Aladdin

From a visual standpoint, you can do literally anything in cartoon animation. One of the reasons Aladdin (1992) worked so well was because the animators were able to keep up with Robin Williams darting through impressions and other ideas at breakneck speed. Faces and physicalities could change on a dime from Ed Sullivan to Carol Channing to Rodney Dangerfield to Jack Nicholson and so on. This year’s live-action remake, which opened yesterday, loses a significant amount in translation.

Aladdin (2019) made choices I enjoyed. After Aladdin has been made into a prince, I liked the way Jasmine let him know, during the post-A Whole New World dialogue, that she recognizes him as the same “street rat” she met in the town earlier. And the way the loophole of Aladdin’s so-called first wish not really being an official wish came to light is different from the original and inventive. Jafar, here, is given a little bit more dimension and definition. I believe all villains (in stories and real life) are good people deep down inside, who let their insecurities get the best of them and acted out in unsavory ways because they didn’t get what they felt they deserved – and here, more than before, we get a taste of that. I have probably been the “villain” in some peoples’ lives. I liked Jasmine’s “sister.” I liked the royal position Jasmine found herself in at the end. And who knew a flying carpet without a face could still be such an expressive character with great depth?

It was a thrill to hear these songs and this score again. Lots of flatted 6ths and flatted 2nds give it a Middle Eastern sound. The new song is nice and well-performed, but it will leave your head the moment it ends. It is not the earworm that a Disney hit needs to be. Naomi Scott, who wasn’t born yet when the 1992 film came out, steals the movie as Jasmine. She has heart and instills everything with the most charm you will ever see in this adaptation. She has some nice stuff coming up – she’ll be one of Charlie’s Angels in the re-reboot set to open in November.

Other liberties the movie takes are less successful. Skip over this paragraph if you don’t want to know about a cheap surprise that doesn’t matter much anyway. There is a reveal at the end, which, upon scrutiny, serves only to make me wonder why someone would wait so long to tell his children about his amazing family history, in the guise of a fairy tale. They are however old, and this never came up before?

As the Genie, Will Smith – the only cast member I recognized – is a fine choice, and blazes his own trail a surprising amount when it comes to characterization. But ultimately, this material is less than it was in cartoon form. I am optimistic that the upcoming Lion King remake could be more effective, if for no other reason than to see all those beautiful animals. With Aladdin’s predominantly human characters, we are left with a version that is merely just fine.

Grade: B-