See «Aladdin» to venture into Arabian nights

Cinema Wednesdays - Loris S. Musumeci

«It's time for me to tell you the story of Aladdin, the princess and the lamp.» 

Two years ago, it was Beauty and the Beast which was adapted from cartoon to film by Disney. This time, it's the turn of’Aladdin. And let's just say that this new adaptation is really well done. With the Disney collection now part of our cultural heritage, it's a smart move on the part of the American animation company to bring these little masterpieces back to life in film form.

Of course, Disney is a money-making machine, and has everything to gain from it, especially as it appeals to a ready-made audience. But it's not just about money: it's also about art and entertainment. These cartoons were already a revolution, and for the time being, the films simply repeat the effect. revolution. In any case, as far as’Aladdin, is a real spectacle - as was the case for Beauty and the Beast, but the militant background made the film a little less sympathetic.

Read also: La Belle et la Bête, ou l’innocent militantisme

Even though we know the story, the characters and the songs, and that each of these elements is reproduced almost exactly as it was in the film, we're still caught up in the atmosphere. It's a tender moment. It's a great time at the movies. Childhood memories certainly have something to do with it. revolution is that copying and pasting is always fun.

What's more, it's obvious that we're dealing with movie moguls. Not necessarily authors per se, but bosses. Because they know their techniques. Because they know what they're doing, where they're going and, above all, where they want to take us. Because the camera manages to dance with its characters to the rhythm of the exceptional songs of’Aladdin- which won the Oscar for Best Film Score in 1993, among other awards.

The scenery is not to be outdone. We're immersed in the fabulous city of Agrabah. It's an imaginary city, but its oriental feel comes through, even if it means playing with caricature. The minarets, the market, the colors. Its farandole of colors. We're in for a real treat, which kills any sense of realism, of course, but since this is a fable, what more could you ask for?

A fable implies a moral. It's there, and it's simplistic too. Let's not forget that this is Disney, not Tarkovsky. Looking for sophisticated psychology and existential dilemmas in this film would be like asking for fresh fish in a bookshop. Even if the moral is simplistic, it doesn't turn ridiculous. It's by being who you really are that you can succeed: interesting. Lying is bad: okay, thanks. Being selfish makes you unhappy: O.K. At least the lesson isn't unhealthy. Plus, it gives kids something to dream about, Aladdin delivers a beautiful message. And sometimes the simplest morals are the ones that have the most impact, even for adults.

 Autre bon point de décor: les acteurs. Pourquoi décor? Parce que comme les couleurs d’Agrabah nous éblouissent, eux aussi nous éblouissent. Aladdin (Mena Massoud) et Jasmine (Naomi Scott) ont un sacré charme en plus de bien assumer leur rôle. Le génie, quant à lui, est incarné par un excellent Will Smith qui donne au film son humour et sa légèreté. Désormais, il ne me reste plus qu’à exprimer trois vœux: que vous alliez voir le film, qu’il vous plaise et qu’à votre tour vous découvriez un génie et un tapis magique pour vous aventurer dans les nuits d’Arabie, où vous rencontrerez peut-être votre princesse sous le clair de lune.  Pour vivre un rêve bleu d’amour.

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Photo credit: © The Walt Disney Company Switzerland