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At this point, we have seen enough reinventions from Disney's animated canon to know that they are not always concerned about breaking the mold. Their clbadics are clbadics for a reason – so if it's not broken, right? It is therefore not surprising that their adaptation of the 1992 film Aladdin is, on the whole, very happy to be colored inside the lines. Most debates will be very familiar to fans of the original, so if you are looking for a totally different version of it, you will have to meet the expectations. What we get is a visually impressive and energetic adventure that could have spent a little more time on the novelties it brings.
Disney has taken up a daunting challenge in designing this movie: how on earth? Do you redo the genius, a role so iconic played by the late Robin Williams? Will Smith's turn as a genius, despite all the controversy surrounding his pre-publication, is largely a success. Basically, Smith avoids the only thing that could have derailed the performance: trying to recreate the inimitable iteration of the character by Robin Williams. Williams' Genie was the amplification of the character's chaotic personality and Will Smith wisely avoids the opportunity to do so. This genius is based on Smith's charm, his bravado and the unequivocal pleasure with which he is invested. The story gives Smith's Genie a little more depth than just being blue and hilarious, giving it a surprisingly amusing and well-grounded subplot.
But does Smith manage alone with charm? It will depend a lot on your opinion of Will Smith. While Robin Williams was browsing dozens of different voices and characters to bring the Genie to life, without letting us know what to expect, this version of the character looks a lot like Will Smith blue (the blue striker can be closer), so your mileage with the character will vary a lot depending on your willingness to accept that. Although Smith does a good job, the fact that this genius is dependent on Smith's personality makes one wonder whether an actor pushing further out of their comfort zone would have brought us closer to the boundless creativity that has made the performance from Robin Williams so memorable.
Perhaps inevitably, Smith's charisma eventually obscures the newcomer Mena Mbadoud as the main character. This does not help a scenario that seems ever more interested in the characters surrounding Aladdin than in Aladdin himself. Mbadoud's Aladdin is rather sheepish and when you face Blue Fresh Prince, you have to bring a little more to the table to make you stand out. Mbadoud is undoubtedly the strongest in his comic scenes as Prince Ali, stumbling to try to seduce Princess Jasmine and to find new ways painfully clumsy to spoil him.
One thing, no?), Be a good-hearted guy looking for those who are worse than him. But when the time comes that his greedy egoism begins to direct his decision-making, it's as if it's happening, because that's how the story is supposed to unfold, and not not because this version has led to believe that Aladdin could so easily become a fool based on what we know about him. This is the emblem of what must be the big disadvantage of this film: overall, it is always happy to be a facsimile fairly close to the animated version. Perhaps a truncated turn of good boy to an egocentric work outside of real action, but here it just reminds you that there are only so many changes that the Filmmakers are ready to do it, and none that will really lend real shocks. It's disappointing here because, especially with the Genie at stake, the possibilities for new fantastic views are endless. The fact that most stories remain unchanged can only help to feel exploited as a missed opportunity to exploit the potential of this world. The version is Naomi Scott's characterization of Jasmine, to the point where the film sometimes feels more invested in its story than Aladdin's. The princess feels more three-dimensional (unwanted play of words … or excused) and she is entrusted with much more interesting ambitions. Scott gives the character a dignity and motivation that makes it easier to root for her than the old poor Al. The newly developed arcs of Jasmine and Genie are welcome additions, but they draw attention to the fact that Aladdin's story is predictable and dated by comparison.
The support cast is random. While the new characters of Nasim Pedrad and Billy Magnusson end up being reliable, the take of Marwan Kenzari against Jafar is disappointing. Aside from a quick exchange on hating second place, Jafar never quite understands why he wants the Sultan's throne, apart from the fact that he is generally perverse. The animated Jafar had a real meanness and darkness to him, but Kenzari exchanges it into a scary and ill-defined desire for power that never really excites. But it is he who stands in the manner of Aladdin and Jasmine and, dang it, we want them together!
Fans will be happy to know that Aladdin's catalog of great songs is well represented here. Although "One Jump Ahead" turns out to be a bit missed early, with a strong focus on pursuit and action that does not work, the rest of the numbers are a good time. "Friend Like Me" is the film at its peak visual, and probably the closest, the film is approaching to recreate the magic of the movie animation. One of the most enjoyable surprises of the soundtrack is the new issue written by Benj Pasek and Justin Paul (Dear Evan Hansen), "Speechless". Scott's is a talented singer and "Speechless" is an excellent showcase for this talent. The song will not win any awards for its subtlety, but in the context of Jasmine's story, it really works.
Aladdin rarely disappoints on a visual level. Agrabah feels vibrant and alive, especially at the grand entrance of "Prince Ali", and the surrounding desert is beautifully photographed. The Cave of Wonders sequence in particular shows Guy Richie's ability to create a play, and everything from the mystical danger of this Aladdin parkour scene all over Agrabah moves with great speed under his gaze.
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