Aladdin Parent Guide

I’ll cut right to the chase. Disney’s live action remake of Aladdin works. I was afraid that the latest raid of the Mouse’s classic catalog would flop (hello, Dumbo) but fortunately, it lands in the hit column. It’s vibrant, energetic, and just plain fun.

The biggest challenge dogging this production is living up to the legacy of the late, great Robin Williams. His madcap, freewheeling genie is a masterpiece of improvisational comedy and is the crazy, comic heart of the 1992 animated film. I wondered if Will Smith could possibly be up to the task of trying to fill those big, curly-toed shoes…Wisely, Smith doesn’t try to be a second Robin Williams. He creates his own genie, and if it isn’t quite as brilliant as Williams’ magical lamp-dweller, it’s plenty entertaining (although some of the CGI is oddly clunky and his singing voice could be better).

The biggest flaw in the film – and it’s significant – is the villain. Grand Vizier Jafar, voiced by Jonathan Freeman in the original version, is a deliciously evil villain, who dominates every scene with his over the top, scenery-chewing performance. In sad contrast, the very bland Marwen Kenzari plays the supposedly malevolent Grand Vizier like an accountant with a toothache or a civil servant who’s discovered documents have been filed incorrectly. He’s not imposing, he’s not scary, and he just doesn’t feel diabolical. Even in the final confrontation, he manages to look more constipated than crazed. He leaves a giant, villain-sized hole in the movie – and that is a serious problem.

Fortunately, Aladdin has other sources of energy to counter the limp antagonist. Mena Massoud and Naomi Scott, as Aladdin and Jasmine, bring great chemistry to their roles as the street rat and the princess with whom he falls in love. And both leads provide great positive messages for young viewers. Massoud clearly depicts Aladdin’s discomfort with his masquerade as a prince (done to get the girl) and the idea of living a lie. The genie drives home the messages of honesty and integrity. “The more you gain by pretending, the less you’re actually going to have” he tells his young master.

Parents will also be pleased that Jasmine’s role gets a 21^st century upgrade. Scott takes the bikini-top wearing Jasmine from 1992 and imbues her with fierce intelligence and self-respect – and more clothes. In a feminist spin on the story, Jasmine isn’t a princess looking to be Queen consort – this is a princess who wants to be Sultan. And she’s not going to sit around and wait to be rescued or sit quietly while men determine her fate. “I won’t go speechless”, she defiantly proclaims in a new song written for this production (which is likely to become a new girl power anthem). Her voice also has real power – which will delight viewers who want to see more potent female role models in film.

Best of all, Aladdin manages to impart these messages without a lot of negative content. The only issues come with the plot-directed violence. There is no bloody action, but there are lots of chase scenes where characters are pushed, hit, and fall from heights and two scenes involving murder. And there are scenes of peril that render this film unsuitable for very young or easily frightened viewers.

Viewers hoping that this version of Aladdin would open up a “whole new world” might not get their wish. But, while it isn’t perfect, this magical tale is a fun and feminist reinterpretation of the original that the whole family will enjoy.