Instead of asking how much can be kept the same, it's time to ask how much can be different.
On Thanksgiving, Disney let out a roar all over the internet with the launch of the teaser for its remake of The Lion King. The teaser already broke records of views, being the second most seen trailer behind the first Avengers: Infinite War provocation. Director Jon Favreau has found his previous success in the world of Disney remakes with The Jungle Book (2016), which raised US $ 966.6 million worldwide. There is little doubt that the mix of nostalgia and enthusiasm for a cast featuring Donald Glover and Beyoncé will see The Lion King become a big hit when it opens in the summer of 2019. Disney hit gold (again), remaking their animated classics. With Dumbo, Aladdin, Mrs it's the hoboand The Lion King coming next year, and Mulan Currently in production and scheduled for release in 2020, it is clear that the studio giant is not slowing down the train so early.
But the track that was exposed from the Magic Kingdom was largely without twists and turns. The teaser of The Lion King gave us shot for re-shoots of the original animated film. As an experiment, it's cool. But as a feature length project? The Lion King has to do more than give us a photo-realistic re-creation of a movie we already have. Favreau may have a few twists up his sleeve, and the voice actors will surely give the film its own feel, but The Lion King will have to do much is expected to be one of the few Disney remakes to come out of the shadow of the original. With the first decade of planned Disney remakes and readjustments, a trend that began with Alice in Wonderland (2010), it's time to consider what your model so far is actually offering: Magic, or simply the memory of it?
While re-readings and readjustments in other genres and other studios are often criticized for being unnecessary and generally fail to gain box-officeA star is born being the notable exception this year), Disney often gets a pass. Whether we are desperate to recapture the feeling of the past, because Disney is either a brand or an identity, or because we can not resist the curiosity that comes with seeing a familiar IP return, Disney remakes have become some of the most anticipated films of global culture. We can resist the idea of remakes, but many of us are drawn to these films. I readily admit that I am in the theater for each of these releases and I am certainly not above the phenomenon. The first movie I saw was Beautiful and the Beast (1991), so how could I not appear? This feeling is repeated in social media and any keyword search for The Lion King will appear spectators sharing their enthusiasm for the next film, tied to their love for the original 1994 – a love promoted by childhood experiences or parental memories. We are a generation of adult children, parents and teachers with Disney in our blood. We are contaminated and there is no way to save ourselves because we would reject an antidote anyway. Disney knows this, and as a result, his remake plan seems mostly to make good movies that serve as nostalgic reminders of when many of us as children experience great movies for the first time. Disney is offering us cinematic proxies so we can get as close as possible to reliving experiences. But perhaps this is at the expense of new experiences, new memories and ways of considering these characters and stories. Just because Disney is a part of us, that does not mean we are not sick.
The post-2010 remakes of Disney as The Jungle Book and Beautiful and the Beast (2017) has been perfectly enjoyable, but they are not exactly making daring choices, even if they add some new wrinkles. I would venture to guess that many of us familiar with the original cartoons are amused by these remakes, but do not go away feeling that the originals have been surpassed. Kenneth Branagh's Cinderella (2015) is an exception. Lily James's view of the title character seems progressive, and while the narrative beats are basically the same as the original 1950's, Cinderella is less concerned with slippers and feet than with a genuine human connection. Both Cinderella and Prince Charming, Ella and Kit, receive a depth of character that Disney's first fairy tale adaptations rarely allowed. In many ways, it seems like the kind of movie Disney would have done during its lively revival, Cinderella was not adapted so soon.
Malevolent (2014) The Jungle Bookand Beautiful and the Beast has glimpses of what Branagh did Cinderella work, but they never hold the character complexity in line with live action. A certain narrative abbreviation that works in animation does not translate directly into live-action. While Maligne's connection to the tragic relationship between Princess Aurora and Beast with her father is exactly what stories need to offer new insights to these characters, movies become very concerned with superficial emotions and hitting the beat of story and the musical tracks of the original. really get out of the book. These films hold the visual element, but they can not totally challenge these characters, or us, with a fairy-tale quality that is not just morality, but a world made strange by the absence of absolutes. We can only imagine what Beautiful and the Beast would have looked and felt as if Guillermo del Toro was involved, but going through his best fairy-tale photo-winner, The shape of water (2017), it is certain that he would have created a tale not for adults who wish to return to childhood, but for adults ready to embrace the strange magic of adulthood.
Disney experimented with moving these stories closer to the age of adults and teenagers who grew up with animated films both in their first modern retrofit and in their latest. Tim Burton Alice in Wonderland saw an adult Alice (Mia Wasikowska) return to Wonderland, after rejecting a suffocating society, to claim her identity as a feminist. But Burton, who managed to create one of the best adult fairy tales with her adaptation of Daniel Wallace Big fish in 2003, he could not get along with the world of Lewis Carroll and was stuck in a quest for meaning in a world that rejected him in a refutation. But Burton's interpretation of Carroll's world through the themes in which the film was stirring ultimately seemed empty despite winning more than a billion dollars worldwide and spawning a sequel, Alice through the Looking Glass (2016), which is Disney's only remake flaw.
These years Christopher Robin was more creatively successful, albeit less financially, making $ 197.1 million worldwide, in part because of China's anti-Pooh stance. While the adaptation of A.A. Milne and E.H. Shepard's Winnie-the-Pooh is not based on a fairy tale, he still managed to find a magical relevance, taking a little inspiration from Steven Spielberg Hook (1991). Making Christopher Robin (Ewan McGregor) an emotionally closed adult, and putting him in a world still feeling the ramifications of World War II, has allowed director Marc Forster to risk some chances with properties for a result that is poignant and introspective gloomy despite of humorous anthropomorphic stuffed animals. Although some critics were more interested in his ability to nostalgia and criticize his sadness, Christopher Robin It provided exactly what these Disney remakes and retrofits should be after: a consideration of what childhood experiences can provide for adults, not receding but advancing.
At this point, there is no financial risk for Disney to get involved with these remakes and retrofits, and their time over their films begins to take the creative risks to reflect this. With Tim Burton Dumbo Firstly, in 2019, it looks like Disney may be on the right track and the trailer suggests that the film can explore how our losses and disadvantages make us stronger. With any luck, let's see a the Lady and the Tramp questioning what it is like to find love outside of class and race, Aladdin who finds his hero taking responsibility for what it means to have three chances to control not only his fate, but the fate of others, and one Lion King which explores the political decisions that accompany the maintenance of the natural order of things and is fair. Animated movies are not going anywhere and their stories have been told and they still have audiences of all ages. It's time to recognize these characters and worlds as part of the myths they are, not ask to see how much the same can be kept, but how much can be different to help us explore and understand the world in new ways. These could be movies that children created in the animated films could mature. Disney can not recapture the magic of the past, but they can give us a new spell and 2019 will be the test to see if they are ready for the challenge.