Remakes, sequels, and prequels seem endless these days. Now, Disney has released a spin-off of one of its best animated films, Mufasa: The Lion King. Directed by Barry Jenkins and featuring returning voice actors Donald Glover, Seth Rogen, Billy Eichner, John Kani, and Beyoncé Knowles-Carter, the film also introduces new characters voiced by Aaron Pierre, Kelvin Harrison Jr., Tiffany Boone, Mads Mikkelsen, and Thandiwe Newton. This year-end Disney blockbuster was made with a massive budget of $200 million. But the question remains: Can Mufasa achieve the same commercial and critical success as its predecessor?
Although titled Mufasa, the film is unique in that it also serves as a sequel to The Lion King. Familiar characters like Simba, Nala, Pumbaa, Timon, Rafiki, and Simba’s daughter Kiara appear to help frame the story. The tale of this legendary king of the savanna begins with a devastating flood that separates young Mufasa from his parents and pride. Mufasa (Pierre) is later taken in by another lion pride, where he grows up and befriends his newfound brother, Taka (Harrison).
The story takes a turn when a ruthless lion named Kiros (Mikkelsen) takes over multiple pride territories, including the one led by Taka’s father. In a tragic incident, Kiros loses his son, sparking his rage. Mufasa and Taka escape but are pursued by Kiros and his pride. Along the way, they encounter Nala, Zazu, and the wise mandrill Rafiki. Together, they set off for Milele (Pride Lands), a mythical safe haven.
As a prequel, Mufasa falls noticeably short of the 1994 original in almost every aspect. The challenge with any prequel lies in crafting a story that doesn’t feel forced, especially since audiences already know how it ends. While the plot of Mufasa isn’t entirely contrived, it also doesn’t feel fresh. The narrative bears a striking resemblance to Simba’s journey—being separated from his family and adapting to a new environment—but with slightly different adventures. The story only becomes somewhat compelling during Mufasa and Taka’s escape, but even then, it lacks the excitement one might expect.
Several small details in the story raise questions. For instance, why doesn’t Mufasa attempt to search for his parents once he’s old enough? Upon joining Taka’s pride, he doesn’t seem to grieve his loss but rather enjoys his new surroundings and companions. Even the threat of execution by Taka’s father doesn’t deter Mufasa from participating in risky challenges that eventually earn him a place in the pride. These plot points, while plausible, feel somewhat forced and odd. By comparison, Simba’s reluctance to return to Pride Lands in the original film is rooted in his guilt over his father’s death, making his actions more relatable.
The prequel also feels overly serious and unnecessarily complicated for its target audience. One major issue is the lack of humor. Timon and Pumbaa, once central to The Lion King’s comedic charm, are reduced to minor roles that merely advance the plot. Zazu, whose quirky antics and Rowan Atkinson’s iconic voice provided memorable laughs, is now dull and humorless. Rafiki’s occasional “wise” jokes also fall flat. The absence of humor leaves the audience—many of them children—silent throughout the film. Some might even doze off, as I did during certain moments.
The musical aspect, a hallmark of the original film, also fails to deliver. The 1994 The Lion King featured a stunning score by Hans Zimmer and unforgettable songs by Elton John that gave viewers goosebumps. In contrast, the songs composed by Lin-Manuel Miranda for Mufasa feel uninspired, with no standout numbers. Even the occasional use of the original score fails to create the same emotional impact. The lack of humor in the musical sequences may also contribute to their underwhelming reception.
Ultimately, Mufasa: The Lion King leaves little to remember, particularly in terms of humor. While its breathtaking visuals are a feast for the eyes, much like the 2019 remake, this alone may not be enough to draw audiences to theaters. It’s almost guaranteed to achieve commercial success, but surpassing the $1.657 billion box office haul of the 2019 film seems unlikely. Despite the controversies surrounding its alleged plagiarism, The Lion King (1994) remains one of the greatest animated films of all time—a timeless classic that never loses its charm, no matter how many times it’s rewatched. Personally, I deeply miss James Earl Jones as the voice of Mufasa, a role that remains unmatched in animated film history.
keren