Respond to these rapid questions in our Aladdin quiz and we will tell you which Aladdin character you are. Play it now.
One of the characters in the new live-action “Aladdin” shows signs of being self-aware by holding up a sketch of three other characters. The sketch is a line drawing done in the style of the popular 1992 animated film “Aladdin,” which served as the inspiration for the film you’re currently watching. It’s straightforward, enjoyable, and direct, and it’s more concerned with being delightful than with appearing “authentic.” Those priorities are reversed in the remake, which is directed by Guy Ritchie and features Will Smith in the role of The Genie, which was previously played by Robin Williams. However, this does not imply that it is always enjoyable; on the contrary, it is frequently lumbering, patchy, and meandering, as well as generally lacking in creativity and originality. It’s a movie with a lot of dancing elephants. It has a couple of decent moves, but you wouldn’t describe it as being light on its feet.
In spite of the fact that the screenplay was written by John August (“Big Fish”) and revised by Guy Ritchie, as well as music and songs by Alan Menken (and the late Howard Ashman) and a couple of original songs intended to qualify the film for Best Original Song Oscar nominations, the film is unfortunately a perfect illustration of an observation by Josh Raby, summarizing this era of both Disney features and computer animation: It’s like using a magic wand to create a toaster when it comes to turning expressive animated films into photoreal reboots with computer graphics.
Despite the changes, this “Aladdin” remains the charming, sentimental, and inspirational tale of an impoverished street urchin who discovers a magical lamp and a magic carpet, summons a big blue genie, and embarks on a plot to win the heart of a princess and prevent an evil vizier from stealing her father’s kingdom. There are at least two potentially good and somewhat original takes that are struggling to emerge from this remake and make a statement about their respective merits. One is the story of how the genie forms a bond with Aladdin (Mena Massoud) and attempts to secure his own freedom while abiding by the rules of the genie and the master. On the other hand, there is the story of Jasmine (Naomi Scott), who is not only an outspoken feminist who enjoys dressing up as a peasant and hanging out with the commoners, but who is also willing to agitate for representative democracy when given the opportunity. Neither of these, on the other hand, is allowed to remain in the limelight for very long. That’s a shame, because some of the most compelling (though not necessarily highest-grossing) “live action” remakes of animated films to come out of the Disney studios in recent years have been ones that jumped off from slightly less beloved titles (like “The Jungle Book,” “Pete’s Dragon,” and “Maleficent,” which retells “Sleeping Beauty” from the perspective of the witch) and created works that felt more like companion pieces, even subversion
This film adheres to the established narrative so slavishly that when it deviates from it, it’s as if the entire film had briefly escaped from bondage, like the genie from his lamp, before returning to it. When you consider that Will Smith is the only big name in the cast, it was probably inevitable that he’d be chosen to serve as the framing device (he plays a mariner who tells the story of Aladdin to his two young children). His performance in the role, when he isn’t being asked to re-enact most of the really good lines, jokes, and situations from the 1992 version (which accounts for approximately 70% of his screentime), is a unique take on the character.
But you shouldn’t waste any more time and start this Aladdin quiz.
However, because the opportunities to depart from the sacred text are few and far between (primarily during emotional scenes and dialogue-dependent comedy scenes in which Ritchie gets to show off his knack for smart-alecky banter), the moments do not accumulate into a memorable performance. These characters just sort of linger there, feeling disconnected from the film’s primary purpose of luring people into theaters with the promise of seeing the same thing they already knew and loved, but in a slightly different context.
The same problem affects Smith’s co-stars as well. It’s his deadpan comic energy that shines through whenever he’s not required to simply re-enact the iconic moments from his animated counterpart’s life. The same can be said for Naomi Scott’s performance as Princess Jasmine, who exudes fierce dignity and can’t help but feel like her big original song—”Speechless,” a song about the silencing of women by the patriarchy written by two men, “La La Land” and “Dear Evan Hansen” composers Pasek & Paul—is squished into the film like a doorstop. It’s possible that if the movie had been built around it, or better yet if the story had been centered on her, the motivation for the song would have felt more genuine and powerful rather than opportunistic. It is Marwan Kenzari’s portrayal of the treacherous vizier Jafar that stands out the most as a departure from the original film. As a traditional bad guy, Kenzari tries to create something that is more like an antihero than a traditional bad guy, and while he ultimately comes across as more of an impression or vibe rather than a strong characterization (the writing fails him, as it does every character), he is genuinely frightening in the second half of the film. He’ll scare the living daylights out of small children.
Aladdin Quiz
In fact, most of the major sequences remain largely unchanged from the beginning “Arabian Nights” number to “Friend Like Me,” “A Whole New World,” and beyond, with the exception of a few new twists sprinkled throughout, particularly during the final half-hour of the show. This version of “Aladdin” runs for two hours and eight minutes, which is 37 minutes longer than the original version of the film. The same can be said for theatrical films: it’s possible that the increasingly long average runtimes of special-effects-driven blockbusters are a response to complaints that tickets are too expensive, which is actually a way of saying that real wages haven’t increased substantially since the early 1970s: a longer movie = “getting more for your money,” which justifies taking the kids and perhaps even buying something at the concession stand.
Also, you will find out which character are you in this Aladdin quiz.
Aside from some long tracking shots stitched together with CGI, some “dangerous” chase scenes augmented by CGI, some musical numbers with ostriches and elephants and monkeys and camels, etc., all CGI, and Smith’s genie whooshing around the frame, his broad and CGI-augmented torso and shoulders swiveling and bobbing and weaving while trailing a curiously cheap-looking trail of sparkles, the filmmaking is disappointingly pedestrian There were early reports that the film would address allegations of xenophobia and racism leveled against the original, but there isn’t much evidence to suggest that the filmmakers were overly concerned with this issue.
It’s entirely possible that no one who watches this film will notice that anything has gone missing in the process. The audience I was in for a sneak preview seemed to enjoy it, though it’s impossible to tell from such a small sample size whether it was the movie itself or the fact that the tickets were free that made them feel that way. The majority of the bits that seem to work the best are taken directly from the original film, with the exception of a few witty buddy-comedy exchanges between Aladdin and his friend the Genie.
About the quiz
The latest Disney remake, as is often the case with recent Disney remakes, appears to be based on the same misconception that affects the rest of the film industry, particularly where science fiction adventures, superhero narratives, and fairy tales are concerned: that if it’s animated, or a “cartoon,” it’s somehow not a “real movie,” and thus not worthy of the automatic respect bestowed upon the most expensive and heavily promoted motion pictures, and thus not as validating to the people who watch them. This All of which is puzzling when you consider how reliant these kinds of films are on computer-generated imagery, even when they’re attempting to make mountains and buildings and tigers and parakeets made entirely of ones and zeroes appear as “real” as possible. After all is said and done, “Aladdin” is no more realistic than “Star Wars — Episode I: The Phantom Menace,” which was released 20 years earlier and has computer imagery that is comparable to “Aladdin.”
Also, you must try to play this Aladdin quiz.
According to reports, this is the direction in which both audiences and the filmmakers who serve them want the film industry to go. As far as the eye can see, there are toasters everywhere.
For more personality quizzes check this: Captain Marvel Quiz.
