Release: Friday, April 15, 2016
Written by: Justin Marks
Directed by: Jon Favreau
Forgetting about your worries and your strife is pretty easy to do when Jon Favreau’s bold decision to remake the Disney animated classic all but steals you away to a wonderful world filled with adventure, danger and English-speaking animals.
It’s actually quite amazing how talented a director Favreau (yes, as in Tony Stark’s favorite body guard, Happy) is as his latest passion project showcases a knack for both interpretation and reinvention, borrowing that which made the 1967 animation a timeless adventure while modifying certain elements with an even more intimate examination of life in this complex jungle, first envisioned by 19th Century poet and novelist Rudyard Kipling. Though it’s not the first time the actor/director has offered up a heaping helping of popcorn-munching entertainment, The Jungle Book could well be his most complete and emotionally satisfying piece. And it has just one human actor in it.
The Jungle Book, first and foremost, is the epitome of a Disney production. It’s wholesome, family friendly and heartwarming. Our capacity for empathy is a testament to the effectiveness of the digitally-rendered characters; by all accounts this is the film we remember, only it’s not animated. Bathed in the same effervescence of innocence and self-discovery that defines Disney’s animated offerings, Favreau’s interpretation gains strength as playfulness and good spirits eventually give way to danger and darkness as the story we fell in love with so long ago is played out once more but on a much more visceral level.
That the film actually benefits from treading familiar ground is also a testament to the strength of Favreau’s convictions that this is a story worthy of the live-action treatment. More importantly, The Jungle Book hits all the beats we expect it to, even finding time to add new dimensions to the many character interactions we’ve held so dear for nearly half a century. A fixation on the harsh realities of surviving in this tropical environment also helps steer the production away from utter predictability, even though the showdowns that threaten the very fiber of the MPAA’s standards for what makes a PG-rated film are expected from the very beginning.
Favreau (yes, as in the guy whom Paul Rudd puked all over in I Love You, Man)’s wisest decision was to place emphasis on characters, letting the nature-versus-nurture debate at the heart of this tale of survival manifest naturally. As Mowgli learns the kinds of things he’s capable of — he’s quite handy when it comes to building things — is he doomed to repeat the actions of his elders? Can he be taught to be different, to not abuse the power of fire?
Mowgli (introducing Neel Sethi) first comes flying into the frame with wolves in hot pursuit, an apparent training exercise designed by his panther protector Bagheera (Ben Kingsley) to help the man-cub outlast predators. We get a deeper sense of his adoptive family unit as we’re introduced to the wolf pack clan gathering at the edge of a rocky precipice, preparing for the rains that are soon to come, soon to summon animals of all kinds to a nearby watering hole. Life seems pretty swell as a member of the pack, especially if you call the honorable Akela (Giancarlo Esposito) dad and the warm, fiercely protective Raksha (Lupita Nyong’o) mom.
But then there are threats to such peace, like the prowling beast Shere Khan, a villain made viable on the virtue of Idris Elba’s deep, booming voice alone — a monster of a tiger whose facial scars are inextricably linked to Mowgli’s past. This isn’t, however, a villain introduced for the sake of it. Khan’s concern is actually one shared by all sorts of animals, including the wolf pack: that the man-cub will one day be a grown man and, based on experiences, fully grown men bring nothing but death and destruction to the jungle. Animals greatly fear their “red flower;” fire, the ultimate villain, plays just as dramatic a role here as it did in the 1967 version.
Mowgli’s fate, with one or two wrinkles thrown in, is the same as before: his future is largely unknown. Bagheera and Akela agree that he’d be safer with his own kind, and Bagheera sets off on a journey with the boy that will expose the pair to intermittent treachery and silliness, including, but not limited to, seductive snakes (Scarlett Johansson as Kaa is genius casting, even if she’s underused), oafish bears desperate for honey (Bill Murray is, and probably to no one’s surprise, the pinnacle of excellence here, making for an arguably better Baloo than Phil Harris) and one gigantic ape with delusions of grandeur. (On that note, Christopher Walken unfortunately shares Johansson’s plight of being stuck with an underserved subplot; it’s basically a cameo.)
You can’t really overstate the impact an A-list cast has on a movie like this; personalities fit the wild animals to a T and all signs point to everyone involved taking this project extremely seriously . . . even Emjay Anthony, who Favreau liked enough in the making of Chef to give him a small part as one of the wolf cubs. And the knock-on effect: we, the paying customers, get to kick back and enjoy the simple bare necessities of escaping from reality and into the visual wonderland and heightened sense of humanity only anthropomorphic animals who have a tendency to break out into song and dance can provide.
The Jungle Book is many things: it’s one of the year’s biggest surprises, an achievement in CGI rendering, and a new standard to which all upcoming family outings must rise this year. Above all, it’s an immensely enjoyable blockbuster-type release. It is that way from beginning to end. Even though a few scenes expose the more obligatory side of Favreau’s directorial style — King Louie really needed a longer introduction and a less rushed exit, as did Kaa — there’s more than enough here to proclaim 2016 as the year in which Kipling’s visionary tale about man and animal coexisting became immortalized.
Recommendation: The Jungle Book is proof that sometimes, just sometimes, with great risk comes even greater reward. Jon Favreau rewards audiences with a remake that stays true to not only the characters, but the emotional challenges and even a few of the songs that popularized the original animated version. Fans of the original, it’s time to let out that sigh of relief. Favreau and his excellent cast have truly outdone themselves.
Running Time: 105 mins.
Quoted: “No matter where you go or what they may call you, you will always be my son.”
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Photo credits: http://www.impawards.com; http://www.imdb.com