Monetizing nostalgia is fascinating as something that is only part of the film industry today. If a movie does not have a sequel or a prequel or a full revival, what does it say about an original's retention from year to year?
Frankly, I see iconic productions through the lens of resilience alone is a dubious concept when films are logically based on their own merit. But this trend of marketing obviously "renewed" goods to an existing audience really seems when these stories eventually put something new on the table.
What we can see about Guy Ritchie takes on Disney's ] Aladdin does not reveal too much on that front so far. The first teaser for the film has fallen (one day after the poster was revealed) and almost disappointing, the short spot reveals nothing of the director's signature sense or sharp humor. Nevertheless, it seems safe as magically as its animated counterpart and may perhaps indicate a little more.
Literally, some pictures from Aladdin teaser as if they could have been lifted directly Ron Clements and John Musker s 1
Nevertheless, the clip gets points to enlarge the extent of the story as we know it, potentially deepen the doctrine and enrich the story forward. There is something unpleasant under this sense of familiarity. We are locked into a false sense of security in our rush to compare an old favorite to what could be a whole new animal (and it's not a deliberate saying).
A gloomy touch on "Arabian Nights" starts from the trailer right. We are also presented to the irreconcilable desert. An apparently endless stretch of smooth golden dunes that only maintains the most daring of travelers …
… But the shadow of the ground is probably Iago, right? Jafar's speaking bird? I will not say that the illusion of solemnity is completely fragmented already. We have no information about Iago's ability to chat. Nevertheless, the reminder of the comic liberation of the specific character barely inspires the appropriate reaction.
The Teaser gives us a remote look at what seems like Sultan and Princess Jasmine's extravagant living, much less Taj Mahal-esque but surely grand. Eventually, we'll see how that kind of life is as close to each other. For now, like Aladdin's apparently unlikely dreams of royalty, we must decide to starve far away.
In Ritchie's remake, Cave of Wonders does not seem to be the same redeemable and ubiquitous port for a tax crane. Rather, it's over a more real entrance that is built into an old rock formation.
A number of silhouettes approach the tiger-shaped mouth of this omnipotent kingdom as its horrible voiceover mouse about the chosen "Diamond in the rough."
There he is! Sort on!
The teaser's top priority is to establish the extravagance of the setting. The many artifacts and riches found in the cave contribute to a sense of wonders, and a headlamp glides over the pedestal where a certain magic lamp sits, in front and in the middle.
We finally get the first real picture of our hero, imprisoned and determined on his quest for the lamp. Mena Massoud is embellished in the signature party and vest dress, although the colors are reversed compared to the animated Aladdin's attire. Less details to note, I'm sure, but that's all we can really get from his depiction for now because there's no other dynamic action in the scene to judge.
Overall, this first look at Ritchie's most mainstream movie so far is promising, even though it is constantly in Disney's teaser trailer schtick for its live-action remakes. For example, Cinderella knocked its initial teaser entirely on the iconic glass roof. Meanwhile, The Jungle Book did a better job of incorporating something darker and more layered to its early photographs, but also focused on familiar characters and pictures.
Truthfully, it had been cool to get a glimpse of Jasmine (19459004) Naomi Scott ) or even a Jafar ( Marwan Kenzari ) silhouette in Aladdin teaser. I do not care about the studio that is revealing Will Smith s Genie and is glad that the random new character, the white prince Anders ( Billy Magnusson ) remains under cover.
I know I would go into Aladdin with an open heart and open mind. We do not see much of the original animation, it's a messy mash-up of references from the tongue, but they can still find a way into the movie that is given how well such features fit into Ritchie's specific style and oeuvre.
As it is, the Aladdin film is a sufficient, if expected disclosure of a protagonist who sees the part, as well as a world that has to open up anymore. The movie means serious activities. At the same time, Disney just wants to remind us that it has not forgotten its roots a bit.
Aladdin flies into cinemas on May 24, 2019.