The Disney Renaissance: The Lion King

If you ask people what the greatest animated film of all time is, odds are a lot of them will answer, “The Lion King.”  There’s no denying the emotional and cinematic impact of this 1994 masterpiece.  The film’s force was only heightened by the release of the Broadway musical adaptation directed by Julie Taymor.  The Lion King is an undeniably important story.

Some fans of the film remain unaware that the story is a retelling of Shakespeare’s tragedy Hamlet.  Disney takes Shakespeare’s plot and sets it in the African savanna, where lions are royalty.  The film features knockout songs by Elton John and Tim Rice, with a score by Hans Zimmer.  I dare you not to cry when you hear “The Circle of Life” or not to sing along to “Hakuna Matata.”  I dare you.

The great thing about The Lion King is that it manages to retain humor while also packing an emotional punch.  Simba’s playful performance of “I Just Can’t Wait to Be King” and the one-liners delivered by Timon and Pumba are light-hearted and irreverent.  But the deadly stampede or Simba’s climactic spiritual awakening are heart-wrenching and dramatic.  Your heart races as the stampede begins and the animators recreate a classic camera trick sometimes referred to as the “Vertigo Shot.”  The background seems to be closing in around Simba as he stares in shock at the coming wildebeest.  This is my favorite shot in the film.  It’s this attention to creating realistic animation which mimics the most exciting techniques in live-action filmmaking that makes the Disney Renaissance so magnificent.

About ten years ago I had the privilege of seeing The Lion King on Broadway.  I remember it being an incredible experience.  The use of masks and puppets to recreate a world which most people would never conceive as possible on the stage was awe-inspiring.  I would encourage everyone to see the play if you have the chance, especially if you’re a fan of the movie.

I unfortunately missed The Lion King when it was rereleased recently.  I would not have see it in 3D of course, since, as you know if you read this blog regularly, I am not a fan of the 3D fad.  A film like The Lion King, which creates awe-inspiring visuals through the use of dramatic animation and the power of filmmaking, doesn’t need the added literalness of 3D glasses.  It’s a gimmick, and I won’t have it!

The Disney Renaissance: Aladdin

In 1992 Disney departed from their trend of spunky heroines and created a new animated hero.  Aladdin proved to be a fun, fantastical film which boys and girls alike could enjoy.  It’s probably a close second to Hercules (1997) as the most free-spirited and light-hearted film of the Disney Renaissance.

The vocal talents of comedian Robin Williams contribute to the film’s comic elements.  As the Genie, Williams’ fast-talking, impression-based humor worked well with his magical character’s shape-shifting abilities.  Gilbert Gottfried, another comedian, added his own brand of humor to the villainous parrot Iago.  The monkey Abu and the friendly Magic Carpet add cuteness.

Aladdin features joyful, catchy songs by Alan Menken, Howard Ashman, and Tim Rice.  Every 20-something knows the title character’s opening tune, and “A Whole New World” has become a go-to romance song for singers.

It may sound shallow, but the best thing about Aladdin for a lot of young women my age is that the title hero is considered quite the hottie.  Hey, I’m not the only one who thinks so.  In fact, Vanity Fair recently held a March Madness bracket deciding the sexiest animated character.  While Aladdin didn’t win, he did pretty well.  If men can go ga-ga over Jessica Rabbit (the female finalist in the bracket), women my age can swoon over Aladdin, okay?

More than anything else, Aladdin makes me think of humor.  While it certainly has the signature drama and significant themes characteristic of the Disney Renaissance, it’s not as dark or emotional as many of the others.  And like Disney Pixar films today, its humor is appropriate for children but enjoyable for adults as well.  As with the other films in the Renaissance, there are many jokes I did not understand until I rewatched the film as a teenager.  It’s that kind of versatility that makes the Disney Renaissance so legendary.

The Disney Renaissance: Beauty and the Beast

The next film in the great Disney Renaissance is the critically acclaimed Beauty and the Beast (1991), the first animated feature to be nominated for the Academy Award for Best Picture.  Following in the footsteps of The Little Mermaid, this film built upon the concept of including more serious themes and a cinematic style.

Once again, Disney took a classic fairy tale which had been told in multiple artistic forms, including in films by established directors such as Jean Cocteau, and made it something new with memorable characters and stirring music by Alan Menken and Howard Ashman.  Talky songs such as Belle’s introductory tune and the famous “Be Our Guest” joined moving ballads like the title song “Beauty and the Beast.”

Arguably the most significant element of Beauty and the Beast is the fact that it established a strong female heroine who differed from earlier Disney princesses, including Ariel of The Little Mermaid.  Whereas female protagonists in these films often long for marriages to wealthy men who will save them,  Belle has a better head on her shoulders.  She rejects the advances of the slimy Gaston, despite the fact that he’s considered the town hunk.  Belle enjoys the fantasy of romance as she reads it in books, but she is intelligent enough to understand that real-life romance does not always play out that way.  She falls in love with the Beast as he is, as opposed to seeking a handsome prince who will sweep her off her feet.  Belle provides a good role model for girls by teaching them that intelligence and responsibility are important and that beauty is more than skin deep.  Belle is the Disney princess many young women, myself included, like to say they most resemble.  Whether it’s true or not, it goes to show just how important the film’s heroine was to a generation of women.

Another noteworthy aspect of Beauty and the Beast is its revolutionary combination of cinematic style and mature themes.  The animation often reminds the viewer of live-action cinema, from the detailed town sequences to the dark gloom of Belle’s foray into the woods.  The sweeping depiction of Belle’s and the Beast’s romantic dance reminds one of  a big-budget epic.  This style, combined with more serious themes like the dangers of vanity and the trauma of being misunderstood, makes for a new kind of animated family feature.

Beauty and the Beast was the first film I saw in a theater.  While I was too young to remember the experience, it has always stuck with me that the first movie I experienced in such an important setting was an addition to the Disney Renaissance.  About ten years later, I saw the Broadway adaptation of the film.  These experiences are testaments to the significant role these films have played in my life and the lives of people my age.

A new television series called Beauty and the Beast is in the works to premiere on The CW this fall.  It’s just further proof that viewers from the Disney Renaissance generation are still interested in revisiting these stories.

The Disney Renaissance: The Little Mermaid

I grew up in the 1990s.  In between Barney the Dinosaur and Nickelodeon, most of my childhood entertainment came from watching and rewatching Disney animated films.  The period of Disney animation spanning the years from The Little Mermaid (1989) until Tarzan (1999) have been dubbed the Disney Renaissance, a rebirth of classic family fare reinvented with compelling stories which appealed to parents and children, in addition to powerful, catchy songs which would be stuck in our heads for years to come.

The impact of the Disney Renaissance is felt ever day by the young adults who grew up during the films’ premieres, myself included.  20-somethings continue to sing “Hakuna Matata” in the shower, watch Aladdin every time it airs on television, and compare their personalities to every character from Simba to Belle.  The films of the Disney Renaissance have spawned successful stage musicals, from the classic Beauty and the Beast to the innovative and awe-inspiring The Lion King, both of which I’ve had the privilege of seeing on Broadway.  I still own every film from the Disney Renaissance on VHS tape, as do countless other people my age.  My Disney station on Pandora probably gets more play time than all of my other stations combined, no doubt influenced by my childhood habit of playing Disney soundtracks on cassette tape before falling asleep.

As a tribute to the films which left such an impact on me and so many others from my generation, I’ve decided to begin a new series of posts dedicated to the films of the Disney Renaissance, in order.  I’ll begin with the film that started it all, The Little Mermaid.

When the spunky redheaded mermaid Ariel first leaped out of the ocean, a new type of animated film was born.  Disney had produced films based on fairy tales and children’s stories before.  The studio’s first feature film, Snow White and the Seven Dwarfs (1937), is proof of that.  But this film was different.  The quality of animation had improved, becoming more contemporary and cinematic.  The storytelling was more mature and thematic, in addition to appealing to children.  Perhaps most importantly, the film featured great music composed by Alan Menken and Howard Ashman.  Ariel’s powerful song “Part of Your World,” in which she longs for a human life, has become a go-to choice for young female vocalists.  “Under the Sea” combines a playful tune with clever lyrics to create the perfect song for children to play on repeat without driving their parents crazy.

As much as I love the Disney Renaissance, I must admit that The Little Mermaid is probably my least favorite of the films.  It lacks much of the pathos and themes of later films like The Lion King (1994) and Tarzan (1999), as well as the creativity of Hercules (1997).  It still retains much of the juvenile quality which makes many of the earlier Disney films feel dated.  Nevertheless, I won’t deny that The Little Mermaid made a significant impact on the world of animation.

Ariel is the Disney princess who looks the most like me, so it’s difficult not to feel at least a slight personal connection to the film.  Ariel and her friends ushered in a new generation of Disney character archetypes.  Young people continue to share their favorite Disney princesses, Disney princes, and Disney villains, and they still take quizzes to find out which characters match their personalities.  The film was even adapted into a stage musical a few years ago (below).

Stay tuned for my next Disney Renaissance post, which will take a look at 1991’s Beauty and the Beast, the first film I saw in a theater.