‘Mufasa: The Lion King’: Barry Jenkins’ Visual Elegance Is Not Enough To Redeem This Whimpering Franchise Expansion

Alci Rengifo

No one milks the franchise machine quite like Disney with their endless sequels and prequels. “Mufasa: The Lion King” is, as the title announces, a prequel to “The Lion King.” Not the beloved 1994 animated classic, but the 2019 photorealistic remake. To direct, the mouse also brings in an inspired choice, Berry Jenkins, a filmmaker of poetic style. Jenkins’ stamp is visible in this film’s more elegant visuals. Alas, this feline saga pales before its royal predecessor. Much has to do with the point of inspiration. Whereas the original movie was an update on William Shakespeare’s “Hamlet,” this prequel seems to borrow from high school dramas. 

It has been a little while since the first movie and his highness Simba (Donald Glover) still governs the Pride Lands. He and Nala (Beyoncè) now have a daughter, Kiara (Blue Ivy Carter). The pair leaves her alone for a very specific reason with meerkat Timon (Billy Eichner) and warthog Pumbaa (Seth Rogen). Joining along to keep the princess company during a scary thunderstorm is wise old Rafiki (John Cani), who narrates the origin story of Kiara’s mighty grandfather, Mufasa (Aaron Pierre taking over from the late, great James Earl Jones). It turns out he was once a prince separated from his parents by a raging flood. Marooned in a distant land, Mufasa is taken in by Eshe (Thandiwe Newton), the lead female in a pride led by Obasi (Lennie James), who does not take kindly to outsiders. Mufasa instantly connects with their son, Taka (Kelvin Harrison Jr.). Obasi at first forces Mufasa to stay with the females, until he proves himself when fighting against new invaders, a pack of white lions led by power-hungry Kiros (Mads Mikkelsen). When it’s clear Kiros aims to annihilate every pride that gets in his way, Mufasa and Taka are sent away to find new lands to start anew. 

Pulling off a good prequel is never easy, especially when following in the footsteps of a pop cultural staple. “Mufasa” claws between trying to be sincere and feeling like a film forcing itself to exist for the sole purpose of commerce. Plainly put, it never feels essential. At least the 2019 “Lion King” had the innovation of its technology and an all-Black cast for an African epic, while boasting Beyoncé’s companion album. By comparison, this movie, which does boast even more advanced digital animation (the animals feel more expressive), feels plot-wise like the straight to video sequels Disney used to release in the ‘90s for animated hits. The screenplay by Jeff Nathanson is a quick, by the numbers affair that plays the familiar trick of somewhat repeating the plot points of the first film. Mufasa has loving parents in Afia (Anika Noni Rose) and Masego (Keith David), who are taken away by tragedy. Like Simba, he is exiled into another place and makes friends. The antagonist, very well-voiced by Mads Mikkelsen, is clearly a revamp of Scar. “The Lion King” was a revenge story about exile, the passage of time, twisted family members roiled by envy. 

“Mufasa” in the first act is dramatically very engaging with its themes of being an outsider and how family is something more meaningful than blood. Mufasa and Taka become genuine brothers who are forced to depend on each other to survive when Kiros’ attack destroys their world. A keen observer might already see where this is going in terms of how this relationship will have major consequences for the events of “The Lion King.” Instead of conjuring a story of larger pathos, the filmmakers decide to settle on the age-old trick of bringing in a girl to ruin everything. Mufasa is obsessed with finding Milele, a wondrous land his parents told him about as a cub. Along the way, he and Takka meet Sarabi (Tiffany Boone), a fellow exiled royal now protected by hornbill Zazu (Preston Nyman). Takka likes Sarabi since she’s quite assertive and has the right bloodlines (classism is very present in Disney’s wildlands). Too bad he’s a coward who not only ran away when Kiros attacked his pride, but needs advice from Mufasa on how to talk to his crush. When Mufasa rescues Sarabi from an elephant stampede, of course she’s going to like him instead. It’s the breaking of the bro code that threatens to undo Mufasa and Taka per this storyline.

This is all standard material that is slightly elevated by Jenkins’ stylistic approach. There are some memorable images in “Mufasa,” from the hero floating dreamlike underwater to stampedes and fight scenes pulled off with some real scope. Jenkins’ films include the great “Moonlight” and equally good James Baldwin adaptation, “If Beale Street Could Talk.” We don’t need him doing “Lion King” prequels but an artist needs to work. It’s great to see him indulge with moments like Kiros and his pale pride meeting in twilight, circling to devour a condemned member of their pack. With projects like this, the studio calls the shots, but a good director can still get some of his stamp in there. What does not work as well are the songs. Lin-Manuel Miranda, who has become this studio’s go-to songwriter, delivers more of his usual fare that cannot come close to the work of Elton John and Tim Rice in the originals. The music is too bland here, with bouncy songs where Miranda continues his habit of sticking to one word to repeat over and over (Kiros’ theme song is named “Bye Bye”). Mufasa crooning to Sarabi never reaches the romantic heights of “Can You Feel the Love Tonight.” Dave Metzger’s score feels like it’s struggling to find any opportunity to throw in shades of Hans Zimmer’s original theme. 

Will younger viewers get anything out of this? There are certainly nice lessons about courage and friendship. White invaders coming in to colonize territory, thus inspiring everyone else to band together to fight back is not the worst allegory. Though, it is curious why the animals of Milele feel they need an unelected monarch who by instinct is meant to eat them. Yet, “Mufasa” will become a mere afterthought while new generations will continue to discover and cherish “The Lion King,” particularly the 1994 classic. This is not a terrible movie by any means, just a bland addition to a very good story. Because Jenkins is such a good director, working here with his longtime cinematographer James Laxton, the images have some wonderful brushstrokes. Without a better story they survive as good craft looking for something bigger to bite into. 

“Mufasa: The Lion King” releases Dec. 20 in theaters nationwide.