Restorative vs. Reflective Nostalgia
In her essay, Nostalgia and its Discontents, author Svetlana Boym describes two different kinds of nostalgia. One which is reflective – focusing less on the past, and more on the emotions associated with it – and examining these feelings and traditions through a modern, even humorous lens. In contrast, there is restorative nostalgia – which often despises the modern and progressive ideals, instead seeking to replicate or return to the past, with little interest in irony or critical examination.
Or in Boyn’s words: “Restorative nostalgia, protects the absolute truth, while
Reflective nostalgia calls it into doubt”. Later adding that, “unreflective nostalgia breeds monsters”. Nostalgia can, and has be used as a weapon in the wrong hands – destroying present and future in search of an imaginary past.
One such example of this kind of predatory nostalgia can be seen – albeit on a much smaller scale – through the recent wave of Disney’s “live-action” remakes.
While modern remakes of old movies are certainly something new (even from Disney itself) – there is something I find especially cynical about the post-2016 films – particularly The Lion King (2019) – if only because I held the original so close to heart.
Ironically, despite sharing the same director, and being partially to blame for The Lion King (2019)’s existence – The Jungle Book (2016) is one I hold in somewhat high regard. Part of the reason this remake succeeds, is that while beloved by many – it is certainly much less popular than other Disney classics such as Mulan and the Lion King. Thus allowing it to take more risks, and make changes without inciting an uprising from outraged fans.
It borrows many of the same characters and story beats, but is allowed to deviate, without completely disregarding it’s source material. While the characters appear more realistic, they are still expressive and vibrant. It includes both iconic scenes, as well as new ones – often putting a new twist or spin on existing material. The world feels a bit more gritty and dangerous, without being edgy just for the sake of it. As a byproduct, the protagonist, Mowgli is a bit more clever and careful, without losing sight of the childish naivete that made him charming in the first place.
Is it perfect? Hardly. But it is at least competent, original, and able to stand on it’s own two feet. The same cannot be said about the Lion King 2019, which is an ugly, meandering, and confusing mess. Which struggles to be both a nature documentary and shot-for-shot remake of the original – a combination which mixes about as well as pouring water on a grease fire.
There is something almost sinister about the way The Lion King (2019) uses nostalgia. One microcosm of this issue can be seen in the first scene where we are introduced to Mufasa.
In the original, Mufasa is introduced with little fanfare – first appearing on a rock, far in the distance, before he scolds his brother for attempting to devour his advisor. Despite being cartoon animals, it is a very humanizing scene – showing Mufasa as a brother and a father first, before a king.
In contrast, you have the remake – where Mufasa appears center-screen, almost as a messianic figure – entering the cave accompanied by an orchestral choir and enveloped in holy white light.
The remake is plagued with other bizarre and confusing decisions. Such as Rafiki losing his signature walking staff in favor of “realism”, only to get it back in the film’s climax anyways. Or how the entire film is shot in washed-out, muddy colors, with all emotion and expression drained from the character’s faces - (again, in favor of making it "more realistic"). Neglecting to remember that this is a film about talking, signing lions vying for power in a birthright monarchy.
This image activates my fight-or-flight response
I could have nearly respected some of the changes, had the creators dared to stand by them. For example, the decision to cut Scar’s iconic villain anthem, Be Prepared. But fans were outraged, and Disney caved– resulting in a scene where Scar instead paces back and forth in a dark cave mumbling half-remembered lyrics to himself like spoken-word poetry in a truly bizarre attempt at compromise.
The Lion King (2019) is a truly uncanny experience. It loves the past, but it does not understand why. It wallows in nostalgia like stale bathwater, turning its characters into taxidermy dolls. Realistic skins stretched over hollow frames, like animatronic puppets, made to dance for the audience’s amusement. Singing familiar songs, but always slightly out-of-rhythm and off-key.
The one bright side of these remakes is that they often give me a new appreciation of the originals. My only hope is that eventually, people tire of these live-action remakes – and maybe even inspire a return to classic 2D animation.
But perhaps its best not to put too much faith in nostalgia.
Citation(s):
Boyn, S. (2007) Nostalgia and Its Discontents. The Hedgehog Review. (Last Accessed: May 29, 2022)
