Three Disney live-action remakes in a year (four if you count a Maleficent sequel) is insane. It goes beyond saturating the market into knocking movies over in turn like nine-figure budgeted dominoes. But when they’re as much of a blast as Guy Ritchie’s Aladdin, you won’t hear a complaint from me. With the energy and visual appeal of Bollywood, this remake is, relatively minor flaws aside, a great two hours at the movie theater.
In the fictional kingdom of Agrabah, Princess Jasmine (Naomi Scott) grapples with political reality. Street rat Aladdin (Mena Massoud) lives theft-to-theft. And Grand Vizier Jafar (Marwan Kenzari) puts into motion a plan to further his grand designs of warmongering ambition, a plan that ensnares Aladdin, whose purity is put to the test when a 10,000-year-old Genie (Will Smith) has three wishes to grant.
Having recently rewatched the animated 1992 original, I find this remake narratively and visually distinct enough never to feel like a rehash. New handmaiden character. Fairy tale politics. More layers of clothing for Aladdin. (Or just, you know, layers at all.) The standout characters prove to be Jasmine and wicked Jafar. The villain is played naturalistically, and Kenzari demonstrates a strong threatening screen presence even, and maybe especially, when perfectly calm. As Jasmine, Naomi Scott simply gives a movie star performance, charismatic and commanding.
When disguised in the bazaar, Jasmine gets in trouble with the law for giving bread to starving children without thinking of the money to pay for it. One thread in recent depictions of female heroes on screen is that there is a positive power in naïveté. It’s in Wonder Woman convinced in her thinking that World War I is caused only by a mad god’s manipulations and not the evil that men do. It’s in Ilsa Faust having the crazy idea that agents of allied nations are supposed to help each other out. And it’s in Jasmine putting her subjects first and envisioning a gender-blind monarchy. These are powerful character choices because they give glimpses of a more idealistic world. In this industry of escapism, this is a very cinematic thing to do. A whole new world indeed.
And as a fleet-footed musical, what fine escapism Aladdin is. Aside from a couple weird Guy Ritchie-an speed-ramping moments, “One Jump Ahead” really pops on screen. (Though Ritchie can’t help one gratuitous switcheroo flashback sequence like in The Man from U.N.C.L.E.) The soaring “Arabian Nights” is used not just to introduce Agrabah, but the main cast of characters. The new song “Speechless”, while not for lack of trying, is transparently not of a piece with the original batch of songs. But I’m always here for new songs in these classic musicals, and this one does its job efficiently and emotionally as a power anthem for Jasmine.
Similar to how “Be Our Guest” is my least favorite sequence in the Beauty and the Beast remake, “Friend Like Me” is my least favorite here. Maybe it’s because both numbers trade in show-off-y visual jazz that renders (no pun intended) the line between animation and CGI spectacle almost non-existent. Throwing digital confetti all over the place is self-defeating when the whole remit of the movie is to play more realistic.
Hence both Beauty and Aladdin running the same play from the remake playbook of turning each Princess’ father character (Kevin Kline’s Maurice for Belle, Navid Negahban’s Sultan for Jasmine) from a cartoon buffoon to a dignified person. Another entry from that realism playbook: The “Prince Ali” song not continuing until the Sultan taps along to it is reminiscent of the punters struggling with asynchronous clapping in Beauty’s “Gaston” number. “A Whole New World” is sonically aces, but visually, that drive for realism feeds into a bit of a conservative imagination. No magic carpet trip to China here.
But while that sequence’s visuals aren’t the most adventurous, one of the chief pleasures of this film is the bright visual scheme – Bollywood-inspired costume and production design is a fresh take for a Disney project, and they’re a pleasure to behold. CGI blue Genie still looks… off, but not in a way that’s particularly bothersome. Any minor awkward choices are overwhelming by all the breezily entertaining ones, and that does characterize this movie. With engaging characters and music, strong production design, and the warmth of a fairy tale, Aladdin proves that cash grabs are not mutually exclusive with genuine quality. A strong 7/10.