The prequel as well as the sequel to the 2019 ‘The Lion King’ made its way on December 20. ‘Moonlight’ director Barry Jenkins has helmed the title. As per expectations, the visual tapestry of ‘Mufasa: The Lion King’ is nothing less than a surreal spectacle with its expansive stretches of inviting beauty. The film takes place after the incidents of ‘The Lion King’.  However, it chronicles the origin story of the roaring king of the Pride Lands, Mufasa, and his filial nemesis, Scar. While the film is a treat, it fails to serve its purpose as a baffling origin story of the broken bond of brotherhood.

The film opens with Simba and Nala leaving their young cub/daughter, Kiara, behind in the storm as they leave for the birth of another offspring. As the comic duo of Timon and Pumbaa try to comfort her with a story, enters the wise mandrill, Rafiki. Donning the hat of a storyteller, Rafiki narrates the story. It is the stroy of an orphaned cub without a drop of nobility in his blood, who ends up becoming the king- Mufasa.

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Among the various prides of lions, Mufasa is born to loving parents who dream of going to the promised land, the idyllic land called Milele. However, as a flood strikes the forest. Consequently, the violent waves carry away the young Mufasa and he meets Taka, the son of King Obasi. Empathetic towards the lost cub, Queen Eshe takes him in and Taka gets a brother. However, Obasi is irked by this new addition to the family; the outsider’s stench repulses him. He warns Taka that an outsider is born to betray and he orders Mufasa to be with the females. Eshe teaches her protégé the ways of the wildlife and encourages him to pursue his destiny. While Obasi lays idle and asks Taka to do the same, Eshe grooms Mufasa into a virtuous and fearless lion. Notably, neither of them wants the throne.

The bliss is ruined after a pride of white lions, led by Kiros seeks them to exact revenge for the death of his son who Mufasa killed to save Eshe. Eshe and Obasi send off Mufasa and Taka to seek the Milele as Kiros vanquishes them. As they trek towards the other side of the light, they encounter Sarabi, who is also lost. A love triangle ensures. The three of them stick together to escape the ‘outsiders’ (Kiros and his pride). Rafiki and Sarabi’s scout, Zazu, the hornbill join them. From here on, the plot is predictable and falls short.

The visual artistry of the film is at once stunning. However, somewhere between the enhanced anthropomorphism with synced lip movements and polished furs, the natural and the grit of wilderness are lost in translation. The beautiful rules out the sublime with the airbrushed visuals. Despite this, the scenic beauty of the lands makes up for it.

‘Mufasa: The Lion King’ hinges upon the creation of the king whose roars echo as he owns everything the light touches. As much as the film is supposed to be Mufasa’s origin story, it should be the same for Scar (Taka). However, the latter’s narrative and character arc remain a by-product of Mufasa’s story. It overlooks the fact that Taka was vital in making him the benevolent king of the Pride Lands (Milele). Scar is elemental for the Mufasa to keep his role as a hero; for without a villain, there is no hero. The narrative of how Taka becomes Scar, his changing character arc, or its lack of, fails to baffle or satisfy. This leaves viewers hungry for a solid origin story of how brothers turned foes.

Moreover, while the film’s comfortable plot aligns with the story of ‘The Lion King,’ it doesn’t serve its purpose. To think that a docile Taka undergoes a transformation to emerge from the shadows as the formidable Scar who is bloodthirsty and lustful for the throne, doesn’t sit well. For the narratives to align with Shakespeare’s ‘Hamlet’ like ‘The Lion King,’ it required more gravitas and complexity.

The villain of the film is Kiros, the albino outside. However, Mads Mikkelson’s deep voice can’t salvage the lack of a menacing and spine-chilling persona. The showdown between him and Mufasa lacks the momentous attribute and doesn’t provide the feeling of victory. Comparing it with the blazing scene of Simba killing Scar in the mothership title, this one falls fairly short.

Lin Manuel Miranda’s tracks are groovy with a catchy rhyme scheme. However, somehow, it failed to one-up ‘Hakuna Matata’ and ‘The Circle of Life.’ Fans of the story can’t help but also miss the gravitas and commanding aura James Earl Jones brought to the roaring king of Pride Lands.

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Barry Jenkins’ ‘Mufasa: The Lion King’ hinges upon the story of an orphaned cub’s rise to power. While it succeeds in doing so, it fails to serve as a riveting origin story of the birth of the filial rivalry. The themes of jealousy, power, and deceit remain underexplored with the comfortable storyline of the equation of Mufasa and Taka. It only purrs and not roars when it comes to the clash between the law of succession and democracy where nobility by birth succumbs to nobility by virtue. While one was supposed to be born great, the other had it thrust upon him. The film lacked the gravitas and intensity. Hope, dreams, and destiny  completely shadows the willpower to find one’s rightful place in the circle of life. The film is a visual treat for a standalone title, but it fails to be a roaring origin story.