Aladdin Guy Ritchie | Review


Published on May 22, 2019


From the very first images and trailer, there were many doubts on the adaptation live action of Aladdin, the classic Disney of 1992, which became law in the rose of the favorite of many.

If the campaign that preceded The beauty and the Beast had an excellent cast of English chosen, the voice actors of the original and/or faithful to the star involved, some of the key scenes used ad hoc, this new Aladdin Guy Ritchie (after the success of the two Sherlock Holmes and the hazard of Operation U. N. C. L. E. and King Arthur) seemed to leave the unfortunate to the impression of too many songs involved, the cast is hardly convincing, the visual rendering of the Genius of Will Smith iconicamente voiced in the animated version of Robin Williams in the original and by our Gigi Proietti in the Italian version (which this time returns as the voice of the Sultan, given that the voice actor of Smith Sandro Acerbo remains faithfully to the original voice).

However, it is Will Smith to save, unexpectedly, this film by many faults, along with some scenes of plot and directors of Ritchie. The new Genius is irreverent, funny, engaging, but also has a big heart, just like the original. One of the first moments convicenti of the film is the song in the Cave of Wonders, where the Genie introduces himself to Aladdin their skills (as was “Be our guest” beauty and The Beast), confirming the ability of the combined Smith and Ritchie in bringing to light the magic of the original film, but adapting it to the “limits” of the CGI live action.


The other surprising aspect is the choice of Ritchie to condense the many developments of the first half of the cartoon in the first 10 minutes of the new film, and then take a road a little different, despite the more than two hours in total duration. The director focuses more on the politics of Agrabah and the Law thousands of years old that the rule and on the encounter and the relationship between Aladdin and Princess Jasmine, to get, of course, the same epilogue (or almost). If Mena Massoud is good but fails to convince fully in the role of Aladdin, Naomi Scott shows up to the difficult task. And it is precisely thanks to these new sequences between the two that the film is seasoned with irony, magic, and romance), to arrive at the scene clou of the film “The World is Mine” – as it was “it's a story you know” – passing off the test. You can see the hand of Ritchie and also in some of the action sequences, like the opening car chase of the guards in Aladdin and his climb on the walls worthy of the Spider-Man of Tom Holland.

As we said, this new Aladdin is not without flaws. The film is redundant in some parts preparatory to so many plot twist in the end that is easy to understand. The mix is awesome, bollywood, comedy, romance, feminism becomes a cauldron a bit too full – and the Italian dubbing this time is louder than the one from beauty and The Beast, especially in the vocal parts.

Although fluctuating, there is in Aladdin the “magic revive” which is the main reason for which we insist on seeing these live action and Disney to produce them. There are so many moments that hit the spot more than a unitary and cohesive, successful vision of the director and co-screenwriter John August, thanks to the mix difficult of the many (too many?) elements within it to make it better, compared to other live action.

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