Mulan
Finally the Mulan of 2020 — due back in March — has been released in a COVID-19 stricken world, where all has had to be put on hiatus for indeterminable amounts of time. Niki Caro’s version, which focuses more on the lore of Mulan and some wuxia influences more than the animated Disney film, is currently one of the better Disney live action remakes. However, it’s still very much a Disney live action remake. This means that it relies so heavily on the knowledge of the animated film that came before it (despite not being inspired by it, oddly enough), that it zips through its story. You know how the animated version goes, so there’s no real need to get into the details here. Except, there is. There always is a reason in a story. A live action remake that wishes to explore the mythological side of this story (inspired by true events) needs much more time than an hour and forty minutes (don’t be fooled: the credits are like ten minutes long). So, Hua Mulan’s childhood, her being dolled up to be passed off to a suitor, the announcement of a war, and her departure to fight in her father’s place, all happen so quickly. Let’s say you have no knowledge of any iteration of Mulan. You’d have to accept the speed-of-light delivery of these events, especially in a beautiful landscape that Caro has crafted; can’t we have time to enjoy everything?
Mulan does get bogged down here and there by other issues which come and go. The editing in Mulan’s childhood sequence is mind numbing, perhaps to piece together images to convey tricks that aren’t actually happening (all I can say is thank goodness that the entire film doesn’t feel like this). Some of the visual effects are abhorrent and seem rushed (those bats, or whatever they are, is an example; they rivalled The Birds from nearly sixty years ago). Then again, these aren’t always problems; the editing becomes more tolerable, and the effects are usually quite good. Even though the story sprints, Mulan does have a lot of detail put into each image, and any opportunity we get to admire what’s going on is for the best. This is clearly a departure from the more familiar ‘90s film, so there’s no Mushu and Cri-Kee, but there are homages included in subtle ways, ranging from orchestral scores that sound like original songs, referential names, and more. It’s a much needed deviation for the Disney franchise, as proof that there actually is something original this remake around. The wuxia choreography is rather nice as well, bringing that attempt all the way home. Outside of the story and pacing, all of the other faux-pas are hiccups that don’t last very long, whilst the creative decisions make quite the impact.
The costumes, production, make up/hair, and cinematography for Mulan stand out, while the screenplay falters.
There’s still a long way to go for these Disney remakes, but at least Mulan feels like a strong attempt at creating something new. Its witch storyline is a nice addition to fulfilling Caro’s feminist take in the story. However, rushing through the story strips away strength from other plot elements that could have also afforded some substance; Mulan’s turning points feel like they have zero repercussions, and all of that weight on the gender roles in a less tolerant time disappears. On one hand, seeing Mulan kicking butt as Mulan is fantastic. On another, selling that point that there is bigotry and her choice did go against tradition would have helped a film like this.
Otherwise, Mulan as a character kind of gets by with very little in her way, outside of the film’s insinuation that her fighting in hiding is holding her back. News flash: that isn’t enough. Once again, I’m harping back on the biggest flaw Mulan has: the writing. Otherwise, for the most part, Mulan is occasionally more cinematic than other Disney live action films, and artistic enough to stand out even just a little bit. Extra time could have refined the few slips, but a longer duration is what the film truly calls for. Disney, listen closely: you were this close to making something that would knock people over. You’re getting better with the creative directions and changes that warrant these live action remakes. Now, you just have to let these films exist on their own, without needing to be tethered to their sources. The Jungle Book was almost a home run in that department. Mulan is the next closest example. I know you’re running out of titles to remake, but you’re at least getting warmer. Otherwise, for Disney obsessives, Mulan is a considerable success. For everyone else, it’s pretty good, and that’s about it.
Andreas Babiolakis has a Masters degree in Film and Photography Preservation and Collections Management from Ryerson University, as well as a Bachelors degree in Cinema Studies from York University. His favourite times of year are the Criterion Collection flash sales and the annual Toronto International Film Festival.