Aladdin (2019 Film) Review
"Aladdin" (2019) tells the story of the titular street urchin who meets and falls in love with a princess, befriends a genie, and saves the desert kingdom of Agrabah from an evil sorcerer named Jafar.
Mena Massoud, Naomi Scott, Will Smith, and Marwan Kenzari take over the roles of Aladdin, Princess Jasmine, the Genie, and Jafar, respectively. Nasim Pedrad plays Dalia, Jasmine's handmaiden and a character specific to this telling of the story, and Alan Tudyk voices Jafar's parrot, Iago.
Guy Ritchie directed "Aladdin" (2019) and co-wrote the film with John August. Dan Lin and Jonathan Eirich produced the film. This recent telling of "Aladdin" is based on the 1992 animated film from Ron Clements, John Musker, Ted Elliott, and Terry Rossio. The film also owes credit to the source of the original "Aladdin" story, "One Thousand and One Nights," a collection of Middle Eastern folk tales that included "Aladdin and the Magic Lamp," the original name for the story. "Aladdin" (2019) was distributed by Walt Disney Studios Motion Pictures.
Overall Thoughts
Out of all the live-action, or photo-real, remakes Disney's releasing this year, I was the most excited for "Aladdin." The marketing made it seem like it was going to change up the original story by adding new elements that would make it fresh. Plus, I liked Guy Ritchie's two "Sherlock Holmes" and I thought that his "King Arthur" movie was better than what many thought it to be. To me, he seemed like a great choice to remake this story, and Ritchie proved me right as his "Aladdin" has many plot elements that deviate from the previous animated film, but by keeping a similar narrative structure, it also maintains the spirit of the "Aladdin" story.
It's far from perfect, and my main issue with the film is that it rushes through its first act. "Arabian Nights," "One Jump Ahead," and the first interactions between Aladdin and Jasmine all take place within the film's first ten to fifteen minutes. It throws many familiar elements at you without giving you time to process them. One minute you're in the markets with Aladdin and before you know it, it's off to the Cave of Wonders. Despite having a runtime of ninety minutes, the animated film was able to take its time in setting up its characters and story. Though I applaud this film for trying something different, rushing the introduction of critical story points was not the way to go, and it has a forty-minute edge over its animated source material. I don't understand why it wasn't able to build up its story and characters during its first-act.
To give credit where credit is due, I have to say, as someone who lived in Saudi Arabia for nearly three years, this movie does a great job at integrating the Arabian culture into its setting. I recognized many Arabic phrases being spoken, the food being served, and some songs are changed to make them fit into the culture more. For instance, during "Prince Ali," "Brush up your Sunday salaam" is changed to "Brush up your Friday salaam" since Friday is the Muslim's holy day. Such details like that elevate "Aladdin" (2019) above Disney's other live-action remakes.
The strongest part of this new "Aladdin" is the cast. Initially, there was something uncanny about seeing Mena Massoud in character as Aladdin within the film's first minutes, but he swiftly won me over with his charm and appealing personality. When compared to his piers, the character sticks close to the animated film's script, in that he's not changed at all, but Massoud breathes new life into his role, making parts of it fresh. The actor proves himself to be especially talented with the stunts and dancing sequences. I'm not entirely sure if Massoud preformed those sequences himself, or if it was a double. If it was him, he's should be proud because he's impressive in those areas. As for Aladdin's literal partner in crime, I could've used less Abu in this film. While he's integrated into the story well, his new CGI design could've been better, but the character's not terribly rendered. In contrast, the magic carpet is given a wonderful lifelike design and his introduction into the story made better sense than in the animated film.
Naomi Scott stands out as Jasmine, who is given a major character overhaul between the animated film and this remake. The Jasmine from the animated film was far from the most compelling character. Here, she's given more of an identity beyond not wanting to be forced to marry. She's an aspiring explorer and seeks to help her kingdom any way she can. Jasmine even uses compassion and her leadership skills to help win the day, which rank among the film's best moments. Granted, she still refuses to be forced to marry, but that's no longer her defining characteristic. There was one part of her character I didn't enjoy as much that's also a new addition. Jasmine's put down by others on multiple occasions, mainly by Jafar, who tells her that she should "be seen and not heard." Not only have I've seen something similar many times before in other films, but it's not done well here. Compared to other parts of her character, this aspect felt tacked on and unnecessary when she had better things going for her.
Upon his casting as the Genie, Will Smith had the pressure of following up Robin Williams's Genie from the 1992 animated film, a performance so good that it was instantly immortalized as one of the great animation performances. Initially, I feared that the legacy of Williams might get in the way of me enjoying whatever Smith did with the role. To my surprise, once Smith appeared in the film, I didn't think about Williams at all. Smith makes the character his own and doesn't try to repeat Williams's routine at all. He may have brought, like Williams, a lot of meta comedy to the role, but they're two different kinds, suited to two different versions. Smith is more smooth and suave, creating many laugh-out-loud gags. He pushes the self-aware humor to the limit, yet he never exhausts it. This Genie had more character to him than just the funny sidekick. Robin Williams certainly brought a lot of heart to the part, but the script Smith's given to work with does more for the Genie when it comes to character development. They explore his ability to grant wishes, diving into the grey area of unspecific requests and the corruption many previous masters fell victim to as far as "drinking from the wrong cup." This Genie also builds a romantic interest in Jasmine's handmaiden, Dalia, and the comedy and heart there left an impact on my experience. Purists of the 1992 film may not be so open to this new Genie, but Will Smith did an undeniably great job.
Jafar was the only character in the film that I thought was a misfire. Not a complete misfire, as I enjoyed some aspects of this new iteration, but Marwan Kenzari was the wrong choice for the part. He isn't at all intimidating and he seems very childish and simple when you discover that his only motivation for being evil is because he despises being second best. John August and Guy Ritchie actually took that one insult from the animated film and turned it into the character's main motivation. Disney's previous Jafar was intimidating and often a little frightening whereas this guy is just constantly whining about his current position, which isn't at all bad. In fact, a person in the film points that out to him, but he doesn't take the hint. He's not villainous in any way, even his parrot looks more sinister. I liked that he's revealed to be a former street urchin like Aladdin and although that doesn't account for character development, it is a nice detail that helps extend itself beyond the familiar. With that said, this new Jafar was a second-rate villain.
Alan Menken's music from the animated film returns as the composer adds minor updates to his music. The compositions are well done, fitting into the Middle Eastern setting by using the native instruments. As for the musical numbers, they felt abrupt because they had no transitions leading into them and thus, it came across as awkward, similar to a substandard theater musical. While they are all well made on some level, some succeed more than others.
For as good as Will Smith is as the Genie, I think we can agree that the actor isn't the best singer. He's not Pierce Brosnan bad, but his voice did sound like it was put through autotune for certain songs. "A Friend Like Me" is actually my favorite of the numbers because of his energy and the scale of the number. When it comes to "Prince Ali," the actor struggles to sing certain notes in the right key. It's all over the place and though the music in the number is good, the lyrics suffer. He sings the new "Arabian Nights," which was given a neat update with the music building towards a crescendo that fills the theater with the film's atmosphere, setting up a good stage from which the rest of the story followed.
"A Whole New World" is an adequate number this time. It's not as breathtaking as it once was because both Mena Massoud and Naomi Scott are simply okay singers and their voices don't compliment the majesty of Alan Menken's beautiful music. "One Step Ahead" partly succeeds, once again, because of Menken's music, though I felt that the number was on fast forward as the film sought to rush its introduction. While aspects of Jasmine's new number, "Speechless," are good, the song could've been cut in order to give the story more time to develop.
It's far from perfect, and my main issue with the film is that it rushes through its first act. "Arabian Nights," "One Jump Ahead," and the first interactions between Aladdin and Jasmine all take place within the film's first ten to fifteen minutes. It throws many familiar elements at you without giving you time to process them. One minute you're in the markets with Aladdin and before you know it, it's off to the Cave of Wonders. Despite having a runtime of ninety minutes, the animated film was able to take its time in setting up its characters and story. Though I applaud this film for trying something different, rushing the introduction of critical story points was not the way to go, and it has a forty-minute edge over its animated source material. I don't understand why it wasn't able to build up its story and characters during its first-act.
To give credit where credit is due, I have to say, as someone who lived in Saudi Arabia for nearly three years, this movie does a great job at integrating the Arabian culture into its setting. I recognized many Arabic phrases being spoken, the food being served, and some songs are changed to make them fit into the culture more. For instance, during "Prince Ali," "Brush up your Sunday salaam" is changed to "Brush up your Friday salaam" since Friday is the Muslim's holy day. Such details like that elevate "Aladdin" (2019) above Disney's other live-action remakes.
The Cast
The strongest part of this new "Aladdin" is the cast. Initially, there was something uncanny about seeing Mena Massoud in character as Aladdin within the film's first minutes, but he swiftly won me over with his charm and appealing personality. When compared to his piers, the character sticks close to the animated film's script, in that he's not changed at all, but Massoud breathes new life into his role, making parts of it fresh. The actor proves himself to be especially talented with the stunts and dancing sequences. I'm not entirely sure if Massoud preformed those sequences himself, or if it was a double. If it was him, he's should be proud because he's impressive in those areas. As for Aladdin's literal partner in crime, I could've used less Abu in this film. While he's integrated into the story well, his new CGI design could've been better, but the character's not terribly rendered. In contrast, the magic carpet is given a wonderful lifelike design and his introduction into the story made better sense than in the animated film.
Naomi Scott stands out as Jasmine, who is given a major character overhaul between the animated film and this remake. The Jasmine from the animated film was far from the most compelling character. Here, she's given more of an identity beyond not wanting to be forced to marry. She's an aspiring explorer and seeks to help her kingdom any way she can. Jasmine even uses compassion and her leadership skills to help win the day, which rank among the film's best moments. Granted, she still refuses to be forced to marry, but that's no longer her defining characteristic. There was one part of her character I didn't enjoy as much that's also a new addition. Jasmine's put down by others on multiple occasions, mainly by Jafar, who tells her that she should "be seen and not heard." Not only have I've seen something similar many times before in other films, but it's not done well here. Compared to other parts of her character, this aspect felt tacked on and unnecessary when she had better things going for her.
Upon his casting as the Genie, Will Smith had the pressure of following up Robin Williams's Genie from the 1992 animated film, a performance so good that it was instantly immortalized as one of the great animation performances. Initially, I feared that the legacy of Williams might get in the way of me enjoying whatever Smith did with the role. To my surprise, once Smith appeared in the film, I didn't think about Williams at all. Smith makes the character his own and doesn't try to repeat Williams's routine at all. He may have brought, like Williams, a lot of meta comedy to the role, but they're two different kinds, suited to two different versions. Smith is more smooth and suave, creating many laugh-out-loud gags. He pushes the self-aware humor to the limit, yet he never exhausts it. This Genie had more character to him than just the funny sidekick. Robin Williams certainly brought a lot of heart to the part, but the script Smith's given to work with does more for the Genie when it comes to character development. They explore his ability to grant wishes, diving into the grey area of unspecific requests and the corruption many previous masters fell victim to as far as "drinking from the wrong cup." This Genie also builds a romantic interest in Jasmine's handmaiden, Dalia, and the comedy and heart there left an impact on my experience. Purists of the 1992 film may not be so open to this new Genie, but Will Smith did an undeniably great job.
Jafar was the only character in the film that I thought was a misfire. Not a complete misfire, as I enjoyed some aspects of this new iteration, but Marwan Kenzari was the wrong choice for the part. He isn't at all intimidating and he seems very childish and simple when you discover that his only motivation for being evil is because he despises being second best. John August and Guy Ritchie actually took that one insult from the animated film and turned it into the character's main motivation. Disney's previous Jafar was intimidating and often a little frightening whereas this guy is just constantly whining about his current position, which isn't at all bad. In fact, a person in the film points that out to him, but he doesn't take the hint. He's not villainous in any way, even his parrot looks more sinister. I liked that he's revealed to be a former street urchin like Aladdin and although that doesn't account for character development, it is a nice detail that helps extend itself beyond the familiar. With that said, this new Jafar was a second-rate villain.
The Music
Alan Menken's music from the animated film returns as the composer adds minor updates to his music. The compositions are well done, fitting into the Middle Eastern setting by using the native instruments. As for the musical numbers, they felt abrupt because they had no transitions leading into them and thus, it came across as awkward, similar to a substandard theater musical. While they are all well made on some level, some succeed more than others.
For as good as Will Smith is as the Genie, I think we can agree that the actor isn't the best singer. He's not Pierce Brosnan bad, but his voice did sound like it was put through autotune for certain songs. "A Friend Like Me" is actually my favorite of the numbers because of his energy and the scale of the number. When it comes to "Prince Ali," the actor struggles to sing certain notes in the right key. It's all over the place and though the music in the number is good, the lyrics suffer. He sings the new "Arabian Nights," which was given a neat update with the music building towards a crescendo that fills the theater with the film's atmosphere, setting up a good stage from which the rest of the story followed.
"A Whole New World" is an adequate number this time. It's not as breathtaking as it once was because both Mena Massoud and Naomi Scott are simply okay singers and their voices don't compliment the majesty of Alan Menken's beautiful music. "One Step Ahead" partly succeeds, once again, because of Menken's music, though I felt that the number was on fast forward as the film sought to rush its introduction. While aspects of Jasmine's new number, "Speechless," are good, the song could've been cut in order to give the story more time to develop.
Grade: B-
Though flawed in its storytelling and technical design, Guy Ritchie's "Aladdin" successfully reimagines the well-known story, culminating in a film that, while not as good, makes for a great companion piece to Disney's animated movie.
"Aladdin" (2019) is different enough from the animated film that the few who weren't won over by that film or haven't even seen it would likely enjoy this new interpretation. As for people who love the 1992 film, I'm a little hesitant with my recommendation. It all depends on if you're open to seeing the story told again with the changes that are made. Those who think the animated film is perfect and shouldn't have been remade into live-action are likely not going to enjoy this movie. However, if you did love the animated film, yet are also open to some new changes to the story, I think you're in for a good time. Don't bother paying the added 3D ticket expense, as this film doesn't need it to be enjoyed.
Conclusion
This has been my review of 2019's "Aladdin." I know, finally! I know I've been on a small hiatus, but I'll have more content out in the coming weeks. Comment down below to let me know your thoughts on this remake and my review as well as any films you want me to review next. Thanks for reading, I'm Dallin, your resident film fanatic, and I'll return soon with another editorial.
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