The Jungle Book, Review: Unputdownable

A fitting tribute to the 1967 version on its golden jubilee, The Jungle Book is unputdownable. You might find differences in the two versions, and in the book itself. Don’t bother comparing. If the smooth-sailing songs make you sing-along (a friend seated on my left just wouldn’t stop), even better. Gaze into the volcanic eyes of the animals, marvel at the resourcefulness of the man-cub, and applaud the imagination of the writer who spun this tale 122 years ago.

Indian audiences will see the film a week before its general release, but theatre-goers will be filtered by the U/A certificate, which advises parental guidance and accompaniment. There is a heated debate on whether this rating was justified, considering it is a child’s story with animal characters. But let us not forget that the treatment is dark and the 3D (Disney Digital 3D, RealD 3D and IMAX 3D, depending on your cinema) effect has the fighting and hissing animals leap on to you from the screen.

Mowgli (Neel Sethi) is a man-cub raised by the Indian wolves Raksha (Lupita Nyong'o; the name is a corruption of Raakshas, meaning demon, raksha means protection) and Akela (Giancarlo Esposito; akela means alone in Urdu/Hindi), after his father was killed by a Bengal tiger, Shere Khan (not Kahn, as Disney has spelt him in one place; sher is tiger in Urdu/Hindi), and he was rescued by Bagheera (baagh or vaagh refers to tiger in local lingo), the black panther (Ben Kingsley). When Shere Khan (Idris Elba) threatens his life, since man is seen as a threat and isn't allowed in the jungle, the wolf family and Bagheera decide to take Mowgli away from his jungle home, into human inhabitation, outside, where he would be safe.

Guided by Bagheera, and Baloo (apparently a variation of the original Barloo; a bear is called Bhaloo in Hindi), the bear (Bill Murray), he sets out on a journey of self-discovery, while evading the rapacious Shere Khan. Along the way, Mowgli encounters jungle creatures who do not exactly have his best interests at heart, including Kaa (Scarlett Johansson) the python, and the smooth-talking Bornean (Indonesia) orangutan-resembling hulk, Gigantopithecus, King Louie (Christopher Walken), who tries to coerce Mowgli into giving up the secret to the elusive and deadly "red flower", the animal name for fire.

The 1967 'original', which came to India much later, had an orang-utan, not native to India, and was hence changed to the present animal. The name Louie came from jazz legend Louis Armstrong, who was the inspiration for the original music composers, but the idea of a black man playing a giant ape was considered insensitive in 1965, when the film was being scripted, so they settled for another Louis, also a jazz singer and a band-leader, Louis Prima. Kaa (reportedly Kar in the Kipling original) was male (according to the 1967 movie character details on the Disney UK website).

Justin Marks (Street Fighter: The Legend of Chun Li) is the new writer on this much-filmed and televised series. All essential elements are well-captured. He chooses to bring in Mowgli’s father’s death much later than in the book, and writes-in a James Bond style prologue. Kaa is made female to counterpoise the male dominated cast. Humour is amazingly well-integrated, with only the slightest hint of over-the-top gags. Special mention must be made of the long ‘honey’ sequence. Not so special is the stock scene, wherein Barloo tries to get Mowgli to leave his company and head for the human habitation.

Director Jon Favreau moves on, from Cowboys to Aliens to Iron man to man-cub, with élan. He makes some intelligent moves in The Jungle Book, like delaying the news of Akela’s death, cleverly jump-cutting the Kaa-Barloo combat, suspensefully introducing King Louis, depicting the human settlement as a kind of fleeting shadow-play, and realistically projecting Shere Khan as a mighty adversary. Yes, the prologue reminds you of James Bond in concept, From Russia with Love to be precise, but it does keep you glued to your seat.

The wood-cutter’s encounter with Bagheera is very sketchily brushed off. Most voice-actors under-act, which is not a bad idea. The sound-track is often completely bare, which is surprising in a jungle film. Many important pieces of dialogue are either rushed off or not very clear to us mere Indians. Agreed that the treatment is dark and jungles are dark places by definition, however, why does the general colour of almost every frame have to be so dark that you have to really strain your eyes to search for the characters you can hear. Standard ploy you employ when you cannot be 100% sure that the mouth of the characters moves 100% in sync with the dialogue: have most of the dialogue when their faces are not visible or when you are panning your camera. A couple of scenes towards the climax are unduly long-drawn. With all these imperfections, it’s a wonderful little film Jon has made, and he will remain an audience Favreauite for some to come, at least.

Welcome Neel Sethi of New York, in his feature debut, selected out of thousands of young boys, from four countries, who auditioned for the part. Now 12, he learned parkour (see below) for the role, looks normal as opposed to many ‘so cute’ debutants, walks and talks naturally, without being precocious or sounding glib. Being the only one human actor (ignoring the Ritesh Rajan cameo as his father), acting against a blue screen, with motion capture figures and muppets as co-stars, he has done a fine job. Of course, having no-competition has its own advantages.

Excellent support comes from:

Garry Shandling as Ikki

Brighton Rose as Grey Brother

Jon Favreau as Pygmy Hog

Sam Raimi as Giant Squirrel

Russell Peters as Rocky the Rhino

Madeleine Favreau as Raquel the Rhino

The Jungle Book music is by Favreau favourite John Debney. Favreau and Debney have re-used several songs from the 1967 animated film, also made by Disney. "The Bare Necessities" (what a delight!), originally written by Terry Gilkyson, is included and sung by Murray (and how!) and Sethi. "Trust in Me", a version of Land of Sand, from the film Mary Poppins, and "I Wan'na Be Like You", written by Richard M. Sherman and Robert B. Sherman, are performed by Johansson and Walken, respectively. Richard M. Sherman wrote new lyrics for Walken's version of "I Wan’na Be Like You".

Most songs are in the jazz/soul mould, easy on the ears, and many play on as the end credit titles roll, so don’t leave till you have heard them all.

It’s a jungle out there. It completely computer-made, a tehcnological milestone. That’s where you should be heading.

Rating: ****

Trailer: https://www.youtube.com/watch?v=RYbD8roPxxE

Parkour is a method of physical training that develops one’s ability to overcome obstacles, both physical and mental. It involves movement that will help if one is in a ‘reach or escape’ emergency situation.  Underpinning this is a philosophy of altruism and useful strength, longevity, self-improvement and self-understanding.

The skills of Parkour do not only apply to an urban environment, they can be utilised anywhere, in a forest, desert, mountains etc. It is not just the way you move that makes you a practitioner of Parkour, but the movement, combined with the philosophy that defines it.

French actor David Belle, founder of parkour, credits the primary development of Parkour from time spent  with his father, Raymond Belle. David’s father was a child soldier in Vietnam. As part of his training he had to complete obstacle courses called ‘Parcours’ (from French, meaning course). Now 43, David has worked with directors Brian de Palma and Luc Besson.