The 2019 live-action adaptation of Disney’s Aladdin, directed by Guy Ritchie, is a vibrant and visually stimulating reimagining of the 1992 animated classic. With a talented cast, elaborate musical numbers, and grand set designs, this version seeks to bring a beloved tale to a new generation while capitalizing on nostalgia. However, while the film succeeds in many aspects, it also falters in certain areas, particularly when it comes to pacing and balancing the original’s charm with modern updates.
The story of Aladdin is well-known and timeless: a young “diamond in the rough,” Aladdin, lives on the streets of the bustling, fictional Middle Eastern city of Agrabah. After a chance encounter with Princess Jasmine, he becomes enamored with her, though she is unaware of his true, impoverished identity. Through a series of events, Aladdin comes into possession of a magical lamp, which houses the larger-than-life Genie. The Genie grants Aladdin three wishes, and with his newfound power, Aladdin seeks to win the heart of the princess and overcome the villainous Jafar, the Sultan’s power-hungry advisor. The central themes of love, power, identity, and freedom are explored through the lens of magic and adventure.
Casting was one of the more contentious issues when the film was first announced. Will Smith, chosen to fill the shoes of Robin Williams as Genie, was an especially bold move. Williams’ portrayal in the animated original was iconic, and Smith had the unenviable task of making the role his own. To his credit, Smith manages to do just that. Rather than attempt to mimic Williams’ fast-talking, improvisational style, Smith brings his distinct swagger and charisma to the role, fusing the Genie’s playful nature with his own brand of cool confidence. The result is a performance that feels fresh and fun, even if it doesn’t quite reach the frenetic energy of the original. Smith’s Genie is more laid-back, and his musical numbers, particularly “Friend Like Me,” have a hip-hop flair that suits his persona.
Mena Massoud plays the titular role of Aladdin, and his portrayal of the street rat-turned-prince is earnest and endearing. Massoud brings a sense of boyish charm to the role, capturing Aladdin’s naivety and ambition with ease. He’s an acrobatic, agile hero who grows in confidence as the story progresses, and his chemistry with Naomi Scott’s Jasmine is one of the highlights of the film. However, some of the more nuanced aspects of Aladdin’s character, particularly his internal struggle with self-worth and identity, are somewhat underdeveloped in this adaptation. While the animated version was more explicit in showing Aladdin’s feelings of inadequacy, this film often glosses over these deeper emotional beats in favor of spectacle and action.
Naomi Scott’s portrayal of Princess Jasmine is another of the film’s strengths. Jasmine, in this version, is given more agency and a clearer arc of her own, which is a welcome update to the character. No longer merely a love interest, Jasmine is depicted as a capable leader-in-waiting who desires to rule Agrabah in her own right. Scott brings a powerful voice and presence to the role, particularly in her new song, “Speechless,” which serves as an anthem of empowerment. This character development is one of the more noticeable improvements from the original, where Jasmine’s role was more passive. Here, she’s a fully realized character with ambitions and challenges of her own, independent of her relationship with Aladdin. Her journey from a princess confined by tradition to a potential sultan is a bold move, and it adds depth to the narrative.
Marwan Kenzari’s portrayal of Jafar, however, is one of the film’s weaker points. Jafar, as the villain, lacks the menacing gravitas that made him such a formidable antagonist in the animated version. In this live-action adaptation, Jafar is portrayed as younger and more scheming, but he doesn’t carry the same sense of danger or malevolence. His motivations are explained more explicitly – he is depicted as a former street rat himself, hungry for power and respect – but the character ultimately feels underwhelming compared to the original. Jafar’s voice lacks the commanding, sinister tones that made his animated counterpart so memorable, and his interactions with Aladdin and the Genie feel less threatening. As a result, the stakes of the conflict are somewhat diminished.
One of the standout aspects of Aladdin is its production design. Agrabah is brought to life with an explosion of color, opulence, and energy. The city feels vibrant and bustling, with its narrow alleys, busy markets, and towering palace creating a world that is immersive and full of life. The costumes, too, are rich in detail and design, with Jasmine’s outfits in particular standing out for their beauty and cultural significance. The film also does a commendable job of blending practical sets with CGI to create a magical yet believable environment. However, while the visuals are often dazzling, there are moments where the CGI is too conspicuous, especially during action sequences or when showcasing the Genie’s powers. Some of these effects lack the polish needed to fully immerse the viewer.
Musically, Aladdin delivers on the nostalgia of the original while also adding its own flair. Classic songs like “A Whole New World,” “Prince Ali,” and “Friend Like Me” are lovingly recreated, with updated arrangements that breathe new life into them. Will Smith’s unique take on “Friend Like Me” is particularly enjoyable, offering a modern twist on a familiar favorite. Naomi Scott’s vocal performance in “Speechless” is another highlight, showcasing her impressive range and adding emotional depth to Jasmine’s character. However, the music, while enjoyable, doesn’t always integrate seamlessly with the rest of the film. At times, the pacing of the musical numbers feels slightly disjointed, as if the film is stopping for a performance rather than allowing the songs to naturally flow from the narrative.
One of the most significant challenges the film faces is its pacing. At just over two hours, Aladdin feels slightly bloated, particularly in the middle act. Some scenes, especially those involving Jafar’s scheming or the palace intrigue, drag on longer than necessary, slowing the momentum of the story. Conversely, other moments, such as Aladdin’s transformation into Prince Ali or his interactions with the Genie, feel rushed, as though the film is eager to move on to the next spectacle. This uneven pacing creates a film that is sometimes exhilarating and other times plodding, and it ultimately detracts from the overall experience.
The film also makes an effort to address some of the more culturally sensitive aspects of the original. The 1992 version of Aladdin has been criticized for its portrayal of Middle Eastern culture, particularly in its vague, sometimes stereotypical depiction of Agrabah and its people. While the 2019 adaptation doesn’t fully escape these criticisms, it does attempt to create a more respectful and nuanced representation of the fictional kingdom. The cast is more diverse, and there is a noticeable effort to incorporate elements of Middle Eastern and South Asian cultures into the film’s visual design and music. However, the film still walks a fine line between paying homage to its source material and modernizing its portrayal of the region. Some viewers may feel that the film doesn’t go far enough in correcting the missteps of the original, while others may appreciate the strides it does make.
Despite its flaws, Aladdin manages to be an entertaining and visually appealing film that largely succeeds in its goal of bringing a beloved story to a new generation. The film’s greatest strength lies in its ability to evoke the wonder and excitement of the original, particularly in its musical numbers and the performances of its leads. Mena Massoud and Naomi Scott are charming and likable in their roles, and Will Smith’s Genie, while different from Robin Williams’ version, is a fun and charismatic presence that adds a unique flavor to the film. The production design and costumes are lavish, creating a world that is both fantastical and culturally rich, even if the CGI sometimes falters.
However, the film’s pacing issues, coupled with a lackluster villain in Jafar, prevent it from reaching the heights of its animated predecessor. There are moments where the film feels like it is trying too hard to balance nostalgia with modern updates, and as a result, it occasionally loses sight of what made the original so special. Nevertheless, for fans of the original Aladdin, this live-action remake offers enough magic and heart to make it a worthwhile watch, even if it doesn’t quite capture the same sense of wonder and whimsy.
