Aladdin (2019)

Aladdin (2019)

Has any studio mastered the art of the re-release better than Disney? Between their “vault,” where films would disappear from circulation for years, to Diamond Collection disc re-releases with new bonus features, to newly re-mastered 4K Ultra HD titles, Disney knows how to wring the most dollars from its catalog of titles. One of its most successful re-release strategies in recent years is remaking hit animated films into live-action titles. Recent examples include Cinderella (2015), The Jungle Book (2016), Beauty and the Beast (2017), Dumbo (2019), Aladdin (2019), and the wildly successful The Lion King (2019).

 

While admittedly a huge Disney fan, I was skeptical about Aladdin, and skipped the theatrical release. I was a big fan of Robin Williams’ role as the genie from the 1992 original animated version, and I thought that anyone trying to fill his manic-comic shoes would just sully the role. Also, I’m equally not a Will Smith fan (though I am optimistic about his upcoming Gemini Man . . .), so it just seemed to be piling on. But when the movie dropped this week at the Kaleidescape Store—a full two weeks before the disc release—it seemed like the perfect opportunity to rub the lamp.

 

While not germane to this review, one thought I had as I purchased this movie was, “Will this be the final Disney movie I actually buy?” With Disney’s new streaming service imminently approaching, and with the studio’s entire catalog supposedly being available in the highest resolution possible (4K, HDR, Dolby Vision, Dolby Atmos) for a mere $6.99 a month, is the company going to be cutting off its faithful disc buyers in the process? For little more than the price of Aladdin, I could get six months of Disney’s entire catalog. Food for thought . . .

 

If you’re familiar with the 1992 movie, then you know all the plot points of this re-telling. “Street rat” Aladdin (Mena Massoud) wanders the streets and alleys of Agrabah, living by stealing what he and his monkey, Abu, need to survive. One day he stumbles across Princess Jasmine (Naomi Scott), who is bored with her life in the castle and wanders the streets in disguise, and he becomes smitten. Aladdin is tricked into going into the Cave of Wonder to retrieve a magic lamp by the Sultan’s evil counselor, Jafar (Marwan Kenzari). Inside, he discovers a magic carpet and a lamp that causes the Genie (Will Smith) to appear, granting him three wishes. Aladdin uses his wishes to become a prince to win Jasmine’s heart, but he must contend with Jafar, who has his own nefarious plans for the lamp.

 

Two things made the original Aladdin so successful: The soundtrack and Williams’ performance as Genie. The film won two Academy Awards for Best Original Score and Best Original Song for “A Whole New World,” and all of the hits—including “One Jump Ahead,” “Friend Like Me,” and “Prince Ali”—are featured here.

 

While Williams’ performance was widely praised and loved, some at the time criticized it because his jokes were too current and thought not to be timeless. (How wrong they were!) As skeptical as I was about Smith, he manages to make the Genie his own, and he does a lot to carry the film and add much-needed fun and humor—the film feels far more like a drama until Genie arrives. Smith’s Genie is far more subtle than Williams’, and his performance works very well here. Of course, Smith’s Fresh Prince musical background also serves him quite well during the musical numbers.

 

Aladdin reminded me a lot of a musical, with many of the song lyrics delivered in a more dialogue manner to drive the story as opposed to just straight singing. Also, they did a nice job of making the characters more believable, especially the Sultan (Navid Negahban), who comes across as a bumbling idiot for most of the animated film. Disney has also proved itself quite adept at making digital animals, and both Abu and Rajah (Jasmine’s Bengal tiger) appear quite realistic. This live-action version is also 38 minutes longer than the animated one, giving the story a bit more room to develop.

 

Filmed in ARRIRAW at 2.8 and 3.4K, I felt like Aladdin rarely bristled with as much detail as I’ve seen from other modern blockbusters. Not to say that the video doesn’t look good or feature detail, with sharp-edged images. It’s more like I often wasn’t seeing that ultra-pixel micro-level detail that some full-4K Digital Intermediates can resolve. Even with that nit, there 

are many closeups where you can examine the threads and ornate stitching in the costumes, or the texture in walls and rocks.

 

The HDR image does a lot to help the night and dark scenes, such as the city lights when flying over Agrabah on the magic carpet or the dark interior of the Cave of Wonders. Black levels are deep and clean throughout, with no noise. Golds and jewels shimmer and sparkle with colors that leap off the screen, as do fireworks and the many brightly colored costumes, specifically Genie’s rich, deep purple. This is a very colorful film featuring Bollywood-esque costume design, and the images are definitely bright and punchy, but never at the expense of skin tones. (Well, except the Genie, who is cerulean for much of the film.)

 

The Dolby Atmos audio mix feels mostly restrained, with the vast majority of audio presented from the front of the room. Some ambient sounds and the music are mixed up into the front height channels to add spaciousness, but most of the film is heavily focused to the screen. There are some scenes where the overhead speakers are called in to good effect, such as the Genie flying around the room, zipping front and back and swirling about in the Cave of Wonders, or Iago, the bright red macaw (not voiced here by Gilbert Godfrey, which just seems wrong), flying around, and some nice echoes that bounce off the walls in the Cave. The  

Aladdin (2019)

whole “Never Had a Friend Like Me” sequence is a great example of the film’s more dynamic audio moments. But for most of the film, the sound mixers definitely err on the side of subtlety, as opposed to looking for opportunities to get aggressive and push the sonic boundaries. Bass is mostly reserved throughout, but the sub channel is called into play nicely when the action calls for it. Fortunately, for a movie where singing and talking are key, dialogue is always clear and intelligible.

 

I enjoyed Aladdin much more than I thought I would, and it is a film I can see returning to. Also, with a Common Sense Media rating of 8+, Aladdin is a movie you can absolutely enjoy with family members of all ages.

John Sciacca

Probably the most experienced writer on custom installation in the industry, John Sciacca is
co-owner of Custom Theater & Audio in Murrells Inlet, South Carolina, & is known for his writing
for such publications as
 Residential Systems and Sound & Vision. Follow him on Twitter at

@SciaccaTweets and at johnsciacca.com.

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