but stripped of divine intervention. 

It is an apt choice – epic in scope and rich with moral choices that prove the foundling more worthy of leadership than those born to it. The mythic quality is reinforced by framing the narrative as Rafiki’s tale to Mufasa’s granddaughter, though the presence of returning comedic duo Timon (Billy Eichner) and Pumbaa (Seth Rogen) proves problematic.

Oscar-winning director Barry Jenkins (Moonlight, 2016) struggles to integrate the comic elements, allowing random riffs that feel shoehorned into an otherwise serious narrative. The prattling, meant to be amusing, serves only to irritate.

For those who found the 2019 photorealistic remake unnecessary, little here will change their minds. The digital craftsmanship is extraordinary – the animals and landscapes are rendered with a level of detail that is astonishing. 

The heightened realism has the unintended effect of highlighting the Pride Lands’ awkward feudal hierarchy. In the original’s stylised animation, the lion monarchy felt natural enough. Now, the insistence on big cats as inherently noble rulers appears more as an uneasy contrivance, straining credulity despite the film’s best efforts.

Still, the artistry in the landscapes is captivating. As Mufasa and his companions traverse Africa’s varied terrain in search of a promised land, viewers are treated to lush savannahs, majestic forests and icy peaks.

Lin-Manuel Miranda, another creative heavyweight, provides the songs, though his considerable talents have not produced anything as memorable as the original’s Circle Of Life or Hakuna Matata, penned by Elton John and Tim Rice.

Mufasa: The Lion King’s emotional centre – the complex relationship between Mufasa and Taka – proves its saving grace. Jenkins, working from Jeff Nathanson’s screenplay, successfully crafts a compelling love-hate dynamic between the brothers. While the eventual betrayal that transforms Taka into Scar may be predictable, when it happens, it still delivers an emotional wallop.

Hot take: This visually stunning but timid prequel is a triumph of computer programming, receiving a passing grade because of the emotional depth at its core.