The characters’ voices are terrifically idiosyncratic: Larkin as the spirited princess, Freeman as the evil adviser and Welker and Gilbert Gottfried as the monkey and the parrot, respectively. On a sound dimension, Aladdin also soars.
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At times, the screen seems three-dimensional, so full and layered is the animation. Directors Musker and Clements, and their splendid teams of animators, have not allowed one dull character hue to dissipate this lively, shapely entertainment. Oddball sidekicks, from Aladdin’s monkey (who seemingly went to the Donald Duck school of elocution) to Jafar’s parrot (which can go beak to beak with Joe Pesci), are comic delights.Įven the inanimate objects are packed with personality: Aladdin’s magic carpet pulses, folds and unravels with distinctive character. Winding the narrative around the winning boy meets girl, boy loses girl, boy gets girl formula, the screenwriters (Ron Clements, John Musker, Ted Elliott, Terry Rossio) have laden Aladdin with a treasure trove of witty asides and quirky garnishments. Through the protean powers of the Genie form, Williams has transcended himself - found a medium for his high-speed, hyperkinetic abilities.
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To call Genie and his rollicksome routine a showstopper is not quite fair, given this film’s rich textures and vivacious movement, but Williams’ presto-chango powers, which have been in a sense always bottled up by the confines of the stand-up format or standard movie boundaries, are wondrously liberated in this zesty animation. Buckley Jr., Ethel Merman, Jack Nicholson - his transformational powers are head-spinning. One nanosecond, he’s a Vegas crooner, then he’s Arsenio, De Niro, William F. Try to imagine Williams at warp speed - you can’t. Bottled up for 10,000 years, this is one hyperactive genie. Her father, the Sultan (Douglas Seale), like most high potentates, is victim to an unscrupulously wicked adviser, Jafar (Jonathan Freeman), who has lecherous eyes on Jasmine and the kingdom, and guards against suitable matchups.īut fate smiles kindly on Aladdin and his pet monkey (Frank Welker) as he comes upon a magic lamp, rubs it and out erupts a wish-granting genie (Robin Williams). There’s a law within this kingdom that she must marry a prince, and her time is running out - she must marry within three days.
Down to flesh tones, it’s the story of a poor street urchin, Aladdin (voice by Scott Weinger), who falls in love with Jasmine (Linda Larkin), a beautiful but insular princess who lives a virtual prison-like existence within her father’s palace. “Friend Like Me (End Title)” by Will Smith feat.Blending the best of computer animation technology with nuts-and-bolts storytelling, Aladdin is a splendor of cinematic riches.“A Whole New World (End Title)” by Zayn and Zhavia Ward.“One Jump Ahead (Reprise 2)” by Mena Massoud.“A Whole New World” by Mena Massoud and Naomi Scott.“One Jump Ahead (Reprise)” by Mena Massoud.Let’s put it this way, it’s the hardest song I’ve ever sung in my entire life.” Check out all the lyrics to the ‘Aladdin’ soundtrack on Genius now: It’s just showcasing that she gets to a point where, ‘It’s not going to be easy and I may lose this fight, but I need to step up…’ It’s a punch in the face. “I mean, how timely is that?” she said, according to USA Today. Scott, who plays Jasmine, spoke about how “Speechless” is about her character finding her own voice.
Earlier this month, Zayn and Zhavia Ward released an R&B-oriented version of “A Whole New World.” DJ Khaled is also featured on “Friend Like Me.” The soundtrack is relatively sparse on outside talent, as the film’s stars Will Smith, Mena Massoud, and Naomi Scott round out the first half of the album.
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