Aladdin

Cast: Will Smith, Mena Massoud, Naomi Scott, Marwan Kenzari, Navid Negahban, Nasim Pedrad, Billy Magnussen

Director: Guy Ritchie

Writers: John August, Guy Ritchie


Perhaps the single most famous scene in the 1992 animated classic Aladdin is when the titular street rat, disguised as a prince, sweeps the beautiful princess off her feet onto his magic carpet and shows her a whole new world. Singing the iconic Menken-composed song that would win him and lyricist Tim Rice an Oscar, the couple embark on a magical, physics defying, geographically illogical journey into the clouds and around the globe, marvelling at all the wondrous, hand-drawn sights the animating team could dream up. Having now watched the live-action remake’s equivalent of that scene, it really makes me wonder whether Ritchie and his team fully understood the irony as they were filming it. We are after all talking about a film whose whole premise isn’t to show us a dazzling place we never knew but to take us back to a familiar place we already know. Spontaneity and novelty give way to obligation and nostalgia and yet these two characters still sing the same old song about beholding incredible new sights, broadening their perspectives and pursuing uncharted horizons. The oxymoron would be laughable in its thematic emptiness and shamelessly weaponised inter-textuality were it not already a consistent feature of Disney’s unyielding chain of reliably profitable photo-realistic remakes. Once again Disney has produced a movie that re-enacts its predecessor so closely and customarily that it’s left me wondering all over again why they even bothered.

This isn’t to say that there isn’t anything to enjoy or that the movie doesn’t offer a couple of new twists and spins. The story however remains fundamentally the same. Aladdin (Mena Massoud) is a poor kid living in the slums of Agrabah who, with the help of his pet monkey Abu, steals in order to get by. Jasmine (Naomi Scott) is the daughter of the Sultan (Navid Nebahban) and lives an unfulfilling, sheltered life that requires her to be married off to a prince. The two meet one fateful day when the princess sneaks into the city and are immediately smitten with one another. Aladdin however is a street rat, something the world never lets him forget, and so it looks like the beautiful princess will forever be kept beyond his reach. That is until the Grand Vizier Jafar (Marwan Kenzari) approaches him with promises of wealth and power beyond his dreams if he’ll only complete one task for him: enter the forbidding Cave of Wonders and retrieve a lamp. Jafar of course has no intention of keeping his promise, but his double cross backfires and Aladdin ends up trapped in the cave still in possession of the lamp. He gives the lamp a rub and *poof* out pops the Genie (Will Smith), a magic, omnipotent being with the power to grant three wishes. Aladdin thus hatches a plan to woo and marry Princess Jasmine with the Genie’s help, but Jafar is still determined to take the lamp and use it for his own nefarious purposes.

On a scale from Alice in Wonderland (doing something almost entirely divorced from the original) to Beauty and the Beast (basically a shot-for-shot remake), Aladdin is undoubtedly closer to the latter. It follows the old and familiar path so religiously that when it momentarily strays or digresses, it’s as if the movie has been freed from captivity like a genie from his lamp. And yet these departures are so inadequately scarce that the movie is never able to develop a personality or style it can call its own. One such variation is the attempt to give Jasmine more agency in the story, an idea that climaxes with her singing an empowering ‘Let It Go’ style solo of her own entitled ‘Speechless’. It’s a song about her refusal to be silenced by the patriarchy that Scott sings the hell out of, but it’s so awkwardly wedged in and is so disconnected to the rest of the film’s mode that its inclusion feels more like a corporate calculation than a narrative payoff. They likely could have made the song’s inclusion feel more organic in a movie that devoted more of its time towards Jasmine’s arc, but such an approach would have necessitated a more drastic restructuring of the narrative as a whole, an undesirable prospect for a film that’s more interested in capitalising on an existing property through explicit mimicry than it is in telling an updated story with a timely message.

The possibilities of the film that could have been are most evident in the actors’ performances. Massoud has the right amount of charm and energy for a likeable protagonist and he’s particularly good at straight-faced comic deliveries, but that aspect of his performance only gets to shine in those few instances when he isn’t repeating bits and gags we remember from the first film. Scott brings a fiery passion and graceful dignity to her role, hinting at a resolve that goes beyond a desire to see more of the world. Oftentimes Disney heroines in positions of royal authority are shown to be rather ambivalent about their statuses and seek some form of escape from their responsibilities; Jasmine, in contrast, has the will to be a leader to her people, and a capable and compassionate one at that, but is being constricted by a culture that she wishes to change. When acting opposite each other in those scenes that are copy and pasted directly from the animated film, it is their talent and chemistry that save those moments from feeling like a clumsy high school re-enactment of the stage musical. When they get to break free from the original for a little while and trade jabs in the kind of wisecracking banter that Guy Ritchie knows how to do well, that’s when they really get to shine.

Smith has a much tougher sell to make to those viewers who love the 1992 classic for Robin Williams’ iconic performance. That they cast Will Smith in the role as opposed to a famous comedian/impressionist like Jim Carrey or Bill Hader seemed promising at first as it suggested that they were determined to take the character in an entirely different direction rather than settle for a pale imitation. However the movie can never bring itself to commit to the idea fully and instead has Smith stand in this awkward middle ground between Williams’ Genie and the Fresh Prince of Arabia. After a career of over three decades, Smith remains one of the most naturally charismatic stars in Hollywood today but he can only bring so much personality to a role that requires him to spend 60% of his time imitating a character that was built so specifically around the persona of an equally idiosyncratic star. Within that tension is, I think, not only the biggest problem with this film but with all the Disney live-action remakes in general. The movie’s main selling point is the nostalgia it inspires, but that ardent worship of nostalgia over all else leaves little room for creativity and inspiration. The 1992 film was conceived and designed as an animated fantasy/adventure and it lives on today largely because of a phenomenal performance brought about by an ideal marriage between performer, character and format. You cannot translate these things into a live-action form and expect them to remain tangibly the same.

While the story in the original film flourished in its animated setting, here it too often seems constrained by the limitations of live-action filmmaking. Or perhaps the issue is more with conventional filmmaking, which is pretty disappointing considering what an unconventional director Ritchie often is (in ways both good and bad). One small moment that helped me appreciate how good the 90s Disney cartoons were at making a little count for a lot happens right before the magic carpet scene when Aladdin holds his hand out to Jasmine and says, “Do you trust me?” The line matters because he says it earlier in the film and it ignites her recognition of him. To make sure this point was not lost, the animated film took the care to frame Aladdin in the exact same way on both occasions, emphasising the reoccurrence in visual terms. Not so this time around thanks to the movie’s generic cinematography and editing. Jasmine’s performance signals to us that Aladdin’s line has triggered her memory of him, but there’s nothing in the way that the shot is composed to reinforce it. So much of the film is arranged in such a routine manner and relies so heavily on CGI that few moments truly dazzle and captivate the viewer the way the animated film did throughout. The musical and action sequences feel slower, the world feels smaller, and the designs (especially that of the Genie) lose in spectacle and wonder what they gain in photo-realism. There’s a common misconception behind these remakes that live-action is more legitimate and ‘real’ than animation and these films continue to prove that snobbish, narrow-minded assertion false.

★★

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Power Rangers

Cast: Dacre Montgomery, Naomi Scott, RJ Cyler, Becky G, Ludi Lin, Bill Hader, Bryan Cranston, Elizabeth Banks

Director: Dean Israelite

Writer: John Gatins


I was a 90s kid which means that I watched my fair share of Power Rangers growing up. The shows were spectacularly corny and silly but it worked very well for what it was, a campy kids TV show. However many different versions were made, the movies and shows all followed the same tried and true formula. A baddie would release some monsters to wreak havoc, the power rangers would suit up and fight them, the baddies would intervene by making one of monsters enormous, and then the rangers would work together in their animal-robot things to take it down. It was the exact same thing episode after episode after movie after episode. But it worked. It was a formula that children could recognise and follow and the show itself was fun enough that its ceaselessly repetitive structure didn’t really matter all that much. Looking back now it’s clear to me what a stupid, lame show it really was, but back then I couldn’t have cared less.

In the idyllic town of Angel Grove, high school football star Jason Scott (Dacre Montgomery) gets himself into trouble for an elaborate prank gone wrong and ends up in detention. There he meets Kimberly Hart (Naomi Scott), a shunned cheerleader, and Billy Cranston (RJ Cyler), an autistic nerd. The three end up at an old gold mine along with Trini (Becky), a moody loner, and Zack (Ludi Lin), a reckless maverick. After Billy breaks some rocks with his explosives, the five discover strange coloured coins and each take one. They later find that they’ve all acquired superhuman abilities overnight and return to the mine to discover the source. There they discover a spaceships inhabited by the robot Alpha 5 (Bill Hader) and the consciousness of Zordon (Bryan Cranston), a ranger from long ago. Zordon reveals that the five have been chosen to assume the roles of the Power Rangers and that they must begin training in order to defend the world against the imminent return of the dreaded Rita Repulsa (Elizabeth Banks).

This is a film that truly exceeded my expectations. It isn’t by any means a great movie, but it is far, far better than a Power Rangers movie has any business being. All I really expected was five teenagers in coloured suits performing elaborate karate moves on weird-looking monsters. Instead I got a compelling teenage drama worthy of John Hughes with a Power Rangers episode taking up the last 30 minutes or so. The movies gives us five diverse teenagers who really do have attitude and showcases them all in believable, gripping ways. Billy’s autism and Trini’s sexual orientation don’t feel like topical traits the movie tacked on to score diversity points, they feel like genuine parts of their characters. The film actually takes time to show how much of an outsider Billy is, especially after the loss of his father who was the one person he felt he could really talk to, and how disconnected Trini feels with her clueless, conservative parents. Zack meanwhile shares a touching bond with his sick mother and is torn up by her illness while Kimberly struggles with being the subject of resentment amongst her classmates after committing an offence that’s actually pretty deserving of animosity. Jason completes the ensemble as its least interesting member, but he has his own father issues as well that leads to a couple of good moments.

As much as I enjoyed getting to know these characters and watching them bond, it did result in one rather glaring flaw. It takes forever for these characters to actually become the Power Rangers. After they meet Zordon about 30 minutes in, the five teenagers spend the subsequent hour training and learning about their abilities. In order to become the Power Rangers they must learn to morph, but the only way they can do that is by believing in themselves and discovering the power that is already within them. The climax cannot start until this happens and, when it finally does, there’s little more than twenty minutes left to go. The disconnect between the discovery of their abilities and their climatic showdown isn’t nearly as mishandled as it is in Fant4stic, but it’s still an issue. The teenage drama that takes up the first 90 minutes is good, but after a while it started to drag and I found myself looking at my watch wondering when they were finally going to master morphing and become the Power Rangers.

Once the climax does get started its about what you’d expect. The movie follows the standard Power Rangers formula to a tee in their battle against Rita as she comes to Angel Grove to find the something crystal of something power so she can something something destroy something Krispy Kreme something. Banks for her part completely commits herself to the role of the gold-obsessed alien and fully embraces the campy, ridiculous nature of this franchise. The rest, especially Cranston, play it straight for the most part but not to the point where they’re taking themselves too seriously. There’s plenty of comic relief, albeit some of it crude and predictable, and enough over-the-top action for the film to live up to the Power Rangers name. It isn’t a smart or a well-made film, but to be perfectly honest I never expected Power Rangers to be either of those things. That the film is at all thoughtful or compelling is in itself a miracle. There is an earnestness and sincerity to Power Rangers that I found rather charming. It’s a silly film but it falls on the right side of silly, offering kids some good, harmless fun with a couple of good lessons to take away and think about.

★★★