The Lion King is a 1994 American animated epic musical film by Disney. Taking place in a kingdom of lions in Africa, The Lion King tells the story of Simba (Swahili for lion), a young lion who is to succeed his father, Mufasa, as King of the Pride Lands; however, after Simba's paternal uncle Scar murders Mufasa to seize the throne, Simba is manipulated into thinking he was responsible and flees into exile. After growing up in the company of the carefree outcasts Timon and Pumbaa, Simba receives valuable perspective from his childhood friend, Nala, and his shaman, Rafiki, before returning to challenge Scar to end his tyranny and take his place in the Circle of Life as the rightful King.
You can't just use your house cat as a model, thinking, "I can just draw him, only bigger." You need to know why a lion is a lion, the difference in movements between a lion, a tiger, a leopard or your house cat. We looked at this film as our Bambi. They had the same approach. Look at the way the deer are drawn in Snow White and the way they drew the deer in Bambi just a few years later. They look like real deer because the artists did their homework.
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Released in theaters in 1994, The Lion King marks Simba's first appearance. All the animals in the Pride Lands gather at the foot of Pride Rock to commemorate the birth of Simba, who will eventually succeed to the throne and take his father Mufasa's place as king. Furious by the fact that he is no longer next in line, Simba's jealous paternal uncle Scar refuses to attend the ceremony. While Simba grows into a rambunctious lion cub who frequently boasts about the fact that he will someday rule over the Pride Lands, Scar secretly plots against him.
Tricked by Scar into thinking that he was the cause of Mufasa's demise, Simba runs away to a distant jungle where he is befriended by Timon and Pumbaa, a meerkat and a warthog who both help him put his past behind him whilst living a carefree life under "hakuna matata" ("no worries" in Swahili). There, he grows into a young adult lion who vaguely resembles his late father, while Scar wreaks havoc on the Pride Lands. When Simba is discovered by his childhood friend; a lioness named Nala, she confronts him, warning him of Scar's tyranny and begging him to return home. However, Simba refuses out of guilt of his father's death until a wise mandrill named Rafiki leads him to Mufasa's ghost, who convinces him to return home and take his rightful place as king.[40]
While Kiara and Kovu's friendship continues to grow, Simba, encouraged by Nala, attempts to show Kovu kindness by spending a day with him. Realizing that Kovu is beginning to side with Simba because of his love for Kiara, Zira ambushes and attacks Simba. Convinced by Zira that Kovu is responsible for the ambush, Simba exiles him and forbids Kiara to see him, but she makes her father realize that he is acting irrationally and trying too hard to be Mufasa, before leaving to find Kovu. When a battle ensues between the Pride Landers and the Outsiders, Kiara and Kovu arrive and stop them, with Kiara telling them that they are one, helping Simba to realize that despite their hatred for one another they are the same. This convinced Simba to accept the Outsiders back to his pride. When a furious Zira attacks Simba, she is intercepted by Kiara, causing the two to fall over the edge of a cliff. Having landed safely on a ledge, Kiara offers to help Zira, who is struggling to hang on. However, Zira, consumed by her resentment towards Simba, falls to her death. Simba finally approves of Kiara's love for Kovu and reconciles with his daughter, and accepts the two lions as the future queen regnant and king consort of the Pride Lands.[42]
Reception towards Simba has been generally mixed. The Christian Science Monitor's David Sterritt hailed Simba as "a superbly realized character," specifically praising the scene in which the character "faces discipline by his dad after his adventure with the hyenas."[82] Owen Gleiberman of Entertainment Weekly wrote that Simba "has been given a marvelously expressive face" to the point of which "He seems more human than the Ken and Barbie types featured in Aladdin and The Little Mermaid."[83] Peter Travers of Rolling Stone described "the father-son relationship" shared by Simba and Mufasa as "movingly rendered,"[84] while About.com's David Nusair wrote, "it's the touching father/son stuff that lies at the heart of the movie that cements The Lion King's place as an utterly timeless piece of work."[85] James Berardinelli of ReelViews enjoyed the fact that the film focuses more on the story of Simba himself as opposed to the romantic relationship developing between the character and Nala. However, Berardinelli criticized Matthew Broderick's vocal performance, describing it as "nondescript."[86] Rob Humanick of Slant Magazine hailed the fact that "it's never laid on [Simba] that his time as king will directly correspond with the eventual passing of his father" as one of the film's "most important facets." However, he criticized The Lion King's characters, describing them as well-designed but "lazy and troublesome."[87] The Austin Chronicle's Robert Faires felt that Simba and the other Lion King characters, though "true", were simply unoriginal retreads of preceding animated characters who were "swiped from other Disney cartoons."[88]
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.
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.
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.
When the two were young adults, Mufasa's brother returned to Pride Rock after a solo patrol in the Outlands. He informed Mufasa of his victory over a rogue lion who had attempted to take over the kingdom. In response, Mufasa playfully nicknamed him "Scar" after the facial wound he had received from the incident, which embittered him and made him believe that Mufasa did not deserve to be king.[1]
After the ceremony, Mufasa went to confront his younger brother, Scar, who had been strangely absent from the ceremony. The king caught Scar with Zazu in his mouth and ordered the younger lion to release his prey. Scar did so, albeit reluctantly. Though Scar spoke sarcastically to Mufasa, the king firmly asked why he had been absent from the ceremony. Scar feigned forgetfulness and called Simba a "little hairball," to which Mufasa reminded Scar that Simba was his son and the future king. Scar quipped that he would practice his curtsy, then turned his back on his brother. Antagonized, Mufasa ordered Scar to never turn his back on him, but Scar shot back that it was Mufasa who should never turn his back on him. This enraged Mufasa, who jumped in front of Scar and asked if that was a challenge. Scar denied this, commenting that he was intelligent but could not rival Mufasa in physical strength. He then strode off into the savanna. be457b7860
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