Brief Summary
This video analyzes the live-action Disney remakes, focusing on their musical aspects and how they compare to the original animated films and stage adaptations. It argues that the remakes often undermine their source material by making questionable choices with casting, vocal performances, and song selection, ultimately relying on nostalgia rather than genuine innovation.
- The video critiques the excessive use of auto-tune on Emma Watson's vocals in "Beauty and the Beast," arguing that it strips the performance of its character and nuance.
- It discusses the changes made to the music in the live-action "Aladdin," particularly the handling of the Genie character and the underutilization of Will Smith's musical talents.
- The video questions the exclusion of successful stage musical numbers from "The Lion King" remake and the addition of new songs that don't serve the story or characters effectively.
- It suggests that the success of these remakes is primarily driven by nostalgia and familiarity, rather than artistic merit or innovation.
Intro
The video begins with an introduction to the topic: live-action Disney remakes and their musical aspects. The author expresses his bewilderment at some of the choices made in these films, particularly regarding the music. He mentions his initial exposure to these films after subscribing to Disney Plus and feeling compelled to analyze them.
Emma Watson's Vocals in Beauty and the Beast
The video addresses the widespread criticism of Emma Watson's singing in the live-action "Beauty and the Beast," specifically the artificial quality of her voice due to excessive pitch correction. The author plays examples of Watson's singing, highlighting the unnatural vibrato and perfect intonation that result from the auto-tuning. He argues that while some pitch correction is common in modern vocal performances, the extent to which it was used on Watson's voice is problematic. The author emphasizes that musical ability requires training and preparation, similar to athletic endeavors, and that Disney had the resources to properly prepare Watson for the role. Despite this, they opted for heavy auto-tuning, which ultimately detracted from her performance.
Casting and Character Nuance
The author questions why Emma Watson was cast if her singing ability was a concern, especially since she auditioned for the role. He contrasts Watson's performance with Bill Murray's portrayal of Baloo in "The Jungle Book," where Murray's rough singing style added to the character's personality. The author argues that the auto-tuning of Watson's voice removed any unique vocal nuance she could have brought to the character of Belle. He points out the irony of casting experienced musical performers like Josh Gad and Luke Evans in supporting roles while heavily processing Watson's vocals.
The Legacy of Howard Ashman and Aladdin's Musical Changes
The video shifts to a discussion of Disney's history, specifically the Disney Renaissance and the contributions of Howard Ashman and Alan Menken. Ashman's role in shaping the musical numbers and overall story structure of "The Little Mermaid" and "Beauty and the Beast" is highlighted. The author then discusses the changes made to "Aladdin" after Ashman's death, including the removal of many of his musical numbers and the recasting of Aladdin as a Tom Cruise-like character.
Will Smith's Genie in Aladdin
The author compares Robin Williams's Genie in the animated "Aladdin" to Will Smith's Genie in the live-action remake. He argues that Smith was forced to imitate Williams's comedic style, which didn't suit his strengths as a performer. The author points out that Smith's musical background was underutilized, and the film's soundtrack included a version of "Friend Like Me" that better showcased Smith's talents but was relegated to the credits. The author criticizes the film's opening, which breaks the fourth wall and undermines the seamless transition from speaking to singing that Ashman strived for in his musicals.
The Lion King: Stage vs. Screen
The video discusses the stage adaptation of "The Lion King," which is the highest-grossing Broadway show of all time. The author questions why the live-action remake didn't incorporate any of the successful musical numbers from the stage show and even cut the iconic song "Be Prepared." He criticizes the auto-tuning of young Simba's voice and the underutilization of Seth Rogen's vocal talents.
New Songs and Beyonce's Spirit
The author examines the new songs added to the live-action remakes, arguing that they often disrupt the delicate balance of character motivations and story beats established in the originals. He questions why Disney goes through the trouble of writing new songs instead of using the proven music from the stage adaptations. The author criticizes the use of Beyonce's song "Spirit" in "The Lion King," arguing that it's a Beyonce song sung over a montage, rather than a song performed by the character Nala. He contrasts this with the original films, where the love interests never had their own solo musical numbers.
Animation vs. Live-Action
The video references Howard Ashman's explanation of why animation was such a good medium for musicals, because the abstract representation of a cartoon makes it easier to suspend disbelief. The author argues that the live-action remakes, with their attempts at photorealism, make it harder to accept the characters singing.
Mulan and the Power of Nostalgia
The video discusses the live-action "Mulan," noting the controversy surrounding its lack of songs and Mushu. The author points out that even though the film was marketed as a more serious and culturally accurate adaptation, the trailers still used the music from the animated film. He questions why Disney hired Harry Gregson-Williams, a white composer, to score the film. The author concludes that the success of these remakes is primarily driven by nostalgia and familiarity, rather than artistic merit or innovation. He argues that the films rely on the audience's memories of the original songs and characters, even when the remakes fail to capture the same magic.
