Sometimes a movie should be approached from the perspective of its artistry more than its philosophy or its storyline. The new Jungle Book is one of those films.
Sure, we could examine the underlying theme represented by the “Law of the Jungle”: For the strength of the Pack is the Wolf, and the strength of the Wolf is the Pack. We could debate whether this philosophy favors the individual or the community. (I think it favors the individual, since “the Law” feels more like an invitation and a promise than a command or a threat.) We could also comment on the Law of Peace that wary animal species establish in the movie to gain safe access to water during a drought: the animals agree not to attack one another when they are at the only available watering hole. The truce is enforced simply by their own self-interest and their consideration of long-term consequences should they violate it. Isn’t that a lot like the libertarian tenet that commerce or trade is preferable to war for people who have different values and beliefs?
Even more stunning is the way the animals move — not as animals imitating people, but with the darting gestures or lumbering heft of animals who happen to speak.
We could also howl at the way the well-structured anapestic rhythm of Kipling’s original language has been marred by the wolves’ substituting And the Wolf that keeps it shall prosper, but the Wolf that breaks it must die for Kipling’s measured scansion: And the Wolf that shall keep it may prosper, but the Wolf that shall break it must die — a small thing, but I shall use it in my intro to poetry courses.
But right now, let’s just focus on the beauty of this film, the quality of the acting, the massive number of people who worked in harmony to produce it, and the amazing technology that made it possible.
The film opens with Mowgli (Neel Sethi), clad in a red loincloth, dashing barefoot through the jungle over rocks, across trees, through bushes until a branch snaps and he plummets to the ground. But there aren’t any trees — or grass or rocks or bushes, or ground for that matter; the movie was filmed entirely through digital animation and live-capture action in a studio in West L.A. The VFX (Visual Effects) are simply stunning, from the realistic blades of grass and bark of the trees to the fur on the animals and the way the wind ruffles the scene. Even more stunning is the way the animals move — not as animals imitating people, but with the darting gestures or lumbering heft of animals who happen to speak.
Adding to the sense of realism is the fact that Mowgli has scars, bruises, scrapes, and cuts, as one would expect of a young boy who lives in the wild. (In fact, watch for the scars on his shoulders — one seems to be an R, and the other a K, in a nod to Rudyard Kipling.)
Twelve-year-old Neel Sethi was the only live actor in this film and performed entirely on a blue screen set, assisted by mechanical stand-ins and director Jon Favreau, who often stood just off screen to help focus Sethi’s eye lines. He had to imagine the animals pursuing him, the bees stinging him, the trees he was climbing, and the conversations he was having. As Mowgli, he appears in nearly every scene, so the success of this $175,000,000 production rested on his acting abilities. He is utterly believable and engaging throughout.
Kipling wrote many poems encouraging boys to behave like men. In this film, Favreau encourages humans to be themselves.
An additional challenge with a film of this scope is scheduling the live work fast enough so the actor doesn’t age over the course of the film. That means all the animation had to be set in stone before live filming began — no retakes are possible when the other cast members require weeks or months to recreate.
The actors who voiced the animals did their work separately within a sound booth, of course, long before Sethi entered the scene. They, too, must imagine the action and react to other characters virtually. They imbue their characters with their personalities simply through the inflection of their voices, and rely on animators to add gestures and facial expressions to bring the characters to life in other ways. Bill Murray as the bear Baloo and Christopher Walken as the gigantopithecus King Louis (an orangutan in the 1967 version) are particularly impressive. Murray’s low-key, offhand, Teddy-bear delivery is funny and endearing, while Walken’s Brooklyn accent is completely different from the way Louie Prima envisioned King Louis in the 1967 version. In fact, Louis’ sinister entrance is reminiscent of Colonel Walter E. Kurtz (Marlon Brando) in Apocalypse Now.
This is not a musical, but it would not be The Jungle Book without some of the beloved songs from the 1967 version (which was the last animated feature on which Walt Disney himself worked; he died before it was released). Favreau introduces the familiar melodies subtly within the background score, and when they do sing, it happens naturally, the way one would sing on a sunny day. Baloo and Mowgli float down a river singing “The Bear Necessities,” but they don’t dance. Other songs from the original also show up, but not until the credits roll (Kaa’s “Trust in Me” performed by Scarlett Johannson, King Louis’ “I Wanna Be Like You” performed by Christopher Walken, and a reprise of “The Bear Necessities” by Kermit Ruffins. So don’t be in a hurry to jump up from your seat when the book closes.
The Jungle Book is a story about self-discovery, manhood, and learning whom to trust. This version also presents a fair view of humans, who can be bad, as represented by their introducing fire to the jungle (never mind that lightning had been causing forest fires long before that!) but can also be very good if allowed to develop in a natural habitat. At first Mowgli suppresses his human qualities of problem-solving and tool-building, guided by his guardian panther Bagheera (Ben Kingsley) and his adoptive wolf-mother Raksha (Lupito Nyong’o) to “fit in with the pack.” But Baloo sees the value of Mowgli’s remarkable inventiveness, and encourages him to use it productively. Eventually Mowgli’s tool-building skills save the pack and everyone else in the jungle.
Influenced by 19th-century sensibilities about gender roles and manhood in particular, Kipling wrote many poems encouraging boys to behave like men. In this film, director Favreau encourages humans to be themselves. By taking care of himself, Mowgli also takes care of the pack. I think that’s a pretty good law of the jungle.