After Disney’s March release Dumbo, a reimagining of the classic tale and animation, failed to live up to my expectations, delivering a sub-standard fare, I was sceptical of Disney’s retelling of a similar classic – Aladdin. Marred in online controversy over its casting and with mounds of expectations on its big-budget shoulders, the Guy Ritchie directorial did quite satiate my unquenched thirst for a fine Disney flick a lá last year’s Beauty and the Beast.

In the all-too-familiar fictional kingdom of Agrabah, Aladdin is an orphaned street-smart goon who alongside his monkey and partner-in-crime Abu, steals from the city’s markets and alleys, to fend for himself and his primate. One day, he stumbles across a lady in the streets, who incidentally, is Princess Jasmine, masquerading in the guise of a commoner. But class divides the two and the laws of Agrabah disallow the princess from getting betrothed to anyone beyond the royalty.

Arabian Nights, Like Arabian Days

Mena Massoud and Naomi Scott as Aladdin and Princess Jasmine respectively, are fittingly cast and they spark much chemistry in their scenes together. Canadian actor Mena Massoud of Egyptian birth, as Aladdin, is both a spectacle to the eye and a master of his craft. The boyish lead, for whom this is his first big-ticket release, zip-zaps through the action on the streets with as much flair as he waltzes through the soft moments with Scott or the comic ones with Smith. Massoud’s screen presence is appreciable and with this, he joins the league of Hollywood’s emerging entourage of new faces of colour, which includes the likes of Bohemian Rhapsody’s Rami Malek, who took home a Best Actor Oscar this year.

Naomi Scott who began her career with a Disney show and has also played Pink Ranger in a Power Rangers movie, complements her co-star in both handsomeness and theatrical abilities. As a princess locked away in her chambers by her overprotective father who aspires to be the first lady Sultan, Scott plays Jasmine with sensitivity and charisma. For Indian viewers, there might seem an uncanny resemblance of Scott to Bollywood actor Disha Patani.

Only Three Wishes

Will Smith steps into the legendary shoes of late actor Robin Williams, who played the character in the original film. He is no doubt, emerging as a crowd puller, mostly for the pre-teen demographic who will uninhibitedly enjoy his overzealous and enthusiastic rendition of Genie. Smith’s livewire buffoonery uplifts the tempo of the film and his dance sequence in the cave is one well-choreographed spectacle. He also grounds the magical character in reality, adding a hint of human emotions to the blue magician.

Marwan Kenzari as Jafar could’ve obviously been a more delectable villain but he does not stand out. Navid Negahban as The Sultan and Nasim Pedrad as Dalia do just about a decent job in their finite roles.

A Whole New World

At its core, Aladdin is a live-action musical and its music – both the score and soundtrack, act like fresh oxygen to the film’s heaving lungs. The score by Alan Menken, who also composed the score and co-wrote the songs for the original animated film, keeps the fantastical aura of the film alive. Two earworms in the soundtrack (which has been mostly sung by the actors Massoud, Scott and Smith themselves) are A Whole New World and Speechless.

I did miss the spectacular cover of A Whole New World by Zayn Malik and Zhavia Ward, (which you must listen to now if you haven’t yet!) in the movie, but it seems it was only marketing material. Nonetheless, a song or two are bound to have you sing-along or give you gooseflesh, if you, like me, have been raised on good ol’ Disney Channel. With a heady mix of Eastern and Western elements, the soundtrack is rich in flavour and works in tandem with the storyline.

Bringing Agrabah to life

Game of Thrones’ production designer Gemma Jackson sets up a bustling Agrabah brimming with sand dunes, castles, bazaars and riches. The production values are high and they have been prolifically utilised in erecting a colourful assortment of enchanting visuals. Two scenes – Aladdin’s encounter with Genie and Prince Ali’s parade into the city are carnival-like and delightful. The VFX recreations of Iago the macaw, Abu the monkey and Rajah the tiger aren’t patchy at all and the costume-work is well done too. The 3D usage may appeal to a younger crowd but in general isn’t necessary and the movie is better enjoyed in a 2D format.

Final Word

There’s nothing new in Aladdin 2019. It’s the same old refurbished Disney fantasy. There are gaping loopholes in the plot, the most evident being Jasmine’s inability to identify Aladdin in Prince Ali’s guise, which Aladdin even rationalizes later albeit unconvincingly.

If novelty is your prime criterion, this may not be for you. But if you are a 20 to 30-something and are seeking to watch in retrospect, an age-old tale that ends happily-ever-after and are keen on getting nostalgic with characters that dominated your television screens years back, step in for a show right now. And take your friends and family along.

Check out Aladdin‘s trailer here