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What are Disney's three wishes for the new Aladdin ? Given the disconcerting fidelity with which their animated clbadics were redone in the form of real action movies, one would think that they would look for a stylist without ambition. Rob Marshall may have received a call, but he's in between Disney movies. Bill Condon? Tom Hooper? A dozen wishes are not enough to explain Guy Ritchie, who has never composed at the bar an elegant frame of his life.
If you've ever watched the animated 1992 Aladdin animated – with children or yourself, as a child, you might end up pronouncing the lines of the film's Ritchie before they are displayed on the screen. The characters, too, will be familiar: the "street rat" Aladdin (Mena Mbadoud), Princess Jasmine (Naomi Scott), the vicious vizier Jafar (Marwan Kenzari) and his parrot, the flying carpet, Abu the monkey. Mbadoud even looks like the cartoon Aladdin, with his expressive eyes and bone structure The only real change is the genius of Will Smith, who speaks at a more moderate pace – a boring but understandable decision not to try to replicate the manic model from Robin Williams in the original.
From the first issue, in which the singer quotes "Arabian niiiiights, Arabian moooon", the clichés of the Middle East are relentless. You have flying carpets and magic lamps, scimitars and wizards, a pet tiger and a song that tells the story of Prince Ali – the result of Aladdin's first wish: to have "slaves, servants and flunkies ". There is also the usual cavalier attitude towards accents. Kenzari is doing a fair "Arab" snarl. Smith, Scott and Mbadoud do not even bother. The charming Nasim Pedrad, playing the role of Jasmine's maid, follows Los Angeles from a line through Tehran
Aladdin in many ways resembles a failed Bollywood story. Jasmine's pink, gold and green set looks like a rejection of Ashutosh Gowarikar, an incredibly sticky from Mohenjo-Daro . There is a dance sequence that claims just a choreographer of Indian film, although it is more acceptable than a number of "power", which has Jasmine screaming: "All I know, it's all right. is that I will not remain speechless "the fake prince must still save the princess).
Disney was ruthless with his remakes, regurgitating the clbadic animated frame setting, note by note. There is something disconcerting in their confidence to produce films of 15, 20 or 30 years almost exactly as they appeared. The shortage of original ideas in Hollywood is hardly worth commenting on, but the public is also extremely complacent and complicit. Aladdin is the worst kind of "product" studio: $ 183 million spent without grace, without wit or intelligence. It's also a continuation of Hollywood's inability to treat Middle Eastern characters as exotic or fundamentalist caricatures. it's a harmless pleasure at your peril.
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