Aladdin Movie Ending Explained (In Detail)

Spoilers Alert:

Some of the recently remade Disney classics could also be seen in live-action form. That Guy Ritchie, of all people, had his ALADDIN-Remake would hit the wall, surprised – but then again not. Because it’s no longer even possible to guess that the man with the otherwise energetic handwriting was directing this. We reveal more about this in our review.

The Plot Summary

Aladdin (Mena Massoud) is a street boy who roams the streets of the city of Agrabah alongside his faithful monkey Abu. With its bazaars, palaces and flying carpets, it is perfect for a dreamer like Aladdin, who one day suddenly meets the love of his life. The beautiful Princess Jasmine (Naomi Scott), who disguises herself as a street girl, briefly tries to escape the strict laws within the palace walls. For Aladdin the matter is clear: he must see the girl again. But the evil Jafar (Marwan Kenzari) thwarts his plans. He sends the unsuspecting young man to a cave in the middle of the desert and promises him wealth in exchange for a magic lamp. But things go wrong and the cave collapses on Aladdin’s head. How good that the blue genie Genie (Will Smith) takes Aladdin to his heart straight away…

Explanation of the Ending

The Disney company has produced timeless masterpieces. But for several years now, the success of the billion-dollar company has been based primarily on the staging of new and further adaptations. This year alone, three new editions of well-known animated classics will be released: “Dumbo”, “The Lion King” and “Aladdin”, “Toy Story” will be supplemented by a fourth part, “Maleficent” by a second part, “Frozen” as well and the end This year “Star Wars” is already in its ninth round. Admittedly, from an economic perspective, this makes sense. The materials are well-known and popular – so why not continue them or bring them up to date with the latest technology? But especially in view of the recent Fox deal (to explain: the film studio 20th Century Fox has also been part of the mouse company since the end of March), one should be critical: Is such a dominance of a single company that primarily relies on recycling not possible inevitably at some point at the expense of creativity? Admittedly, Jon Favreau (“The Jungle Book”) and Tim Burton (“Dumbo”) have proven how you can turn a well-known material inside out if the financiers let you off the leash as much as possible. That’s exactly what happens with Guy Ritchie (“Codename UNCLE”) does not happen. The British director with the energetic signature almost completely abandoned his own style for his remake of the 1992 animated film. As a result, his “Aladdin” vision actually just seems like a boring rehash that Will Smith, aka Genie, of all people, can bring out of his lethargy for a few scenes.

Aladdin (Mena Massoud) has fallen in love with the beautiful Princess Jasmine (Naomi Scott).

After the release of the first “Aladdin” trailer, the internet was still so sure that the makers had made a maximum cast disaster by casting Smith as the blue genie. But exactly the opposite is the case: The mime, who has recently been seen in films as diverse as “Suicide Squad”, “Focus” and “Shattering Truth”, proves once again in “Aladdin” that he does not have his superstar status for nothing . His timing is perfect, his humor is spot-on and the interaction with newcomer Mena Massoud seems intuitive and therefore always believable. Even though he rarely seems really present in genie form due to the tepid CGI effects, all of the scenes with him are great fun – so it’s the middle part of “Aladdin” in particular that at least puts you in a good mood. Partially because the character of Genie, like in the original cartoon, is just a peripheral character. The focus of the film is primarily on the fate of the rebellious street boy Aladdin and the love for Princess Jasmine, who is locked up in the palace. However, the credibility of this is a different matter. The fact that sparks really fly between the two young actors remains a mere assertion until the end, even if the script was written by Guy Ritchie and John August (“Charlie and the Chocolate Factory”) The backgrounds of both characters are supplemented with a few new details – for example, Jasmin is allowed to represent a clearly feminist position in this version of “Aladdin” – this rarely has a productive effect on the film. Instead, a lot of things seem cramped (such as the superstructure of feminism) and other things are only present so that they stretch the originally crisp 90-minute film into two hours.

Aside from such nuanced detail changes, “Aladdin” otherwise remains very close to the original story. In some cases, sections of scenes are even taken over almost one-to-one: like at the very beginning, when Aladdin steals food from the market with his monkey friend Abou and finally runs into the arms of his future wife. In these moments it appears, at least for a very brief moment, that Guy Ritchie has taken a seat behind the camera. But the completely arbitrary use of time-lapse and slow-motion has nothing to do with the varied use of all sorts of stylistic devices with which the director has spiced up his previous films – even if they are just banal things like split screens or camera changes placed exactly on the beat. Of course, a good film doesn’t necessarily require the clearly recognizable signature of a director. But unfortunately, in the end, “Aladdin” has absolutely nothing that could be described as “style”. Instead, the scenes shot in front of a cheap-looking (Disneyland) backdrop, which was apparently swept through again after filming was finished so that there was no dust or dirt anywhere, seem like rigidly filmed theater. Cameraman Alan Stewart remains, especially in the musical scenes (“Lab Rats”) preferably so far away that the pretended good mood cannot even reach the viewer. You can sit right in the front row of a stage play and are probably closer to the action than here.

Genie (Will Smith) stands by his new master Aladdin.

This impression of lovelessness can also be found on the soundtrack. Alan Menken, who was already responsible for the music for the original, also composed the pieces for the live-action film remake – or rather: reinterpreted them, while he wrote a solo number for Jasmin called “Speachless”. The timelessness of such pieces as “Arabian Nights”, “Have a little Friend” and “A Whole New World” is beyond question. At the same time, Menken undermines them with an interchangeable pop beat that robs each song of its magic and makes them all sound horribly similar. The ballad “Speachless”, which sounds more like Eurovision Song Contest than female empowerment, can’t change that. Although it is sung flawlessly by Naomi Scott, it mainly brings back memories of “Let it Go” and therefore feels primarily calculated. However, “Power Rangers” actress Naomi Scott cannot be blamed for this. The 26-year-old Brit visibly puts a lot of heart and soul into her performance of the iconic Disney princess, while Mena Massoud (“Run this Town”) seems rather stiff overall; He doesn’t have the mischievous charm of the cartoon hero. Nevertheless, he seems like the ideal choice, especially because of his apparent insecurity. Things are completely different with Marwan Kenzari (“Murder on the Orient Express”). The native Dutchman is not only far too young for a supervillain of the caliber of Jafar, but he also looks far too good. You can leave this as a new interpretation, or as the casting meltdown that Will Smith was initially thought to be…

Conclusion: The new film of “Aladdin” is loveless and lifeless musical theater in which every song sounds the same and settings look like Disneyland backdrops. It’s lucky that Will Smith gets a little time in the middle part to save the film with his sole presence.

“Aladdin” can be seen in USA cinemas nationwide from May 23rd – also in 3D.

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