DUBAI: “Lion” is an extraordinary undertaking: a documentary filmed over four years in Kenya’s Masai Mara reserve that follows a lion named Kio from his first weeks, reared with heart-tearing devotion by his mother, Summer, to adulthood and his rise to primacy within a pride of his own.
The four-part series is exec produced by Jon Favreau (director of the photorealistic version of “The Lion King,” with which “Lion” has many parallels, some signaled a little too bluntly) and veteran BBC wildlife filmmaker Mike Gunton; soundtracked by Hans Zimmer; and narrated by British actor O.J. Lynch (who played Mufasa in the stage production of “The Lion King”).
Visually, “Lion” is flawless. The sweeping drone shots of the Masai Mara are spectacular, but it’s the incredible intimacy of the rest that really takes your breath away: you couldn’t feel any closer to these animals without physically being there.
And, of course, at its heart is a lion cub — a creature it’s surely impossible not to want to look at.
Following the lions for almost 1,500 shooting days means there’s a compelling and dramatic story to be told too, one filled with joy, violence, love, loss, sacrifice, and — most of all — camaraderie.
So. Visually stunning, undeniable star quality and a great story. All good. But “Lion” is not without its issues: the script, the narration, and the soundtrack, for example.
The script suffers from an obsession with Kio’s “destiny” of becoming a “king.” We get it. But Kio’s journey is dramatic enough already — the imposition of a Disney storyline isn’t necessary.
It seems Lynch’s direction for the voiceover was to do David Attenborough — even down to the distinctive speech pattern. Not a terrible idea. But what we end up with is less Attenborough and more Don LaFontaine — the guy who voiced the trailer for just about every action movie released in the Nineties. “In a world…” That guy. It’s so overblown it’s distracting.
The same can be said — heretical as it may be — of Zimmer’s soundtrack. Or, at least, the use of it. The lush, soaring strings of which he’s a master are intrusive here — treating us like idiots: “Look, look, something important’s about to happen!” Maybe that’s how soundtracks have to be now to recapture our attention from whatever we’re simultaneously scrolling? We are pathetic.
Still, “Lion” succeeds in spite of all this. It is an exceptionally beautiful piece of work — one that nature lovers of any age will find enthralling.
Ultimately, though, all the Hollywood bells and whistles — and the “destined to become a king” schtick — are unnecessary; the majesty of Kio, Summer, and their kin is evident without them.
