“Basically, I said we have to make Mufasa the greatest father that ever lived, and then we have to kill him'
became the benchmark against which all future film tragedies would be measured—much like thematricide that traumatized another generation of children decades before. The sequence begins with an act of heroism: Mufasa, king of Pride Rock, saves his son Simba from a stampede the young cub believes to be his own fault. A frenzied orchestra crescendoes as Mufasa plucks his heir from the chaos, placing him safely atop a ledge before being knocked back into the fray.
Simba witnesses the entire thing, wide-eyed and shrieking helplessly as his father falls to his death. The cub then runs to find his lifeless father in the dusty, barren ravine. Mufasa’s eyes are closed, his whiskers bent; Simba, his voice hoarse, tries to wake Mufasa, pleading, “Dad, come on. You gotta get up! Dad, we gotta go home.” Eventually, it becomes clear that his father is dead—that he will never get up, that no one can help.
It had never occurred to Woolverton that her work might be re-visited in a live-action remake like the new,Disney is releasing Friday. But once Disney’s remake train left the station with 2015’sThe Jungle Book In the remake, Mufasa’s death largely unfolds in the same way—but it feels shorter, and lighter on dialogue. In it, Simba again implores his father to wake up a few times, but never does he say “we gotta go home”—the line that, at least for this writer, reliably sparks tears every time. The main thing that’s missing in the remake’s version, though, is expression.
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