“Aladdin”: this movie should be called ” Jasmine»
“Aladdin” (Aladdin), seems, was the only cartoon Golden era Disney, where the main, Central character history was not Princess, and its intended-and this even reflected in the title. But in the film adaptation of 2019, everything fell into place — despite the fact that the narrative is conducted on behalf of a thief who suddenly received a lamp with an Almighty Genie, the focus is on Jasmine.
The project at the stage of rumors and discussion seemed ambiguous — to entrust the children’s story to guy Ritchie, the main popularizer of British marginal romance? But if you think about it, the characters of” Aladdin ” perfectly fit into Richie’s worldview: Aladdin himself without a penny in his pocket eats stolen apples and robingudski shares hard-earned dates with starving kids, Jafar fights for power, Jasmine proves to the world that she is not what everyone sees her, and the Genie suffers from lack of freedom and sprinkles jokes right and left, in which wise advice periodically slips.Plot from the original 1992 remake is almost no different, but that stretched as much as two hours against one and a half, because of what seems to be delayed. Songs and dances were not as bright as we wanted, and many events in the film take place in the light of the moon, which, unfortunately, is not enough to convey the familiar cartoon riot of colors. The same meeting with the Genie in the cave is overshadowed utterly and does not Shine with diversity — and as a child, this parade of madness was almost the most favorite episode just because of its color. Still, it is not easy to transfer all the animation chips into a feature film.Watching a movie is boring. And not only because of the fact that the plot has been familiar for twenty years, but also because of the strangely placed accents. It seemed that guy Ritchie might do something unusual from an old song about the main thing, but no, from him there were only a couple of recognizable moments in the montage and the opening scene of the chase.
But the cast is a godsend. MENA Massoud in the role of white-toothed Aladdin resembles Michael Ely in his best years (which he stretches for twenty years, no less), and his experiences, awkwardness, intricacy and impudence are really easy to believe. With Naomi Scott playing Jasmine, they actually have a perfectly explicit, non-clumsy chemistry, so this simple romance, complicated by class inequality, reads perfectly. Romance, however, the charm of the character Jasmine does not end.
One of the plot innovations of the remake is the story of how Jasmine wants to become a Sultan. If the cartoon ended with a joyful wedding, then in the film a joyful wedding is preceded by the transfer of the throne from the father to the daughter — in just a few words, though. But it was preceded by many tedious conversations in which the woman was asked to be silent, to be beautiful and not to interfere.
The idea that you can become a professional regardless of gender, in General, is relevant and important, but in this film it looks foreign, though it takes a lot of time. But gave reason for another signature song of the Princess-it is called “Speechless” and it is performed already twice.
Yes, it’s a disney movie based on a disney cartoon-so there are a lot of songs in it. And pathos “Arabian night” in the beginning will Smith quail very well (I looked in the original — and dubbing actors, judging by the trailers, picked up not very well). In principle, most of the tracks that Smith got, of course, lost the charm that they gave Robin Williams, but acquired something new. If Williams ‘ songs felt mentored, the singing Smith rather seems like a really close friend. Very interesting feeling.
Smith, to be honest, drags the whole movie. Yes, Massoud and Scott are fine, especially in the set, but Smith is lively. Even if it was blue. Disgustingly blue, by the way-special effects, as it seemed in the trailers, do not correspond to 2019 (especially after “Detective Pikachu”). Smith’s facial expressions, his mannerisms, antics, antics, some absolutely irrepressible energy associated with the awl in the smoky tail area — all this goes to the benefit of the character of the Genie, and the film itself.
But in the remake, the Genie could not avoid his own romantic line, which slightly changed the final picture compared to the original. Well, there will be no sequel.
Genie the list of partners of Aladdin to win the Princess heart is not limited. The monkey, sweet to the core, alive and very, very close to the original-the moment when her tiny hands reach for the ruby in the cave, and her eyes begin to sparkle, is transmitted with amazing accuracy. But the rug won me over. This is the main kavaynyy element of just movie, truth: he still speaks out, but very emotionally wiggles tassels and they same is building with boredom sand castles, and in breaks rolls a fake Prince and a genuine Princess on night city.
The most problematic character in the film is Jafar. His hysteria, lack of logic and the oak as the villain in the film version brought to the absolute. Marwan Kenzari unlike his animated progenitor does not look creepy at all and even a little dangerous or insidious. If the original vizier appeared in front of us smart enough person to have at least some strategy, plucked at the very end before the prospect of absolute power, cinemizer linear, simple and boring to horror. His assistant, Iago, was reduced to a regular parrot, periodically shouting monosyllables – and in the cartoon he was almost the main source of sarcasm.
In fact, the film, which is sad, little remembered. But on the other hand, I’m hardly the audience for this remake. Those who love the original and who grew up in the nineties will likely refer to this painting is about as skeptical as I am. But the current children for whom a special, sacred cultural values of the original cartoon bears, rejoice clumsy special effects, elephants and ostriches antics of Genie costumes Jasmine and her obstinacy, sincere smile Aladdin and the apparent true romance on the screen.