Disney’s Live-Action Aladdin: If it wasn’t for the Genie…

Copyrights: Disney Studios.

With its agenda focused on the live-action reenactments of its all-time classic films, Disney’s Aladdin followed the recent Beauty and the Beast and Dumbo films to find its spot in the local theatres. Anyone who watched the animated Aladdin would agree that it is a risky choice for a live action adaptation. The 1992 Alaaddin was the greatest dance of colors a screen could ever house in itself. During the Disney renaissance, Aladdin was the film that made the second highest profits for Disney.

There are some things that need to stay in their initial artforms to meet up and play with our imaginations. 1992 Aladdin will always be one of those films for me. For this very reason, I had low expectations from this remake. I have more than a few comments to make. So, let’s start, shall we?

The Good
The scene in the cave that built up to Aladdin‘s iconic encounter with the Genie was spectacular. Yes, we have the green-screen technology here in 2019, but not one ever granted me a time travel with the green screen before. The particular scene was a favorite of mine. It also marked the point in which Will Smith (or “the genie”) took the reins of the film and started dominating the screen, leading us through the mystical possibilities with a sense of humor.

I have to admit, I never really liked Will Smith’s acting choices. The guy is talented, but his films never really spoke to me. Alaaddin, though, is the proof that you can put Will Smith, an animated monkey, and a carpet together, and keep a crowd entertained. He often outplayed the rest of the actors (not— Menna Massoud*) and erased them off of the screen for me. Production-wise, this is bad, but Smith surely deserves praise. It is not his fault that the casting didn’t work out the best, right?

*I have never watched Menna Massoud in any other productions. To me, he did not lead the film, but he seems to be a promising actor. While I could see many of the characters easily replaced by someone new, Massoud’s energy and visuals brought the animated Aladdin to life. If there is ever a sequel, Massoud’s portrayal holds a promise to be iconic.

The Bad
Both the accents and non-accents made me cringe. Why is it that the two lead characters have smooth accents? Why is it that the rest of the cast is speaking with unnoticeably noticeable accents that just hang in the air? I am confused. I am also not sure if this is a move by the production team to make the exotic film somewhat politically correct, or they were simply scared of criticism. What do I think? Time for a reality check. This is obviously an ethnic story re-made for profits. You can’t walk away from criticism and you obviously will offend people. So, make a choice and stand with it.

I adore the original Aladdin soundtrack. My long-time musical theatre experience often makes me give mediocre reviews for the on-screen musical adaptations. I can’t say I adore the re-make soundtrack, I can’t say I hate it. It is okay, which sounds like an insult to such great music. This is mainly because of Naomi Scott and the ensemble, that really failed to thrill me as I had hoped. Disney films, to me, are made complete by the ensemble in every way. Sadly, I did not see or hear it in Aladdin.

Let’s get to Jasmine’s solo. It finally revealed the complexity of Jasmine’s powerful character. The song was beautiful, but I couldn’t help but wonder whether Celine Dion was singing it. Seriously, close your eyes and tell me I am wrong. It did not nor will it ever fit into the classic soundtrack. It is a great attempt at girl empowerment but absolutely fails to represent the Middle Eastern roots of Aladdin.

The Ugly
There are different opinions about the origin of Aladdin and the Magic Lamp’s story, but the common knowledge is that it is from the Arabian Nights. It was painful for me to see this identity crisis throughout the film. The ruler is the sultan, there are notions to the Arabic serai (or palace) regime, and it greatly reminds me of the prime time Middle Eastern tv shows about the Ottoman Empire. And on the other hand, I could swear the costumes and cinematic angle of the happy dancing is out of Bollywood. The intention seems to be directed towards inclusivity. Sadly, my eyes I couldn’t see that. I saw a mish-mash of different cultural figures put together, and it was chaotic.

Should you see Aladdin? Absolutely. Set your expectations low, but as Aladdin says, trust him—and the genie, of course.

The Streaming Wars: Disney+ to dominate all

 

Disney-Logo-1050x696
Photo credits: Techcrunch.com

 

From Snow White to Iron Man, Star Wars to the Monster’s Inc., there is something for everyone in Disney’s World. The small yet iconic Mickey Mouse has been taking over the well-established characters of the film industry for a while now. Not many of us know the end goal but let me walk you through Walt’s direction that brought back an old trick: Disney+

Prior to his great success—Walt Disney was interested in TV due to its ability to increase the visual appeal of Disney products, and this was the most-influential post-war decision in the American culture, that encompassed the consumer through “total merchandising”. Later, Disney signed an agreement with ABC. The Disneyland tv show elaborated to the economic transformation of the company. In the time span of a year, Disney attracted half of ABC’s ad bills, and ABC had to operate at loss. Disney’s contract with ABC was an opportunity to capitalize on the studio’s library of films.

Disney’s textuality outset was indifferent from the traditional approach it fragmented, propelled and guided the viewer away from the TV episodes, but guided them to a more persuasive text that encouraged further consumption.

Flash forward to 2019— Disney officially owns the following studios (entirely or more than %49 ownership) ESPN, Touchstone Pictures, Marvel, Lucasfilm, A&E, The History Channel, Lifetime. The studio ownerships, film productions, and finally… the transformed TV era plans come back with the birth of online streaming. Disney+ is ready to dominate your screens.

Disney + is set to launch on November 12, 2019. The cost will be $6.99 a month, or $69.99 for a whole year. Can’t we all expect chaos in the Netflix office already? With their monthly price at a double rate, there will be competitive changes to be made. Or not? We shall see. Other streaming services owned by Disney, Hulu and ESPN Plus – will run on the same platform, will likely require separate subscriptions.

What shows are on the agenda? (Hat tip to CNN Business).

Live Action Series
High School Musical: The Musical: The Series (available at launch)
The Mandalorian (available at launch)
Diary of a Female President (launching in year one)
The Falcon and the Winter Soldier (launching in year one)
Loki (launching in year two)
Untitled Cassian Andor Series (launching in year two)
WandaVision (launching in year two)

Animated Series & Shorts
Forky Asks a Question (available at launch)
SparkShorts (available at launch)
Lamp Life (launching in year one)
Monsters at Work (launching in year one)
Star Wars: The Clone Wars (launching in year one)
Marvel’s What If…? (launching in year one)

A Bonus: The Simpsons announced their partnership with Disney+ by saluting their corporate overlords just yesterday.

New deals, new franchises, new streaming outlet… where does it all lead?
Luckily, the end goal remains the same. Walt Disney Corporations is not taking over the world (yet). But they continue to build on the plan to make the theme parks more profitable through TV… ehem, I mean streaming services!

Disney recently made $2 billion investment to its theme parks. The Secret Life of Pets is getting a theme park ride at Universal Hollywood (expected 2020), “Star Wars Galaxy’s Edge” theme park is set to open in 2019, “Guardians of the Galaxy Blast In” comes in 2021.

Disney Corporate must be expecting new profits through its streaming service that will continuously drive fans to the theme parks. It worked in the ’50s, why not now? After all, don’t we all want to live a little magic?

Works Cited/Further Reading
Disneyland (1993) by Christopher Anderson