Displaying items by tag: Mads Mikkelson

MUFASA: THE LION KING

US, 2024, 120 minutes, Colour.

Voices of: Aaron Pierre, Kelvin Harrison Jr, Blue Ivy Carter, John Kani, Mads Mikkelsen, Seth Rogen, Billy Eichner, Thandiwe Newton, Lenny James, Anika Noni Rose, Keith David, Donald Glover, Beyonce.

Directed by Barry Jenkins.

In the 1990s, the Disney studios produced a succession of striking animation films, 1989 in The Little Mermaid, then Beauty and the Beast, Aladdin. 1994 introduced The Lion King who has stayed popular and in our consciousness ever since, leading to a Broadway musical, some sequels, of live action re-making 2019. And, now, the prequel in the early life of more far so and his becoming the Lion King.

Technically, Mufasa is significant in its re-creation of the range of animals, the pride of Lions, the hostile White Lions, Rafiki the storyteller and the meerkat, Timon, and the warthog, Pumbaa and a whole range of African plains animals from elephants to giraffes. There is plenty to delight audiences who enjoy seeing these animals.

But, the significant aspect is that they speak, the manipulation of their mouths to make this sound authentic, and a range of voice cast led by Aaron Pierre and Kelvin Harrison Jr as Mufasae and his friend Taki who, we know, will become his brother then his enemy, Scar. There are also other well-known voices, especially Mads Mikkelson as the hostile King of the White Lions, contrasting with John Kani as the the storyteller (reprising his role from the 2019 film) and, unexpectedly, lots of chatter and cheeky references, even to the musical, with Seth Rogen voicing Pumbaa and Billy Eichner, Timon.

In the present, so to speak, Simba’s daughter, Kiara (voiced Beyonce’s daughter, Blue Ivy Carter), is anxious as her father leaves for a meeting. The wise Rafiki is prevailed upon to tell the story of Mufasa, his childhood, his relationship with Scar, his becoming the Lion King. And Rafiki has the chorus commentators. At key moments during the film, the narrative returns to the present and some episodes with Kiara and the storytellers.

At the beginning of Rafiki’s tale, Mufasa and his parents are isolated, drought, dangers, and the pursuing dangerous White Lions, hoping for a peaceful further valley and their making their way towards it. But, tragedies, Mufasa is lost, encountering other lions but considered an outsider, a stray. However, he makes a good impression – but, at the expense of his father’s love for his son, Taki, who has rescued Mufasa from crocodiles.

On the one hand, there are many playful sequences and family affectionate moments to delight. On the other hand, there are many fearsome moments with the pursuit of the White Lions, Taki and his betrayal of Mufasa, his sinister behaviour and an ultimate confrontation.

We are anticipating the happy ending when Mufasa will be recognised by all the animals as the leader, he being modest and self-deprecating, but responding to the acclaim and ascending to the sloping cliff to take his iconic stance.

1. The long popularity of The Lion King, animation film, Broadway musical, sequels, the 2019 live action, this prequel?
2. The range of voices, African-American voices?
3. The musical score, the range of songs, Lin Manuel Miranda, lyrics?
4. The style of the film, special effects work, the range of animals, action, voices and the credibility of their mouth movement and speaking? Layout and backgrounds?
5. The setting, Simba, audience knowledge of the future, Rafiki and his telling the story, the gathering of the animals, the Circle of Life, Timon and Pumbaa, the original film, comedy, the wisecracks, the references to the film and musical, the comic chorus? Kiara, apprehensive, wanting to hear the story of Mufasa? The flashbacks and the continued returning to the storytelling and the comments?
6. The situation, Mufasa and his parents, difficulties, the terrain, the dry, the outside alliance and her persecutions, the vision of the future beyond the sunrise, the tragedy, Mufasa and his being lost, in the river, the crocodiles, his being pulled out to safety by Taki?
7. Mufasa as lost, not astray, Taki’s father rejecting him, the mother compassionate, the bonding of the two young lions, their adventures together, hopes and joy? (And the audience knowing that Taki would become Scar?)
8. The pursuing lions, the fights between the young lions, the death of the white lion, the anger, his father, the blame on Mufasa, Taki and is avoiding responsibility? The consequences, the pursuit, Mufasa fighting the white lion, Taki, his fears, betrayal, leaving the marks for the white lions to pursue?
9. Taki and his father, the race, Mufasa winning, the challenge to Taki, his father’s disapproval, sending him away?
10. The themes of friendship, fear, betrayal, self-protection, the friend becoming a victim?
11. The range of adventures, the falling over the cliff, surviving, underwater, the rescue? The continued travels, the rain, the floods?
12. The other animals, the giraffes, the comments, the fears of the pursuing lions, the well being of Mufasa and Taki, their mother?
13. The arrival of the white lions, the confrontation, the revelation of the truth, Taki and his scar, the fights, Mufasa winning?
14. The acceptance of all the animals, his modesty, the qualities of a king, the acceptance, scar and his exile? And Mufasa are going to the cliff, the visual emblem always of The Lion King?

THE PROMISED LAND/ BASTARDEN

Denmark, 2023, 127 minutes, Colour.

Mads Mikkelson, Amanda Collin, Simon Bennebjerg, Melina Hagberg, Kristine Kujath Thorp.

Directed by Nikolaj Arcel.

A recommendation for audiences who enjoy re-creations of history. We are taken back to the middle of the 18^th century, 1755, Denmark, and out into the barren heaths of Jutland (the territory, 100 years later, for Babette’s Feast).

The title is one of hope, the story of a veteran Danish soldier, Ludwig Kahlen, serving in Germany 25 years, in civil status, the illegitimate son of a landlord who offloaded him to the military, now returning and requesting permission to cultivate the barren land, a movement supported by the King who wants to develop this neglected area with settlers and commerce, but not backed enthusiastically by his counsel.

Which means that this is the dramatic struggle of a determined individual to work against all odds, even to digging the soil with his own hands, trying to get support, a vision of success – and even hoping for royal acknowledgement and nobility status. But we realise that this will entail a steadfast determination, struggles with the land, with the climate, with the need for financial and co-working assistance.

And, that is what we are given, and more.

The cinematography of the landscapes contrasting with the courts, the lavish mansion of the local landowner, enhances the atmosphere. And the performances are very strong. Mads Mikkelson has proven himself         in Danish cinema as well as internationally. This is one of his best performances – and he had worked with the director, Nikolaj Arcel, in A Royal Wedding (2012), a drama set a decade later than this film but focusing on Denmark’s Royal family. (The screenplay was written by Anders Thomas Jensen who has collaborated with Arcel and Mikkelson in several projects including the striking Riders of Justice.)

While the development of a promised land as the focus, the human stories interwoven are quite compelling. On the dramatic, evil side, there is the manic, narcissistic and exploitative landowner, de Schinkel (Simon Bennebjerg, absolutely convincing as a brutally insane predator), his cousin, Edel, attracted to Kahlen and key to a violent resolution, and a runaway servant, Ann Barbara, who settles with her husband in working with Kahlen, with violent consequences as well. The local outlaws who work for a time but then are frightened off, German settlers, but, especially, a dark complexioned young girl, a “darkling” whom the Germans fear is a bad omen, Anmai Mus, Melina Hagberg in her only role us far, bringing a cheeky and challenging presence but also a deeply humanising perspective to the drama.

The English title focuses on the land. The Danish title focuses on Kahlen but cannot be used in English because of its derogatory overtones – but the director has commented “in Danish, the bastard only means illegitimate son or illegitimate child. It actually doesn't mean anything sort of other negative than that:.

An immersion in Danish history.

1. The title, English and the land, Danish and status?
2. Immersion in Danish history? 18^th century, 1755-63, the King and Council, Jutland and barren land, development? Political themes? Aristocracy themes? Development themes? Human themes?
3. The cinematography, the landscapes, the seasons, the work on the heath, the mansion, aristocratic celebrations, the growing crops, the fight sequences? The musical score?
4. The story of Ludvig Kahlen, Mads Mikkelsen’s performance?, To the military, 25 years in Germany, return, request about the land, potatoes, hearing by the Council, there disdain, expecting him to fail, it fulfilling the King’s wishes for development in Jutland? His request for finance, nobility status?
5. Kahlen as a character, personality, determined, military? The encounter with Johannes and Ann Barbara, is fleeing Schinkel, taking refuge with him, their work? The episode with the little girl, begging, the attack? Her later returning, her character, language, dark complexion, the status with the exiled group? The outlaws and their attitude?
6. The plan, Kahlen and his digging, testing the soil? The young minister and his working, support? Hope for workers, the approach to the outlaws, tough bargaining, their arrival, later being warned off and leaving? Little girl, wanting to stay, being taken in?
7. The ownership of the land, by the King, by de Schinkel, his claims, his staff, his attitudes, the gradual revelation of his brutality, predator with the women, absolute arrogance? The meetings with Kahlen, attempts to bargain, the threats?
8. The encounter with the cousin, her attraction, the handkerchief, Kahlen’s response? The invitation to the dance? Ann Barbara mending his coat, self-conscious, de Schinkel and the change of wig, the meeting with Edel, the capture of Johannes, the lashing, the hole, the boiling water, his death, the choir singing, their stopping, de Schinkel and his glee, Kahlen taking the body away, the return, the response of Ann Barbara?
9. The continued hostilities, de Schinkel and his visits, wanting contracts, percentages? His getting his men to frighten away the outlaws? The arrival of the Germans, procuring the cartload of prisoners, their camp, Kahlen and the Germans attacking, the survival of de Schinke’’s military aid, his witness to Kahlen killing officer, the arrest, the lashing, the boiling water?
10. The household, Ann Barbara, the Minister, the young girl, the working in the fields, the clearing, the sewing, the seasons, folded the winter, the goat milk, the young girl and her health, the killing of the goat, the meat? The arrival of de Schinkel, the leftovers from Christmas, the money, Kahlen returning it? First shoot, the frost uncovering the crop?
11. The court, the report of the potatoes, the 80 bags, the reaction? The reaction of the King?
12. De Schinkel summoning the locals, owners, the enmities, their banding together? The impact for the court?
13. The ultimatum, the need for the young girl to leave, Ann Barbara’s reaction, leaving? Kahlen and his final talk with her, her going to the orphanage? Her reaction? Her seeing Kahlen as a father figure, his teaching her to read, to measure, to work with animals?
14. Edel, de Schinkel wanting to marry her, her resistance? Seeing Ann Barbara, the drink and the poison, her promise to de Schinkel, his drinking, his reactions, collapse, Ann Barbara and her slashing him, the blood, her arrest, being taken away, life imprisonment?
15. Years passing, the young girl growing up, the travelling workers, her working with the leader, the attraction, going out with him? His proposal, the symbol of the stick, Kahlen and his accepting the stick from her and her becoming part of the family, his agreeing that she should take her suitor’s stick, leaving?
16. Kahlen, receiving the honours, surveyor, the nobility, but his being by himself, Ann Barbara in prison, his decision to leave everything, lose his title, a glimpse of the broken shackles, travelling with Ann Barbara…?