Watch Aladdin Full Movie: Disney ‘Aladdin’ is not the worst of all the avalanche of remakes in real image that Disney has been perpting a few years at the expense of their animated classics, in the wake of bombings like ‘Alice in Wonderland’. In that dubious throne, the unjustifiable ‘Cinderella’ or ‘Beauty and the Beast’ may feel. But what is certain is that perhaps, so far, Disney had not released a film that served as a perfect summary of why this policy of releases that so good box office results is throwing is a dislate from the creative point of view.
From the lazy script and too mimetic to the original to a little ingenious conception of what the “modernization” of the classic supposes. Or from the almost perverse neutralization of the plastic values of the animation cinema to absolutely aberrant aesthetic bets, passing through inevitable specific successes that are drowned in a sea of nonsense. Everything is in ‘Aladdin’, almost like a summa maximum of that museum of the horrors in which this systematic exhumation of the classics of the company has become.
Because its main problem is, once again, the choice of a variegated aesthetic, saturated, full of disparate textures and impossible colors, as opposed to the elegance of the animated referent and its spectacular and studied chromatic gallery. In the original, the sinister interior of the Cave of Wonders, the colorful but elegant palace and the chaotic and warm streets of Agrabah obeyed a work of impeccable atmosphere. Here, as in many other adaptations in Disney’s real image (starting with Burton’s two horrid Alices), elements are thrown onto the stage without much criterion, resulting in ornate imitations of the original that only in some cases demonstrate a certain visual fortune, such as in the peaceful desert at the exit of the Cave.
And that’s not the worst: in most cases, the scenarios are overtly artificial, tiny, and the characters come back again and again to them, like Jasmine’s room or Aladdin’s house. In cases like the latter, Guy Ritchie does not know or does not want to take advantage of this artificiality and add the colors to the potential kitsch of his film, as he did – in a not-quite-conscious way – ‘Beauty and the Beast’. The problem is evident especially in large sets but with an odor of cardboard-stone out of phase, like the entrance of Agrabah, with those planes with drone that cause the opposite effect to the desired one: to emphasize that the scenarios are like of attraction of Port Aventura. The rest seem sometimes out of a sitcom … or a porn parody.
But without a doubt, the most serious sin of Aladdin is that of not knowing where the wealth of the animated version was, but to no one’s surprise it was … animation. The character of the Genius has a total cartoon nature, and even the most perfect of special effects can not overcome that: the plasticity, the speed, the possibilities of traditional animation overcome without problems the most realistic – and awkward – CGI animation. The 3D effects and the effects are not important: Robin Williams’ genius was a whirlwind of dynamism, a machine gun of transformations and physical gags, and Ritchie’s version is incapable of following that rhythm.
Part of the blame has, of course, Will Smith, much more static and less nonsensical than in the original version. After all, the only limit of that was the versatile, mutant, and almighty voice of Williams. Here the physicist of Will Smith, however manipulated digitally, imposes some restrictions with which he loads the whole, foreseeable and spectacular. Aware of this, the film makes the bad decision to give space to a Genius turned human counselor of Aladdin. And while it gives rise to some scene of sympathetic comedy (and some embarrassment, as everything related to the human relationships of the Genie), it completely abandons the spirit of the original.
Those who have seen the trailer of the new version of ‘Aladdin’ Disney Studios have been able to see that, despite the deployment that has been made in the field of clothing, none of the characters looks exactly the same as in the cartoon version .
In the case of the protagonist, his characteristic purple vest and white pants have been replaced by another dress much less revealing and that will not mislead the spectators constantly showing the abs of Mena Massoud.
The latter wanted to justify that small deviation from the original film by raising the question of what the general reaction would have been if the situation were reversed and it had been his co-star Naomi Scott who now wore an exact replica of the revealing ensemble that the Disney princess.
“It’s for the same reason that we thought it would not be appropriate for Princess Jasmine to spend half the movie showing her navel, and we thought that once you jump from cartoons to real action, you have to make a few adjustments.” Mena explained in an interview to Entertainment Weekly.
“In the end we took it for granted that having Aladdin show so much skin throughout the film could end up being a distraction in a human actor, something that does not happen with a cartoon.”