“The Jungle Book” explores Mowgli's worries and his strife
The new adaptation, directed by Jon Favreau, is a lovable mixture of nostalgia, homage and innovation.
By F.S.
THINK of “The Jungle Book”, and Mowgli and Baloo swinging to the cheery “Bare Necessities” inevitably springs to mind. Indeed, Walt Disney dropped a first script—allegedly—for the 1967 animation as it was deemed too serious and too sinister. It is likely, then, that he would disapprove of the latest adaptation. Directed by Jon Favreau, it feels far more like high drama than its much-loved but lightweight predecessor.
Rudyard Kipling wrote the original Raj-era tales for his own daughter but there is something dark and tragic about elements of them—and his new film develops these aspects much more than the cartoon did. The story of a young boy trying desperately to please his foster family while finding his own place in the world is deeply moving. Although focused on the adventures of a young boy, these are adult themes rendered more so by the tonal shift of this new film; we see the distressed young Mowgli venture out nervously amongst the interspecies gathering at Peace Rock (reinstated from the books) before reluctantly departing from his home among the wolves. His choice to leave is a brave decision made in order to save his adopted kin from the wrath of the bloodthirsty Shere Khan—menacingly voiced by Idris Elba—a terrifying and vengeful tiger, spitting with anger over the actions of mankind.
Fans of the Kipling series or previous films will recognise some familiar foes and friends. Christopher Walken lends his distinctive voice to the mobster-like King Louis, overlord of the simian world. Bill Murray imbues Baloo, Mowgli’s accomplice, with a delightful insouciance that recalls the original film. The catchy Oscar-nominated original song “The Bare Necessities” even makes an appearance. It is a curious and lovable mixture of nostalgia, homage and innovation.
The visuals of this adaptation are truly spectacular—certainly the most extraordinarily immersive CGI since "Avatar"—and one of those rare examples where 3D enhances, rather than distracts from, the action. Despite being called a “live action” remake, newcomer Neil Sethi (as Mowgli) is the only living creature in it. Everything else, from the slippery scales of the hypnotic python Kaa (sensuously voiced by Scarlett Johansson) to the lush emerald foliage of the jungle is digitised. Viewers may not be able to tell, so detailed is the texture of each individual leaf, decaying branch and every hot lick of fire.
Indian film censors have recently given the film the equivalent of a PG rating because they claim the "3D effects are so scary that the animals seem to jump right at the audience". This move has been universally mocked, but the film is indeed a uniquely visceral experience. Shere Khan is its greatest technological triumph: he moves with such convincing physical weight that it is hard to believe he is not a real animal until you hear him bellow.
Mr Favreau wanted the flexibility offered by extensive CGI (yet none of the issues thrown up by Disney's other live action, and far inferior, 1994 “Jungle Book” remake) but was insistent that the technology not take centre stage. This is exactly what he has achieved. Mr Favreau installed puppeteers on set, giving his young actor something more substantial than a green screen to react to. This helps Sethi to give a rich performance, full of genuine emotional responses; with Baloo he is jolly, exasperatedly enduring bee stings to fetch his new friend honey. But a deep-seated loneliness shines through too: where does he fit in?
There is something reminiscent of "The Lion King" in this adaptation. The Oscar-winning 1994 film was novel at the time of its release in its tragic focus on loneliness and belonging. As the anecdote regarding the first “Jungle Book” script shows, tragedy and complexity were not the desired aim then. Today, increasingly, they are.
The slew of live action remakes by Disney in recent years has revived a complex approach to fairytales and children's stories in a way that "The Lion King" initiated. They appeal to adults, not with the irony or adult humour of the "Shrek" franchise, but with a nuanced exploration of character. Last year's well-received live action adaptation of "Cinderella", directed by Sir Kenneth Branagh, suggested that the stepmother has suffered her own romantic disappointments and consequently pushes her daughters to be self-interested. "Maleficent” (2014) looked at the “Sleeping Beauty” tale from the perspective of the wicked fairy (played by Angelina Jolie); again, there is a backstory to help explain how her evil came into being. One imagines that the upcoming live action remake of "The Beauty and The Beast", starring Emma Watson and Dan Stevens, may give the despotic Gaston a similar Freudian makeover.
At a first, cynical glance, live action remakes look like an excuse to mine Disney's extensive back catalogue and generate more capital. When done properly, however, the move from animation to reality—even a reality that is digitally rendered—offers viewers a chance to consider these old stories in a more grown-up light. This joyful, powerful and exceptionally beautiful new adaptation of "The Jungle Book" really is the Jungle V.I.P.
