Aladin song6/10/2023 ![]() The new Aladdin arrives at a hyper-saturated moment between a live-action remake of Dumbo and a live-action remake of The Lion King that echoes the company’s post-renaissance, direct-to-DVD scramble. The original Aladdin rode the wave of a Disney animation renaissance. Wow- just saw a preview of Will Smith's credits music from the new Aladdin!! managed to sneak a video- watch before Disney takes it down!! /XOGdSIc8up- demi adejuyigbe July 19, 2017 This is where Disney makes the boldest choices, and in the end, where Aladdin gets a bit. Really, for a remake of an animated musical standing the test of time, it’s all about the songs. By the end, one feels less entertained than successfully fluffed like a slumped-over couch pillow. 2019’s Aladdin can’t crack the code on how to reignite that magic, so it settles for recreating the beats. impression in a movie targeting 10-year-olds). An artist kept up with Robin Williams’ zany, constantly morphing persona (lest we forget the William F. An artist calibrated the wind that blew through Jasmine’s hair in moments of carpet-flying exhilaration. An artist drew Aladdin’s dreamy stares and leaps of faith. The Disney animated classics of the ’90s had marketing plans, merch lines, and Happy Meal tie-ins, but the craft of hand-drawn cartooning ensured that a certain amount of vision made it into every frame. Even more so than Genie, the hands of writer-director Guy Ritchie ( King Arthur: Legend of the Sword) are bound by unseen forces and masters who demand their wishes granted. The adaptation skimps on the choreography and indulges in the intoxicating effect of the Disney brand as it goes through the motions. ![]() From the costumed characters to the eye-popping sets, there’s never been a movie that feels more like walking the streets of a Disney park.įor anyone with a memory of the 1992 original, Aladdin can also feel like a relentless insult to the artistry of 2D animation, paving over the vibrancy and imagination of the 2D feature with imitation and vacant photorealism. "With Rob directing, I'm confident that everything that worked in the original is going to be guarded very carefully," Menken said.Īdditional reporting by Angelique Jackson.Disney’s live-action remake of Aladdin is a confectionery musical that boasts star-making turns for two relative unknowns (Mena Massoud as Aladdin and Naomi Scott as Princess Jasmine) and a knuckle-cracking, return-to-comedic-form moment for Will Smith. Menken told Variety that he is beginning work on the next live-action translation of one of his animated classics, "The Little Mermaid," whose Menken-Ashman songs will be supplemented by new songs with another Tony winner, "Hamilton" auteur Lin-Manuel Miranda as lyricist Rob Marshall ("Mary Poppins Returns") is on board as director. New, radio-friendly versions of "Friend Like Me" and "A Whole New World" play under the film's end titles: Smith and DJ Khaled perform a revised, hip-hop "Friend Like Me" while ZAYN and Zhavia Ward duet on "Whole New World." "It was such a surreal thing to be there with our hero, and see him wanting to work with us as equals." "We were astounded how collaborative he was," Paul adds. When we were asked to work on some new material with him, I think we felt thrilled and terrified and excited and really intimidated. "His music was part of our DNA growing up. "Some of the first movies we ever saw were 'The Little Mermaid' and 'Beauty and the Beast' and 'Aladdin,'" says Paul. Pasek and Paul, despite their massive success in the past four years, consider Menken a role model. So we decided to divide it into two parts." Naomi Scott as Jasmine sings "Speechless" in two segments in the film - somewhat wistfully in its first half, fully empowered late in the film. If we bring it in as a complete song too early, it's too big a statement at the end, it's really too late because we haven't set it up. But, as Menken put it, "We had to really lay some dramaturgical pipe to support this.
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