The Lion King

A young lion prince is cast out of his pride by his cruel uncle, who claims he killed his father. While the uncle rules with an iron paw, the prince grows up beyond the Savannah, living by a philosophy: No worries for the rest of your days. But when his past comes to haunt him, the young prince must decide his fate: Will he remain an outcast or face his demons and become what he needs to be?

Credits: TheMovieDb.
The Lion King
Overview:
A young lion prince is cast out of his pride by his cruel uncle, who claims he killed his father. While the uncle rules with an iron paw, the prince grows up beyond the Savannah, living by a philosophy: No worries for the rest of your days. But when his past comes to haunt him
Cast:

• Simba (voice): Matthew Broderick
• Nala (voice): Moira Kelly
• Timon (voice): Nathan Lane
• Pumbaa (voice): Ernie Sabella
• Mufasa (voice): James Earl Jones
• Scar (voice): Jeremy Irons
• Rafiki (voice): Robert Guillaume
• Zazu (voice): Rowan Atkinson
• Young Simba (voice): Jonathan Taylor Thomas
• Young Nala (voice): Niketa Calame-Harris
• Shenzi (voice): Whoopi Goldberg
• Banzai (voice): Cheech Marin
• Ed (voice): Jim Cummings
• Sarabi (voice): Madge Sinclair
• Sarafina (voice): Zoe Leader
• Additional Voices (voice): Frank Welker
• Additional Voices (voice): Cathy Cavadini
• Additional Voices (voice): Judi M. Durand
• Additional Voices (voice): Daamen J. Krall
• Additional Voices (voice): David McCharen
• Additional Voices (voice): Mary Linda Phillips
• Additional Voices (voice): Phil Proctor
• Additional Voices (voice): David J. Randolph
• Fighting Hyena (voice) (uncredited): Brian Tochi

Crew:

• Director: Roger Allers
• Screenplay: Linda Woolverton
• Screenplay: Irene Mecchi
• Screenplay: Jonathan Roberts
• Editor: Ivan Bilancio
• Director: Rob Minkoff
• Original Music Composer: Hans Zimmer
• Animation: Vera Pacheco
• Animation Supervisor: James Baxter
• Production Manager: Craig Sost
• Animation Supervisor: Andreas Deja
• Supervising Animator: Anthony DeRosa
• Animation: Tim Allen
• Animation: Larry White
• Layout: Rick Moore
• Layout: Jennifer Yuan
• Production Office Assistant: Carl Canga
• Story: Rick Maki
• Animation: David Pruiksma
• Supervising Animator: Alex Kupershmidt
• Supervising Animator: Ellen Woodbury
• Story: Chris Sanders
• Supervising Animator: Mike Surrey
• Sound Re-Recording Mixer: Terry Porter
• Sound Re-Recording Mixer: Mel Metcalfe
• Sound Re-Recording Mixer: David J. Hudson
• Supervising Film Editor: Tom Finan
• Supervising Music Editor: Adam Milo Smalley
• Supervising Sound Editor: Mark Mangini
• Supervising Sound Editor: Richard L. Anderson
• Supervising Film Editor: John Carnochan
• Story: Andrew Gaskill
• Casting: Brian Chavanne
• Sound Effects Editor: James Christopher
• Songs: Elton John
• Songs: Tim Rice
• Thanks: Pam Wallberg
• Story: Kevin Harkey
• Associate Producer: Alice Dewey
• Thanks: Robert Carr-Hartley
• Story: Larry Leker
• Story: Ed Gombert
• Camera Operator: John Aardal
• Story: Burny Mattinson
• Animation: Lorna Cook
• Script Supervisor: Brenda Chapman
• Background Designer: Barry Atkinson
• Story: Joe Ranft
• Background Designer: Kathy Altieri
• Story: Jorgen Klubien
• Producer: Don Hahn
• Executive Producer: Thomas Schumacher
• Camera Operator: Andrew Simmons
• Background Designer: Michael Humphries
• Animation: Phillip Young
• Animation: Brian Ferguson
• Assistant Production Manager: Michael Meagher
• Assistant Production Manager: Cathy Lawrence
• Story: Tom Sito
• Story: Mark Kausler
• Background Designer: Sunny Apinchapong
• Background Designer: Natalie Franscioni-Karp
• Animation: Michael Cedeno
• Animation: James Lopez
• Animation: Danny Wawrzaszek
• Story: Jim Capobianco
• Story: Francis Glebas
• Animation: Chris Wahl
• Assistant Production Manager: Kirk Bodyfelt
• Visual Development: Mike Hodgson
• Compositors: Shannon Fallis Kane
• Negative Cutter: Rich Mackay
• Story: Barry Johnson
• Story: Thom Enriquez
• Camera Operator: Gary W. Smith
• Background Designer: Debbie DuBois
• Background Designer: Serge Michaels
• Assistant Production Manager: Lisa M. Poole
• Background Designer: Dan Cooper
• Animation: Rejean Bourdages
• Animation: Alex Williams
• Assistant Production Manager: Loni Beckner-Black
• Post-Production Manager: Sarah Duran
• ADR Editor: Andrew Patterson
• Foley: John Roesch
• Background Designer: Brooks Campbell
• Background Designer: David McCamley
• Animation: Broose Johnson
• Editorial Staff: Beth Collins-Stegmaier
• Background Designer: Patricia Palmer-Phillipson
• Background Designer: Tom Woodington
• Animation: Lou Dellarosa
• Production Manager: Don Walters
• Painter: Sherrie Cuzzort
• Painter: Florida D’Ambrosio
• Assistant Editor: Deborah Beville
• Animation: Joe Ekers
• Animation: Randy Haycock
• Animation: Greg Manwaring
• Animation: Michael Show
• Animation: T. Daniel Hofstedt
• Color Timer: Dale E. Grahn
• Painter: Paulino García
• Painter: Phyllis Fields
• Production Accountant: Glen Gagnon
• Painter: Susan Wileman
• Background Designer: Kevin Turcotte
• Animation: Robert Bryan
• Animation: Ron Husband
• Animation: Michael Swofford
• Assistant Production Manager: Holly E. Bratton
• Background Designer: Charles R. Vollmer
• Painter: Angelika Katz
• Painter: Bill Ohanesian
• Special Sound Effects: John Pospisil
• Animation: Tom Bancroft
• Songs: Miguel Ángel Poveda
• Assistant Editor: Jacqueline Kinney
• Animation: Christine Lawrence Finney
• CG Animator: Gregory William Griffith
• First Assistant Editor: Patsy Bouge
• Foley Editor: Donlee Jorgensen
• Painter: Ofra Afouta Calderon
• Production Coordinator: Matthew Garbera
• Painter: Leslie Hinton
• Background Designer: Ric Sluiter
• CG Animator: Linda Bel
• Painter: Kirk E. Axtell II
• Painter: Phyllis Bird
• Painter: Robert Dettloff
• Painter: Fumiko R. Sommer
• Executive Producer: Sarah McArthur
• Background Designer: Dominick R. Domingo
• Background Designer: Philip Phillipson
• Animation: Doug Frankel
• Animation: Randy Cartwright
• Animation: Barry Temple
• Assistant Production Manager: Karenna Mazur Alderton
• Assistant Production Manager: Patricia Hicks
• Assistant Production Manager: Paul Steele
• Painter: Britt Van der Nagel
• In Memory Of: Frank Wells
• Story: Gary Trousdale
• Background Designer: Barry Kooser
• Background Designer: Greg Drolette
• Editorial Staff: Kat Connolly
• Painter: Leyla C. Amaro Nodas
• Painter: Randall McFerren
• Supervising Animator: Russ Edmonds
• Painter: Russell Blandino
• Painter: Harlene Mears
• Projection: Don Henry
• Title Designer: Susan Bradley
• Compositors: Dolores Pope
• Production Manager: Dana Axelrod
• Sculptor: Kent Melton
• Animation: Gilda Palinginis
• Animation: Dale Baer
• Animation: Brad Kuha
• Supervising Animator: David Burgess
• Painter: Joey Calderon
• Title Designer: Burke Mattsson
• Supervising Animator: Aaron Blaise
• Animation: Ken Boyer
• Animation: Jean Morel
• Sound Effects Editor: Mike Chock
• Supervising Animator: Tony Bancroft
• Painter: Carmen Sanderson
• Dialogue Editor: R.J. Kizer
• Background Designer: Don Moore
• Animation: Mark Koetsier
• Painter: Karen Nugent
• Production Coordinator: Jeanie Lynd Sorenson
• Painter: Stevie Hirsch
• Negative Cutter: Mary Beth Smith
• Assistant Sound Editor: Ralph Stuart
• Supervising Animator: Ruben A. Aquino
• Supervising Animator: Mark Henn
• Painter: Bruce Phillipson
• Production Accountant: L.J. Van Cleave
• Foley: Hilda Hodges
• Sound Effects Editor: Paul Berolzheimer
• Supervising Animator: Tony Fucile
• ADR Voice Casting: Barbara Harris
• Painter: David Karp
• Painter: S. Ann Sullivan
• Painter: Roxanne M. Taylor
• Character Designer: Sue C. Nichols
• Character Designer: Bruce Zick
• Visual Development: Bob Smith
• Character Designer: Joe Grant
• Character Designer: Hans Bacher
• Visual Development: Mel Shaw
• Visual Development: Lisa Keene
• Visual Development: Jean Gillmore
• Animation: Dave Bossert
• Sound Re-Recording Mixer: Lora Hirschberg

Catogories:
Family,Animation,Drama
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The greatest adventure of all is finding our place in the Circle of Life.
Language:
English
Production:
United States of America
Company:
Walt Disney Pictures,Walt Disney Feature Animation
Popularity:
136.841
Date:
1994-06-24
Year:
1994

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  First of all, this is (obviously) a SPOILER review. I mean, who hasn’t seen this movie yet? If by some extraordinary circumstances you’re one of those unlucky souls, stop. Spend the next hour and a half watching this animated masterpiece and come back here. I will still avoid mentioning key details because I’m just used to it, and The Lion King has so many things to compliment that I don’t really need to get in-depth on spoilers. So, in case you haven’t notice it through my Twitter or occasional mentions in other reviews, The Lion King is one of my favorite films of all-time (animated or not)!

  I rewatched it for the 312358th time this last weekend, and I cried more than when I was just a child. That’s how much this movie means to me. The sense of nostalgia plus the overwhelming emotions throughout the runtime are tear-inducing aspects that I can’t simply avoid. I literally cried (waterfalls) in four (!) different scenes. The opening sequence (Circle of Life) filled my eyes with nostalgia’s tears. Mufasa’s tragic moment obviously wrecked me (one of the most emotionally powerful scenes in the history of cinema). Simba receiving the whole “remember who you are” speech from Mufasa in the clouds is incredibly inspirational and therefore worthy of some sobbing. Finally, one of the last scenes, Simba climbing his way to the top of Pride Rock with Hans Zimmer‘s score, leaving me absolutely destroyed.

  And I want to pick up on that last aspect: the score. It’s one of the most crucial technical features of a film, in my opinion. It can transform an “okay” scene into something magical or something pretty terrible, depending on what kind of score it is. Consequently, it can make a “good” movie turn into a “great” one. Hans Zimmer is one of my favorite composers ever. His soundtracks are always filled with such an epic vibe. Even if the film itself isn’t that good, his scores are still able to elevate it in some way. The Lion King is one of his most memorable scores due to how emotionally compelling it is, even in the subtlest moments.

  During the stampede sequence, the score doesn’t lend you time to breathe. Its high rhythm and continuously growing music keep any viewer at the edge of the seat, waiting for it to be over. Then, when Simba descends and approaches his dad, the score is so subtle. Completely opposite to the previous sumptuous and grand sound. It’s that nuance plus the impact of the scene itself that make me cry. In the last scene that I mentioned above, it’s solely the score that brings in the chill-inducing tears. If Simba climbed Pride Rock with no soundtrack, it would just be a good ending. However, from the exact moment that the score fades in, it instantly turns that sequence into an epic finale. The slow-motion walk to the top, the immersive score, Simba’s roar … Damn it, I’m crying again!

  The animation is some of Disney’s best. It’s not by chance that the Disney Renaissance Era (1989-1999), which was the return to form by Disney, has the best animation quality of its history, and a lot of the memorable movies that marked everyone’s childhood. Its expressiveness and ease to make animals emote elevates the story and its characters. There’s no need for any kind of dialogue when you can see how the characters are reacting and understand what they’re feeling. The wide shots are beautiful to look at and worthy of being anyone’s wallpaper even today.

  The songs are remarkable and they influenced an entire generation. Can You Feel the Love Tonight, Circle of Life, Be Prepared, Hakuna Matata, … Every single song is someone’s favorite. The voice work is perfect. James Earl Jones gives such an outstanding vocal performance that even when discussing his career’s biggest role, Darth Vader isn’t the obvious choice. Jeremy Irons and his raspy voice elevate Scar as the villainous character. If you close your eyes and only hear every character’s voice, without having watched the film previously, you can easily identify who’s the “bad guy”, and that’s unbelievably good. Everyone else is amazing, but these two gentlemen are astonishing, and they deserve to be remembered forever as the voices of these iconic roles.

  Nevertheless, in the end, the two pillars of every movie always matter the most: story and characters. The Lion King has an especially compelling screenplay, one that teaches its viewers how to handle loss, but also how to grow up and overcome our worst fears. It’s true that most people cry watching this film, but those same people are filled with joy by the end because they accompanied Simba’s journey. From being a reckless and innocent cub to becoming the king that everyone needed, while also making his father extremely proud. Even though it’s a very tragic movie, Timon and Pumbaa are two hilarious characters that keep bringing some sense of happiness by delivering some well-needed laughs. Their laid-back lifestyle is something that everyone desires, but when you have responsibilities, you can’t just hide from them. You must learn how to be what everyone needs you to be, without losing the essence of who you are.

  It’s a masterpiece! It doesn’t matter if it’s an animated film. It doesn’t matter if it was “made for kids”. People need to stop looking at animated flicks as something juvenile that only children can watch while parents can do something else. If parents watched this kind of inspirational animated movies as well, maybe the world would be a better place. The Lion King is one of my favorite films of all-time, and it’s undeniably one of Disney’s best original movies. From the gorgeous animation to the beautiful score, from the emotionally compelling story to the life journey Simba goes through, from the chill-inducing tearful moments to the loud laughs … The Lion King is just perfect. Hopefully, its “live-action” remake will keep its essence and deliver these feelings once again.

  Rating: A+

• CinemaSerf: Certainly not one of Disney’s better animations from a technical perspective – the artwork lacks the vibrancy and detail of many of their earlier stories; but the combined efforts of Sir Tim Rice, Elton John and Hans Zimmer make this an enjoyable fantasy adventure. It is told in two parts – the first sees a son “Simba” born to the king “Mufasa”; a curious little fella who, alongside his friend “Nala” is inquisitive and mischievous – a real pain in the neck to the king’s major-domo “Zazu”. One fan the new cub really doesn’t have, however, is the king’s rather unimpressed brother “Scar” who hatches a plan to depose his brother and take over the kingdom. He manages to achieve exactly this and to get the youngster to blame himself and head off, alone, into exile. The second part is much more fun; he falls in with a warthog and is soon eating colourful grubs and living a peaceful, jolly life far from home. That idyllic existence is not to last long, however – “Nala” discovers he is still alive and races to alert him of the disaster that has befallen the kingdom under the rule of his uncle and his trusty band of hyenas. The musical numbers help it build to a gripping denouement, with clever, quite witty dialogue from some good – though not great – voice talents from the likes of James Earl Jones, Jeremy Irons, Nathan Lane, Matthew Broderick and Whoopi Goldberg to keep the pot boiling. It is an enjoyable film to watch but I wasn’t captivated by it.