THE VIRGINIAN-PILOT
Copyright (c) 1994, Landmark Communications, Inc.
DATE: SATURDAY, June 25, 1994 TAG: 9406240106
SECTION: DAILY BREAK PAGE: E1 EDITION: FINAL
SOURCE: BY MAL VINCENT, ENTERTAINMENT WRITER
DATELINE: 940625 LENGTH: Medium
The surprising thing about ``The Lion King'' is that it works on all levels. It is, indeed, more aimed at adults than most other Disney animated films, but its mixture of vaudeville-like burlesque is comic relief in the way relief should be delivered. The balance is expertly managed, even if much of the humor, too, is aimed at adults.
{REST} ``The Lion King'' is not in the same vein as the recent, highly successful, Broadway-style musicals that the studio has churned out so admirably. This is a drama. In fact, it is the first original drama in the history of Disney feature animation - the first not based on a literary source.
The opening itself is a stunner. Before the titles, we are hit with the oranges and reds of an African sunrise, heralding the birth of Simba, the cub who is heir, someday, to the throne of his father King Mufasa, the revered ruler of Pride Rock. The throne is coveted, though, by Murasa's evil brother, Scar. When little Simba playfully comments that his uncle is ``weird,'' Scar purrs, meaningfully, ``You have no IDEA.''
Tragedy causes Simba to flee the Pride and, in what amounts to the second act, the comedy critters appear. The film is largely stolen by Pumbaa, a wacky wart hog, and his companion Timon, a wisecracking meerkat.
This is the first Disney film that deals only with animals beyond the realm of humanity. This is all to the good, for animation is inherently best at presenting creatures outside the human race. The humans in Disney animation have always been rather stiff beings. The well-drawn characters here are plentiful. The comic villains are hyenas, Shenzi, Banzai and Ed. Ed merely laughs. The other two have the voices of Whoopi Goldberg and Cheech Marin.
Scar, with the voice of Jeremy Irons, will emerge as one of the great, classic, Disney villains. He's mean because he's drawn that way, but he's also a laughable hoot. Zazu, a fussy bird, is assigned to protect Simba. Rafiki, with the voice of Robert Guillaume, is a babbling baboon who may be crazy and may be ultra-wise - an enigmatic eccentric.
It would be better if unknown voices were cast at all times because famous voices remind us that these are people from the real world. The thundering voice of James Earl Jones as King Mufasa is detracting here. Of course, he is the perfect choice to play fatherly pride, but we can't help but recognize the tones.
Nathan Lane and Ernie Sabella, both veterans of the Broadway cast of ``Guys and Dolls,'' are standouts as the vaudeville team of Pumbaa and Timon.
The songs, with lyrics by Tim Rice and music by Elton John, are the film's weakest link. They are quite forgettable, although serviceable. The opener is ``Circle of Life.'' There is the requisite romantic ballad, ``Can You Feel the Love Tonight'' which is sung, over the final credits, by John himself. The best lyrics are those warbled by villainous Scar for ``Be Prepared.'' The weakest are those for ``I Just Can't Wait to be King.''
More impressive than the songs is the dramatic score, composed by Hans Zimmer. Zimmer is masterful in bridging the two. His scores lends an ethnic African touch that is needed.
The animation itself is a wonder to observe. Landscapes and falling rain are achieved in art that deserves to be framed and put in museums - and will be. The wildebeest stampede is one of the memorable scenes in recent film history.
Because of the intensely dramatic nature of some scenes, parents should not drop their children off and leave them at the theater. Small children, especially, should have the feeling of parents with them. ``The Lion King'' is, to put it mildly, an instant classic that should emerge with the studio's second ``best picture'' Oscar nomination in the animated field. Everything about this film suggests that things will, indeed, be hakuna matata.
by CNB