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The Lion King

Disney’s success continued in adapting their hit animated film into a theatrical phenomenon. I finally got to go see the musical version of The Lion King last week, and the first few words that come to my mind are: “amazing,” “stunning,” and “unbelievable! ” My expectations were met, as my eyes grew wider with the bright, colorful lights, breath taking costumes, and the superb music of the first scene. I was a little unsure at first, wondering how in the world Disney was going to manage putting a film starring non-human characters, and animated ones at that, onto a three-dimensional stage.

Disney never ceases to amaze me. The Lion King was one of the many impressive displays of an elaborate musical production that I have ever had the pleasure of seeing. The Lion King is the tale of Simba, the son of the Lion King Mufasa (Rufus Bonds, Jr. ). The birth of the new heir displaces the king’s brother Scar (John Vickery), leading the envious Scar to plot the death of Mufasa and Simba. When Mufasa is killed while trying to save Simba, Scar convinces Simba he must go into exile.

There, Simba is befriended by a meerkat, Timon (Danny Rutigliano) and a warthog, Pumbaa (Bob Bouchard), and grows to adulthood (adult voice of Matthew Broderick) blissfully free of responsibilities. However, when childhood friend Nala (Moe Daniels) coincidently finds Simba and informs him that Scar is destroying the pride land, Simba must decide whether to keep his distance or to confront his demons… and Scar. Simba, seeking to find answers, finds his father’s image in the sky and returns to the Pride lands to recapture his thrown as king.

A bloody battle with the lionesses and the hyenas left Simba and Scar head to head in a battle for the truth. Scar reveals that he in fact killed Mufasa and blames the hyenas for everything. In turn, the hyenas change their loyalty towards Scar and kill him. Simba regains Pride Rock and circle of life begins once more. The Lion King was a festive and fantastic production. The success relied heavily on its use of masks and costumes to make the production a complete musical.

For starters, director Julie Taymor turned the cartoon movie’s story into a musical that takes not only the movie, but also the concept of theatrical spectacle to a new level. The cartoon characters have been reinvented with wildly imaginative masks and puppets, (co-designed by Michael Curry) with actors and mask/puppets clearly visible to the audience. The costumes, an extension of the masks, are equally canny. The hard-to-top “Circle of Love” opening number is a parade that fills the entire theater.

It includes giraffes on stilts, leaping antelopes a lumbering giant, and a baby elephant with Afrikan batik ears, and swooping birds. The pop sound of Elton John and Tim Rice is not only present but includes three added numbers. The most important musical addition, however, stems from the exciting African rhythms by Lebo M. His “One by One” tribal chant at the beginning of Act 2 requires no understanding of the language for the audience to respond to its celebratory emotions. The singer Fuschia, as Rafiki the baboon shaman, also adds power to the show’s African elements.

Like the masks and the puppets and most everything else about the show, the ingeniousness of the scenic effects are almost beyond description. As you’ve got to hear the music and see the effect of the half human, half animal actors, you’ve got to see the orange paper sun, the savannah grasses rising from the stage and on top of human heads, a blue cloth that becomes a fish-filled stream. To implement Taymor’s creative input, there’s also set designer Richard Hudson’s swirling pop-up Pride Rock to serve as the center of this magical kingdom.

I went to The Lion King with an optimistic attitude and I came out with a feeling of satisfaction of a good night. This splashy, feel-good production fulfilled its job and is made for all general audiences to enjoy. I would recommend this as a good date or a place for my parents to go to on the weekends. The production was a masterpiece with a talented cast, unique designs and style with clever costumes and extraordinary scenery, with up roaring and delighted music. I highly recommend this theater production with two enthusiastic thumbs up!

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The Lion King Summary 4 Pages 920 Words

             The film I decided to summarize is The Lion King by Walt Disney. It is an animated              film as are all Disney movies. The movie opens with the themes song "The Circle Of Life" playing as the camera show Mufasa, king of the lions holding his newborn son Simba. The whole community of animals is here at Pride Rock to witness young Simba because he is the future king. Everyone in the kingdom is happy about the birth of the new prince except for one lion. That lion is Scar. Scar is Mufasas brother and was next in line to be king before Simba took his place. Scar is angry and jealous of young Simba.              Young Simba is a very happy lion. He plays all the time with his best friend, a lioness named Nala. Simba is watched by the bird Zazu, and when Zazu tells Simba that one day he will be king, Simba is more then happy bursting into the song "I Just Can't Wait To Be King". Scar meanwhile has other plans for Simba. One day Scar sends Simba to play in the elephant graveyard and Scar also sends his minions , they hyenas there. The hyenas try to kill Simba but Mufasa shows up and saves Simba. When Scar learns of this he becomes angered even more and sings "Be Prepared" in reference to his plan to kill Simba.              Scar has the plan set. He lures Simba to the gorge and gets him to wait there, while the hyenas cause a stampede of the wilderbeast. Scar knows that Simba has no chance of surviving the stampede. Simba is on his way to doom when Mufasa comes to his aid again. Mufasa gets Simba out of harms way but in the process finds himself hanging off a cliff. Scar sees this and rushes to the cliff but not to save Mufasa but to make sure he dies. Scar then tells Simba that he should leave because Mufasas death was his fault and the kingdom will be angry with him.. Simba departs Pride Rock very solemnly.              Simba finds his own place to live far away. He then meets Timon (a wisecracking merecat) and Pumb              ...

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The Lion King Summary, Characters and Themes

The Lion King is a classic Disney animated film (with a board book adaptation) about a young lion named Simba. 

After his father, Mufasa, is murdered by his evil uncle, Scar, Simba flees his home. He eventually grows up, embracing his destiny as the rightful king. With the help of his friends, Simba returns to challenge Scar and reclaim his rightful place as the leader of the Pride Lands. The film is known for its themes of family, responsibility, and the cycle of life, as well as its iconic music.

In the heart of the African savanna, the Pride Lands are ruled by the wise and noble King Mufasa. He and his queen, Sarabi, proudly present their newborn heir, Simba, to the kingdom’s animal subjects. 

Guided by his father and the eccentric shaman Rafiki, Simba learns about the delicate ‘circle of life’ and his future responsibilities as king.

Mufasa’s embittered brother, Scar, consumed by envy and a lust for power, plots to eliminate both Mufasa and Simba. 

He tricks Simba and his friend Nala into visiting a forbidden elephant graveyard, where they’re attacked by Scar’s hyena henchmen. Mufasa bravely rescues the cubs, but Scar’s next scheme proves fatal. He lures Simba into a canyon and triggers a deadly wildebeest stampede, then throws Mufasa into the chaos to his death.

Scar manipulates the grief-stricken Simba, making him believe he caused his father’s demise, and orders him to flee. Lost and alone, Simba nearly perishes before being rescued by the carefree meerkat Timon and the warthog Pumbaa. 

They teach Simba their “Hakuna Matata” (no worries) philosophy , and he grows up embracing a life without responsibility.

Years later, Simba’s childhood friend Nala, now a young lioness, stumbles upon him. She reveals the desolate state of the Pride Lands under Scar’s tyrannical rule, where drought and famine prevail. 

Nala urges Simba to return and reclaim his birthright, but he’s haunted by guilt and refuses.

Rafiki, with his wisdom, helps Simba realize Mufasa’s spirit lives on within him. Simba then encounters Mufasa’s ghost, who reminds him of his true destiny as king. Galvanized, Simba resolves to challenge his uncle and restore balance to the kingdom.

Back at Pride Rock, Simba confronts Scar, who attempts to rekindle Simba’s guilt over Mufasa’s death. 

Yet, the truth emerges: Scar was the true murderer. 

Enraged, Simba forces his uncle to confess before the pride. A fierce battle erupts as Simba, Nala, Timon, Pumbaa, Rafiki, and the lionesses fight the hyenas. Simba corners Scar, who pleads for mercy but is ultimately banished. Scar’s betrayal leads the vengeful hyenas to turn on him.

With Scar defeated, Simba ascends to his rightful place as king. Rain returns, revitalizing the Pride Lands. Life flourishes once more as Simba and Nala welcome their own cub, held aloft by Rafiki for the kingdom to see. The circle of life continues, demonstrating triumph over adversity and the enduring power of legacy.

Simba embodies the classic coming-of-age story. He begins as a playful, eager cub, filled with youthful arrogance and a desire to prove himself. Mufasa’s death and Scar’s manipulation shatter his world, leaving him guilt-ridden and lost. Simba’s exile with Timon and Pumbaa showcases his ability to adapt and find joy, even in difficult circumstances. 

Yet, he remains haunted by the past. 

His encounter with Nala and Rafiki forces him to confront his responsibilities. 

Simba’s final battle with Scar isn’t just about reclaiming the throne, but about conquering his internal demons. 

His transformation into a mature and responsible king highlights themes of self-discovery, forgiveness, and the enduring power of legacy.

Mufasa represents the ideal ruler: wise, strong, and compassionate. He understands the delicate balance of the “circle of life” and teaches Simba about his role within it. 

Mufasa is a loving father, gently guiding Simba while instilling the importance of duty. His tragic death becomes the catalyst for Simba’s journey, and his memory serves as Simba’s guiding light in his darkest moments. 

Mufasa’s influence lives on through his son, symbolizing the lasting impact of a virtuous leader.

Scar is fueled by jealousy, resentment, and a twisted desire for power. Unlike Mufasa, he sees the kingdom as a means to satisfy his own ambitions and disregards the natural order. 

He is cunning, manipulative, and willing to do anything to achieve his goals, Scar’s insidious nature is highlighted by his exploitation of Simba’s innocence and his betrayal of his own family. 

He embodies the dangers of unchecked ambition and serves as a stark contrast to Mufasa’s benevolent leadership.

Nala is brave, independent, and loyal. She recognizes the Pride Lands’ decline under Scar’s rule, prompting her to seek help from Simba. 

Her love for Simba serves as a beacon of hope, reminding him of his home and his true identity. 

Nala isn’t just Simba’s love interest; she’s a strong character who actively challenges Scar and helps reclaim the kingdom.

Rafiki is the eccentric sage who guides Simba with wisdom and a touch of mystical playfulness. 

He understands the connection between the past, present, and future, and recognizes Mufasa’s spirit living on in Simba. Rafiki acts as a catalyst for Simba’s self-discovery, aiding in his understanding of his destiny and his place in the ‘circle of life’.

Timon and Pumbaa

This inseparable duo provides comic relief and an important lesson for Simba. Their “Hakuna Matata” philosophy represents a carefree approach to life, focused on avoiding problems and worries. 

While this gives Simba a chance to heal and temporarily escape his past, it also contrasts with his responsibility as king. 

However, Timon and Pumbaa’s unwavering loyalty and friendship ultimately help Simba return to his path, highlighting that a life of fulfillment requires embracing both joy and responsibility.

Zazu is a stickler for the rules and tradition, representing order and duty within the Pride Lands. He’s often exasperated by Simba’s youthful antics and serves as a reminder of the expectations placed on a future king. 

His loyalty to Mufasa continues after the king’s death, and his defiance of Scar shows his commitment to the rightful order of the kingdom.

Shenzi, Banzai, and Ed

These hyenas are Scar’s henchmen, driven by hunger and a desire for power. They operate as a unit, their cackling laughter emphasizing their villainous nature. 

They represent opportunistic chaos, exploiting Scar’s rule to destabilize the natural harmony of the Pride Lands. 

Their eventual demise underscores the consequences of greed and blind obedience.

The Circle of Life

The concept of the ‘circle of life’ is the heart of The Lion King’s philosophy. 

It emphasizes the interconnectedness of all living beings, the balance between life and death, and the understanding that every creature plays a vital role in the grand scheme of existence. 

Mufasa teaches Simba about respecting this delicate balance, and how a true king understands his place within it. Scar’s reign disrupts the circle of life, leading to drought and famine, highlighting the consequences of disregarding natural order. 

When Simba reclaims his throne, he re-establishes this balance, restoring harmony and prosperity to the Pride Lands.

Responsibility and Legacy

Simba’s journey is fundamentally about embracing responsibility. 

As a young cub, he’s eager to be king but doesn’t yet comprehend the weight of that role. His exile allows him to escape responsibility, but also leaves him unfulfilled. 

Through his encounters with Nala and Rafiki, Simba realizes he cannot run from his past or his destiny. By confronting Scar and reclaiming his throne, he accepts the mantle of leadership passed down from his father. 

The Lion King explores the importance of fulfilling one’s duty and the enduring impact a person’s actions can have on future generations.

Facing the Past and Finding Redemption

Guilt and trauma over Mufasa’s death plague Simba, leading him to believe he’s unworthy of being king. Scar exploits this vulnerability, making Simba feel responsible for his father’s demise.

Simba’s growth depends on confronting his past, acknowledging his pain, and ultimately forgiving himself. This struggle mirrors real-life experiences of loss and grief. The film doesn’t shy away from difficult emotions but ultimately offers a message of hope and healing. 

Simba’s act of confronting Scar is not only about reclaiming the throne but also reclaiming his own sense of self.

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The Lion King, Essay Example

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Introduction

Animated films, especially those produced by Disney such as  The Lion King,  function as cultural texts that can be analyzed through an anthropological prism. Wells (1998) contended that “The idea that animation is an innocent medium, ostensibly for children, and largely dismissed in film histories, has done much to inhibit the proper discussion of issues concerning representation” (Wells, 1998, p.187). Anthropologists can discern the contested values and beliefs that pervade American culture by elucidating the cultural politics ingrained in Disney’s animated films. Such a process of uncloaking necessitates exploring beyond the surface for any and all cultural messages that evince undergirding tensions and persistent contradictions and paradoxes. Doing so enables anthropologists to ascertain counter-hegemonic tropes and themes, particularly related to the intersectionality of class, gender, sexuality, race, ability and the nation (Harris, 1994).  The Lion King  was released in 1994 and experienced cataclysmic success, as it was quite popular among children, ascertaining alternatives to the hegemonic understanding of the film such as how the film represents ideas about masculinity and femininity as well as the various representation of race, especially how black people are limned and how such renderings evince racists stereotypes.  As a result, rather than proffering an authentic portrayal of African culture,  The Lion King  reflects various stereotypes attached to race and gender in western societies in order to pander to western audiences so that it could achieve blockbuster status even as an animated film in various markets.

The Lion King is an animated film produced by Disney as the thirty second feature film in the classic Disney films. It takes place in Africa in the kingdom of the lions, clearly conveying various biblical and literary influences. The film narrates the story of a young lion named Simba who is supposed to succeed Mufasa, his father, as the ruler over this kingdom. Unfortunately, greed overtakes Scar, Simba’s uncle, who murders Mufasa at the beginning of the film and therefore usurps the throne. Simba, still very young, is manipulated into believing that he is responsible for the murder of his father, which is why he flees into voluntary exile as a result of his angish, humiliation, shame, and deep-seated despair. Simba thus grows up alone and comes of age residing with two wastrels free of worries, which the motto “hakuna matata” translates to. Simba gains significant insight and perspective from Nala, who is his friend since childhood, and Rafiki, his shaman, before he returns to the kingdom of lions to challenge the authoritarian rule of Scar. After a violent scuffle between Simba and Scar and his hyenas, Simba assumes the throne of the kingdom, which had deteriorated in Simba’s absence. Pride Rock thus returns to its former greatness, enable the circle of life to persist.

The representation of gender: patriarchal mores

The Lion King  portrays a gender order that is steeped in patriarchal leadership and family, as the characters who ruled over Pride Rock are all males. The lionesses, conversely, are all forced to accept a more secondary and subjected role to their male counterparts, and hunting is the only way they could become somewhat stronger than the lions. Nonetheless, the lions demand that the lionesses go hunting, which thereby strips the lionesses of their autonomy. Following Mufasa’s death and Scar’s ascendance to the throne at his own behest, the lionesses had the opportunity to get rid of Scar if they decided to do so, yet their identity throughout their entire lives was demarked by dependency. as a result, the lionesses have no sense of independence or ability to resist the hegemonic patriarchal order firmly embedded in the portrayed culture. While this construction of femininity is aligned with traditional renderings of gender in western cinema, it is interesting to assess how masculinity is constructed within the portrayed culture. In  The Lion King,  masculinity is a socio-cultural construction in a world where manhood is something that is learned and performed rather than being biologically intrinsic. At the outset of the film, Mufasa, Simba’s father, is killed when Simba is still very young. As a result, Simba must grow up without a father or strong, male influence, away from his mother. As a cub who grows up alone, it appears that Simba is vulnerable to harm, yet he finds solace in his friendship with Timon and Pumba. When he reaches adulthood, Simba exactly resembles his father, who is viewed as a paragon of masculinity demarked by his power and muscularity. At the end of the animated film, Scar and Simba get into an explosive altercation, which conveys that masculinity in this portrayed culture is represented through animals anthropomorphically (Wells, 1998, p. 190). The lions assume the stance of bipedal humans, as they are upright on their two hind feet and attack each other in the same way that humans do when they are in a fist fight.

The representations of femininity and manhood in The Lion King is quite problematic due to the fact that it clearly privileges patriarchy, as only sons of kings were able to inherit the throne and reign over the kingdom. Feminist critics point to the fact that such a depiction eschews how lions actually behave in their natural habitat, as lionesses occupy the most important roles in how lions societies are actually structured. The film diminishes the potent role of lionesses by merely framing them as the love interests of the male characters, such as Nala and Simba. Other female characters seemingly cease to exist in the portrayed world. The title of the film itself intimates that male lions are supreme and that male authority is at the apex of the kingdom, and male lions as kings emerge as patriarchal tropes.

The representation of race: reinforcing western racial scripts

Another significant anthropological representation in  The Lion King  is that of race and how Disney pandered to western audiences by perpetuating various stereotypes that are intrinsically racist. Although the cultural fabric in the Western world during the twentieth and twenty-first centuries promote multiculturalism, films provide cultural texts in which criticism about the construction of race has germinated. Disney has taken concerted efforts to portray race in an authentic and healthy manner, yet  The Lion King  perpetuates racist stereotypes that have pervaded western discourses for many centuries. The presence of the hyenas becomes problematic as they viewed as members of indigenous or subaltern cultures who are bottom feeders and appear mangy bullies who torture Simba. These hyenas are portrayed by non-white actors, which intimates that Disney, while perhaps done intentionally, limn African Americans and other members of subaltern races not as humans but as animals. Indeed, the hyenas resemble a feckless street gang that reflects the nefarious intentions of minorities such as Hispanics and African Americans. Such notions pervade western discourses about members of subaltern races, especially those of African descent. In addition, the antagonist of the film and Simba’s sinister uncle, Scar, has dark-colored fur, unlike the other lions who have bright golden fur. This seemingly irrelevant observation nonetheless suggests that darker colored skin people–i.e. Africans and African Americans–are cast as evil and are the villains not only in fictive narratives but also in real life.

“The Circle of Life,” which is the opening song of this animated film and its lyrical content demonstrate Disney’s incapacity to depict Africa in an authentic manner and covers up the overt unwillingness to portray black people, especially Africans, as human beings (Byrne & McQuillan, 1999, p. 101). Indeed, this theme song commences with clearly African vocals, yet the instruments are not African in origin. Rather, they sound quite western and was devised by white musicians. The scenery in the opening scene does not look authentically African, as there are very few signifiers of African culture and geography, especially since English is the language used throughout the film rather than any African dialect. Despite portraying African culture, American actors and the English language are deployed in the film, which subtly accentuates the hegemony of American culture and society over Africa. Benshoff & Griffin (2009) argue that the baboon, Rafiki, shares a likeness with the African deity Eshu who is charged with the responsibility of safeguarding travelers and is blamed for the misfortunes or fortunes that creatures endure (Benshoff & Griffin, 2009). Although Rafiki is a lauded character in the animated film. he nonetheless comports himself in a half-crazed, reckless, foolish, and bizarre manner. These traits are often used to describe Africans and African Americans in western discourses. There is also overt disrespect and denigration of African cultures and tradition. When Zazu reminds Simba that his friend Nala would eventually become his wife, Simba retorts that once he assumes the kingship, that custom will be nullified. Although it is hard to discern whether such racial representations were intentional or not by Disney production members, as progenitors of cultural products, hyper vigilance must be adopted because audience members are only exposed to the final products rather than the intentions of the producers.

Various epochs are always stigmatized by particular discursive representations of gender and race, among other critical cultural constructions. The Lion King continues to be highly criticized for its representation of gender and race, as it reproduces western stereotypes and scripts through its portrayal of African culture and society. Patriarchy and a strenuous form of manhood is presented as ideal in his film, which eschews the actual behaviors of Africans and the prominent role of African lionesses in their social structure. More poignantly, the representation of race in the film is problematic for reproducing pejorative western stereotypes about Africans and African culture, especially in the portrayal of African characters as animalistic rather than human.

Benshoff, H. & Griffin, S. (2009).  America on film: Representing race, class, gender, and sexuality at the movies . Chichester: Wiley-Blackwell.

Byrne, E. & McMullan, M. (1999). D econstructing Disney . London: Pluto Press.

Harris, J. E. (1994). Stereotyping for fun and profit.  Christopher Street.

Sweeney, G. (1995) ?What Do You Want Me to Do, Dress in Drag and Do the Hula??: Pumbaa and Timon’s alternative lifestyle dilemma in Disney?s  The Lion King . S eventh Annual  Society of Animation Conference , University of North Carolina at Greensboro

Wells, P. (1998).  Understanding animation . London: Routledge.

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It may be a long time before viewers can appreciate the 2019 remake of "The Lion King" as a freestanding work, instead of judging it against the original. The 1994 version was "Hamlet" plus "Bambi" on the African veldt: a childhood-shaping, Oscar-winning blockbuster, the second-highest grossing feature film of its calendar year, one of the last great hand-drawn Disney animated features (Pixar's original " Toy Story " came out 18 months later), and a tear-producing machine. This remake was controversial long before it opened, mainly because it seemed to take the Walt Disney company's new branding strategy—remaking beloved animated films as CGI-dependent "live action" spectaculars—to its most drastic conclusion. It serves up the same story with different actors, different arrangements of beloved songs and soundtrack cues, a couple of original tunes, a few fresh scenes and sequences, and, of course, photorealistic animals. The latter are the movie's main selling point, so believable that one of my kids remarked afterward that sitting through the film was like watching a nature documentary on mute while the soundtrack to original "The Lion King" played in the background.

But here's the thing: the movie is helmed by a Disney veteran, actor-director Jon Favreau , who's great at this kind of thing. And this might be his best-directed film, if you judge purely in terms of how the scenes and sequences have been framed, lit, and cut together. The cinematographer is Caleb Deschanel , who shot some of the greatest live-action animal adventures in movie history, including " The Black Stallion ," and this production straightforwardly owns the notion of "realness," modeling its animals on actual creatures, defining character more through body type and ingenious details of movement than through facial expressions, which might've looked kinda creepy here, honestly. (The animals are a little bit creepy at times, though not as creepy as in Andy Serkis' "Mowgli," where you sometimes felt as if you were watching top secret footage of gene-spliced animal-humans.) 

Favreau broke into filmmaking with such hip indie comedies as " Swingers " and " Made ," then improbably transformed himself into a junior version of Steven Spielberg or James Cameron , overseeing the biggest of big-budget properties, including the first two " Iron Man " films and Disney's recent hyper-real remake of " The Jungle Book ." This may be his most daunting challenge yet, or at least his most provocative if you cherish the source material. The very idea of presuming to remake Disney's most financially successful late-period animated film with the latest in computer-generated imagery, while continually reminding people of the original by recycling the same story and music (and many of the same iconic shots and locations, including the lions' distinctively shaped Pride Rock), is as close as Hollywood gets to courting charges of blasphemy. 

Visually, the original was 88 minutes' worth of stylized paintings in motion, like a child's storybook come to life, but with expressionistic or psychedelic elements (like the freaky green highlights in the "Be Prepared" sequence, and the stylized hellfire and skewed camera angles during the end battle) that tickled the sensibilities of film-buff parents. In contrast, this new "Lion King" is rooted deeply in the real, from its plain, sometimes drab colors to the animals' intricately rendered bone structures, muscles, and fur. Even when the characters are singing the familiar songs and repeating the familiar lines (or, in one hilarious and oddly postmodern interlude, quoting another Disney movie) the entire crew is working double-overtime to convince you that these creatures exist, that they shed fur and drop scat on the jungle floor. 

Favreau and Deschanel's camera (or "camera"—this is a digital movie built from ones and zeros) follows closely behind the animals as they gallop through grasslands, scale cliffs and hills, tumble and wrestle and fight, and romp through water and rain. It's as as if they were real animals with intelligence and agency who allowed camera crews to follow them rather than eating them. (Disney always released animal documentaries in addition to their animated and live-action features, and this one sometimes feels like a very basic one from the 1950s, where an editor would cut to an unremarkable close-up of a bear panting in the summer heat, and the narrator would tell you it was sad because it missed its mom.)

It's impossible to deny that this movie represents a technical milestone. We've seen digitized versions of real animals before (perhaps most strikingly in the recent "Planet of the Apes" movies, and in Favreau's "Jungle Book") but they're presented so matter-of-factly by Favreau that if they didn't talk and sing, and if you squinted just a bit, you'd never know they weren't the real deal. And the filmmaking itself adds credibility. The "camera" (again, there is no camera, just CGI) seems to have weight. When it "flies" over "Africa," you'd swear it had been attached to an actual helicopter. When the elder lion king, Mufasa ( James Earl Jones, the only actor from the original reprising his part), scales the walls of a canyon to rescue his son  from rampaging wildebeests unleashed by his evil brother Scar ( Chiwetel Ejiofor ), it's clear that the filmmakers have put a lot of thought into how a 400-pound alpha predator would do such a thing, whereas the original was content with "the lion climbs up the rock."

Of course there's something to be said for sticking to "the lion climbs up the rock" rather than proving you that know how to answer the question "How does a 400-pound lion climb up a rock?" The Dad Joke answer is, "Any way he wants to," but animators need more direction than that. It's easy to make a case that lions and hyenas and baboons and hornbills and antelopes drawn with ink and paint, with an eye towards the simple yet daring gesture rather than Nature Channel texture, register as more emotionally "real" than things that might be mistaken for photos, especially when they're doing vaudeville wordplay and delivering sad monologues and singing songs by Elton John and Tim Rice . 

But that doesn't fly, not anymore, because the movie industry has conditioned audiences to think that "reality" and "believability" are the greatest of all creative virtues, and that the live-action blockbuster is the classiest, most respectful way to tell a story. That's why visually daring animated films like " Spider-Man: Into the Spider-Verse " only make a fraction of the box office haul of more literal-minded live-action Marvel movies. And it's why almost every spectacle-driven live action (or "live action") blockbuster, from Marvel and DC to the " Star Wars " franchise and the American Godzilla films, and the Transformers, and even Pixar, are obsessed with making sure that countertops and pavement and glass and hair and skin and fur and fire and water look photographically real, and that everything moves believably even you're watching wisecracking toys or combat droids or city-destroying kaiju. To quote a friend, if you follow this creative impulse too slavishly, it's like using a magic wand to make a toaster . 

Where you fall on this stuff is anyone's guess, if you care about it at all. You might not, and that's OK. But it should be said that even if you're not obsessed with cinema minutia, this film is still a fascinating aesthetic experiment, less reminiscent of Favreau's previous photorealistic Disney animal picture, "The Jungle Book," than of Gus van Sant's 1998 remake of Alfred Hitchcock 's "Psycho," a curiosity that wasn't quite shot-for-shot but got eerily close. Watching this new "Lion King" reminded me of seeing the "Psycho" remake in a theater and hearing people scream their heads off at the film's jump scares, even though they were near-exact reproductions of things Hitchcock had done 28 years earlier, with the same music, but in color instead of black and white, and with different actors. 

Who deserves credit for inspiring that powerful emotional reaction in 1998? Alfred Hitchcock, for making "Psycho" in the first place? Or Gus van Sant, for realizing that the master's work was so fully realized that if he copied it as closely as possible, audiences would still scream in the same places 38 years later? If you retain as much of an original work as possible while reimagining it, is it a gesture of respect or timidity? Is the result a thought experiment, or just an easy way ("easy" in terms of imagination, not effort) to make lots of money by creating a slightly different version of a thing people already know they like? Maybe films like the new "Lion King" take the phrase "give the people what they want" absolutely literally, and that's the whole (cynical?) point of their existence. But is slavish fidelity to an old text really what "the people" want? Or is it possible—to paraphrase a different showbiz maxim that's equally true—"the people" don't actually know what they want until someone shows it to them?

There are parts of the new "Lion King" where that second maxim comes into play, and it's beguiling, sometimes glorious. Like many "live action" Disney remakes of animated movies, this one is much longer than the original, and yet (like Favreau's "Jungle Book," still the best entry in this photorealistic remake series) it uses the extra length to make a statement, creating a sense of stillness. This might sound odd in a review of a CGI-driven 2019 Disney movie, but Favreau often appears to be trying to create a mid-twentieth-century motion picture made with the shiniest new tech—the kind of movie that took its time and gave viewers a bit of mental breathing space, permitting them to contemplate what they were seeing as they saw it.

There are times when the movie clears out music and dialogue and just lets you hear natural sounds and watch lions, giraffes, elephants, birds, rodents, and insects move through the frame. This movie uses the motif of "light" more subtly than the original, because it's striving to look "real" rather than stylized, and the result is a great example of how CGI animation can achieve a different kind of poetic effect that's different from the kind that old-fashioned cel animators might attempt. 

When Mufasa tells young Simba that his domain is "everything the light touches," the scene is illuminated by a golden, dawn-like glow, and when they have what proves to be their final conversation before Mufasa's death (that's not a spoiler, folks—"Hamlet" is 400 years old) the sunlight ebbs and gives way to darkness, and the sky fills with stars, foreshadowing Mufasa taking his place among the ghosts of kings and queens up above. A sequence two-thirds of the way through takes a brief transitional bit from the original—Rafiki the baboon realizing that Simba is still alive by catching his scent in the wind—and builds a lengthy, chain-reaction sequence around it, with a tuft of Simba's fur traveling, like the " Forrest Gump " feather, from the Eden-like jungle where he's exiled himself to the pridelands. 

And while the photorealism of the animals snuffs out any possibility of subtle "human" facial expressions, the creatures' bodies provide more characterization detail than you might expect. Especially impressive is the way Scar's physique contrasts with Mufasa's. The former is angular and raw, a Mick Jagger or David Bowie sort of body that lopes and limps, while the latter is a magnificent bruiser like Dave Bautista or Dwayne Johnson , so thick and powerful that when he moves, you can imagine the air parting around him. When Scar licks his paw and grooms himself absentmindedly as his brother pontificates, the gesture comes across as decadent and contemptuous even though it looks like something a real lion would do. That's filmmaking magic of a different kind than was contained in the source, and it's not necessarily lesser. 

What distinguishes all these choices is that they aren't blatantly trying to re-create or pay homage to something that viewers loved in an original work, in order to comfort us and press our nostalgia buttons. That means they can stand on their own two paws, making unflattering comparison harder. When the movie is doing its own thing, you don't think about whether Donald Glover's performance as the adult Simba is better or worse or merely different from Matthew Broderick's Simba (he's different—more internalized and shell-shocked), or whether Beyonce gives a better acting performance as Nala than Moira Kelly (she doesn't, except when she sings), or whether Billy Eichner and Seth Rogen are a funnier meerkat-warthog duo than Nathan Lane and Ernie Sabella (call it a tie, and ties go to actors with Broadway-caliber singing voices). The movie is never less interesting than when it's trying to be the original "Lion King," and never more compelling than when it's carving out negative space within a very familiar property and strutting to the beat of its own, new music. 

The worst thing you can say about this movie, and perhaps the highest compliment you can pay it, is to say it would be even more dazzling if it told a different story with different animals and the same technology and style—and maybe without songs, because you don't necessarily need them when you have images that sing. 

Matt Zoller Seitz

Matt Zoller Seitz is the Editor at Large of RogerEbert.com, TV critic for New York Magazine and Vulture.com, and a finalist for the Pulitzer Prize in criticism.

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The Lion King (2019)

Rated PG for sequences of violence and peril, and some thematic elements.

118 minutes

Donald Glover as Simba (voice)

Beyoncé Knowles as Nala (voice)

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The Lion King and the Heroic Journey

The plot and themes, saga of simba, the betrayal, life in exile, reunion with nala, simba's inner journey, the return and the final battle, the final showdown, reflection on the human journey.

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Home — Essay Samples — Literature — Symbolism — The Symbolism in The Lion King

The Symbolism in The Lion King

• Categories: Film Analysis Symbolism

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Words: 646 |

Published: Mar 16, 2024

Words: 646 | Page: 1 | 4 min read

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The circle of life, the circle of scar, the lion king as a christ figure, the pride rock.

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Production Analysis of The Lion King Essay

Introduction, progress of technologies seen in the film, emotional impact of the movie, works cited.

Animate film The Lion King from 2019 is a remake of the popular same-name hand-drawn cartoon. The action of both films takes place in the African savannah. They tell the story of a lion cub named Simba, who lost his father Mufasa because of his evil uncle Scar and was expelled from the pride. Years later, he returns to restore justice and regain the throne. In spite of the fact that the remake features spectacular photorealistic scenes made with the help of computer animation, it lacks emotional richness.

Researchers note that over the last two decades, digitalization and visual effects used while making animated films have developed greatly providing film-makers with a set of new opportunities (Bruckner et. al. 6). In this respect, The Lion King (2019) is a milestone from a technological perspective (Seitz). Jon Favreau, the director, who is good at creating the feeling of realness in animated films and his crew make the viewers feel like in the movie, not digitally created lions, monkeys, and other animals but real ones are shown (Seitz). According to Seitz, “this might be his best-directed film, if you judge purely in terms of how the scenes and sequences have been framed, lit, and cut together” (Seitz). So, the film-makers managed to create an animated film that looks like it has been shot with a camera.

The magnificence of the savannah is conveyed through employing long shots from the bird’s eye’s view and the high angle at the beginning of the film. Researchers note that shots of this kind are widely used by directors when they want to place a premium on the environment and show the position of the characters in it (Prince 9). Close-ups, on the contrary, emphasize the characters rather than the setting (Prince 9).

The Lion King 2019 features quite a lot of close-ups letting the “camera” (for it is a digitalized movie) follow the animals while they roam in water and rain or run through the meadows. The light reminds of the natural light of savannah which makes this motif different from the one of the original (Seitz). Plain, drab colors chosen are also true-to-life, therefore, the audience is, on the one hand, excited to see such a detailed representation of reality (Seitz). On the other hand, all these tools make people feel like they are watching rather a documentary film about nature than a fictional animated movie.

Although the technical components of The Lion King might deserve a high grade, it is possible to note that “the question becomes not if animators can create realistic animation, but if they should” (Greer 2). Actually, the faces of highly detailed digital characters look stiff and can hardly express the range of emotions required (Prince 13). That is why in the movie under analysis realistic animals are not capable of having proper facial expressions.

As a result, all the episodes that, according to the plot, should involve plenty of emotions, in fact, do not. Mufasa’s death, Scar’s monologues and other fragments of the remake which are intended to be highly affective fall flat on the spectators. Moreover, the vocal performances taken from the original movie do not correspond with the unemotional faces (Seitz). In the film, the sounds of the wild nature can be heard which aggravates the similarity of the film with a documentary.

To sum up, in The Lion King from 2019, greater emphasis is placed on the realistic representation of animals and nature not only in pictures but also in sounds. With the use of the latest visual effect and tools, the film-makers have achieved impressive realness. However, as for the emotional component, the movie might be not deep enough due to the technical inability to make digitalized characters convey proper emotions.

Bruckner, Franziska, ‎et al. Global Animation Theory: International Perspectives at Animafest Zagreb . Bloomsbury Academic, 2018.

Greer, Sarah. Simulating Life: Reimagining Realism in the Art of Animation . 2019. Web.

Prince, Stephen. Movies and Meaning: An Introduction to Film 6 th ed. Pearson Education, 2013.

Seitz, Matt. “ The Lion King Movie Review and Film Summary. ” rogerebert . 2019. Web.

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IvyPanda . 2021. "Production Analysis of The Lion King." June 20, 2021. https://ivypanda.com/essays/production-analysis-of-the-lion-king/.

1. IvyPanda . "Production Analysis of The Lion King." June 20, 2021. https://ivypanda.com/essays/production-analysis-of-the-lion-king/.

Bibliography

IvyPanda . "Production Analysis of The Lion King." June 20, 2021. https://ivypanda.com/essays/production-analysis-of-the-lion-king/.

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• Paragraph Writing
• Paragraph On Lion

Paragraph on Lion - Check Samples for 100, 150, 200, 250 Words

Writing paragraphs has been a common practice in schools, and writing about the king of the jungle, the lion is a common topic. The lion is considered the strongest terrestrial animal.

Table of Contents

Paragraph on lion in 100 words, paragraph on lion in 150 words, paragraph on lion in 200 words, paragraph on lion in 250 words, frequently asked questions on lion.

Read the full article to get an idea about the lion. Refer to the samples provided below before writing a paragraph on the lion.

The lion is a wild terrestrial animal called the king of the forest. The lion is a strong animal with a strong body, a big head, a majestic mane, and two fierce eyes. Lions are predatory animals and eat only after hunting. They have strong claws and sharp teeth, which help them hunt their prey and eat the flesh. Lions have yellowish-grey skin colour with smooth hair and an imperious roar which makes a lion unique. The footprints of lions are called pug marks. Lions are found chiefly in grasslands, open woodlands, or enclosed in zoos. Since they kill their own prey and hunt for food, they have the capacity to run fast.

The lion, also known as the king of the forest, is a wild terrestrial animal. The lion is a powerful animal with a powerful physique, a large head with a majestic mane, four legs, and two brilliant eyes. Lions are carnivorous animals that only eat after they have hunted. They have powerful claws and sharp teeth that enable them to hunt and consume flesh. Lions have yellow-grey skin and sleek hair, and their roar distinguishes them from other animals. Pug marks refer to a lion’s footprints. Lions are usually found in open woodlands, grasslands, or zoos. They can sprint extremely quickly as they kill their prey and search for sustenance. Lions are found in groups known as pride, where only two adult lions are found, and the rest are lionesses and their cubs. Lions are very protective when it comes to their cubs and their places. They fight for their survival and can fight for their families.

Lions belong to the Felidae family, a cat family known as the giant cats. The cat family comprises lions, tigers, leopards, panthers, and jaguars, but the lions are considered the most powerful. The lion is regarded as one of the bravest animals and looks hefty. They are also called the king of the jungle. Male lions have a mane that gives them a bulky appearance, but the mane is absent in female lions. Lions live in groups called ‘pride’ and live in grasslands and open woodlands. A pride usually comprises five to thirty lions. The pride comprises a few male lions, and the rest are lionesses and their cubs. Lions are very protective when it comes to their family, their cubs, and their places of survival. They can fight for their survival as well as for their cubs. Lions hunt together and live together and sleep for more than 20 hours. Lions are found in India’s Gir Forest, and India is famed for being the home of these animals. They can also be found in Eastern Africa, Southern Africa, and other parts of Africa.

Lions are among the biggest cats and belong to the Felidae family, which is the cat family. Lions, tigers, leopards, panthers, and jaguars are all cat family members, but lions are the most powerful. The lion is one of the bravest creatures and has a powerful appearance. They are also known as the jungle’s kings. Lions are large, four-legged animals with a hefty appearance. Male lions have a mane that gives them a bulky appearance, whereas female lions do not have a mane. Lions reside in deep forests and are found in groups known as ‘pride’. Five to thirty lions make up the pride. Only a few male lions will be found in pride, while the majority are lionesses and their cubs. Lions are fiercely protective when it comes to their families, offspring, and safe havens. They are capable of fighting for their survival as well as the survival of their young. Lions hunt and live together, sleeping for more than 20 hours at a time. Lions are found in India’s Gir Forest, and the country is known for being the home of these animals. They’re also found in Eastern and Southern Africa and other sections of the continent. Lions consume flesh and are occasionally spotted eating grass though they are not grass-eaters. Every different individual on the planet is unique in their own way. A lion is different and powerful from all other animals in the forest. The roar of the lion is something that makes them unique.

How can we describe a lion?

A lion can be described as a strong animal with four legs and a hefty appearance. The lion is called the king of the jungle and symbolises bravery and courage.

Why is the lion called the king of the jingle?

The lion is called the king of the jungle because of his power and strength. Lions are strong and fearless animals which is why they are called the king of the jungle.

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