Saturday Evening Cartoons: The Lion King

     The Lion King was released in 1994. It is directed by Roger Allers and Ron Minkoff and written by Irene Mecchi, Jonathan Roberts, and Linda Woolverton. It tells the story of Simba (Matthew Broderick) the future king of Pride Rock, who must return to his home and reclaim his heritage after a tragic accident forces him to flee.

     For many, especially those who grew up with it, The Lion King represents that absolute pinnacle of Disney animation. I didn't see it until I was 15 or 16. I've always liked it but I never considered it a favorite. The filmmakers drew from classic literature and mythology to present a traditional hero's journey and I can't help but feel that they fell a little short in this regard. My main problem is that Simba, as a protagonist, is a bit inactive. He believes he is responsible for Mufasa's death. This haunts him and he struggles to come to terms with it and to move past it. This could be a compelling inner conflict but his decisions always seem to be mandated by the advice of those around him. After he runs away from Pride Rock it's Timon and Pumba who convince him to pursue a carefree lifestyle. When he finds out from Nala what's happened to Pride Rock in his absence he is compelled to return, but it's only when he is told to do so by Rififiki and Mufasa himself that he finally decides to.

     One might argue that both characters, at this point in the movie, are simply reflections of Simba's conscience, representing his own true inner desires. I do appreciate the mystical implications of Mufasa's ghost appearing to Simba, alluding to a classic scene from Shakespeare's Hamlet. But then the film makes a big mistake. The basic plot of The Lion King is that Scar frames Simba for his father's death. All of the character's guilt and indecision are a result of his belief in this lie. When he finally confronts Scar, only to find out that his uncle engineered the whole thing, he is able, essentially, to transfer his guilt onto someone else, rendering the essential conflict inert in the film's climax. In other words there's a disconnect between Simba's emotional conflict and his physical conflict with Scar.

     Despite these structural problems, I don't dislike the film. One reason for this is that I think there's another story going on beneath the surface. Simba starts out irresponsible and with little regard for the well being Pride Rock. His father tries to instill in him a better appreciation for the world around him. "Everything you see exists together in a delicate balance. As king, you need to understand that balance and respect all the creatures, from the crawling ant to the leaping antelope. When we die, our bodies become the grass, and the antelope eat the grass. And so we are all connected in the great Circle of Life." He doesn't ultimately learn this lesson until the films climax where he witnesses, first-hand, what will happen if the circle of life is interrupted. Scar is a clever usurper but once he actually attains power he has no idea what to do with it and everything falls apart. By allowing the lions and hyenas to hunt the other creatures of Pride Rock completely unimpeded he ultimately drives them away, making his kingdom into a desolate wasteland. Simba must take his rightful place as king in order to restore things to their proper order.

     The animators do a great job evoking the natural movements of actual animals. Mufasa, Simba and the other main characters all resemble actual lions in the way they move but they also feel like characters that we can relate to. The filmmakers took a trip to Africa early on in the production process and were awed by its natural, primal beauty. They hoped to transmit some of that awe and wonder on screen and I believe they succeeded. Filled with sweeping vistas and shots of leaping antelope and stampeding wildebeest The Lion King is a visual feast for the eyes.

     The voice cast all do an admirable job. I actually quite like Matthew Broderick as Simba. He might not be a very commanding presence but he really sells the characters devil-may-care attitude when he is shirking his duties with Timon and Pumba, and his inner conflict once Nala and Rafiki enter the picture. James Earl Jones is absolutely perfect as Mufasa, imbuing the character with real gravitas but also a kind, fatherly demeanor. Jeremy Irons is also great as Scar, his ironic, disinterested line readings giving way to real perfidy at all the right moments. Nathan Lane and Ernie Sabella have great chemistry as Timon and Pumba. Rowan Atkinson channels his inner Blackadder to play the uptight, dignified Zazu. Robert Guillaume's Rafiki has just the right blend of zaniness and dignity. Finally, Madge Sinclair and Moira Kelly do their best to give the underwritten Sarabi and Nala some personality.

     The songs, by Elton John and Tim Rice, are a little hit or miss for me. While "Circle of Life" and "Can You Feel the Love Tonight" are both solid pieces that help further the story and add to emotional weight of the film, "I Just Can't Wait to be King" feels like an irritating distraction. Generally speaking Tim Rice's lyrics are rather subpar, they work alright for the highly emotional songs but the more light, comedic ones are lacking in wit. Hans Zimmer's orchestral score, on the other hand, is a masterpiece. His contribution to the emotional impact of the film and its distinct African flavor is incalculable.

     While The Lion King stumbles in trying to present an archetypal hero's journey in the vein of something like Princess Mononoke I think it succeeds in telling a more simple coming of age tale about ecological responsibility, more in the tradition of something like Bambi. It has its flaws but they are far outweighed by the films strengths.

Score: 9/10