{"id":1054,"date":"2025-04-28T22:49:25","date_gmt":"2025-04-28T22:49:25","guid":{"rendered":"https:\/\/tmbglobal.news\/index.php\/2025\/04\/28\/ranking-all-eight-disney-live-action-musical-adaptations\/"},"modified":"2025-04-28T22:49:34","modified_gmt":"2025-04-28T22:49:34","slug":"ranking-all-eight-disney-live-action-musical-adaptations","status":"publish","type":"post","link":"https:\/\/tmbglobal.news\/index.php\/2025\/04\/28\/ranking-all-eight-disney-live-action-musical-adaptations\/","title":{"rendered":"Ranking all eight Disney live-action musical adaptations"},"content":{"rendered":"<p><\/p>\n<div>\n<p>When you think \u201cDisney musical,\u201d what comes to mind? You probably think of colorful animated set pieces, charming animal sidekicks and lilting princess ballads. You probably don\u2019t think of anything live-action \u2014 something Disney is clearly trying to change. In the past decade, Disney has released eight live-action adaptations of their beloved animated musicals. All of these adaptations are obvious cash grabs, but some succeed in standing independently, while others are nothing more than hollow imitations of their source material.<\/p>\n<p>In this messy landscape of live-action adaptation, it\u2019s hard to determine which films are worth your time. In this article, we guide you through all eight theatrically released Disney musical adaptations, ranking them according to both their musical and cinematographic merit. The highest ranked films are those that complicate or expand upon their source material, while the lowest ranked fail to even meet baseline Disney standards. This article serves as a thorough analysis of the live-action adaptation trend, assessing the genre\u2019s origins and discerning its place within the greater Disney canon.\u00a0<\/p>\n<p><strong>8. \u201cThe Lion King\u201d (2019)<\/strong>\u00a0<\/p>\n<p>During its inception in the early \u201990s, Disney did not have high hopes for \u201cThe Lion King.\u201d The original animated film was simply too different. Instead of pulling from the <a href=\"https:\/\/www.panmacmillan.com\/blogs\/general\/original-disney-stories-films\">Brothers Grimm,<\/a> the film\u2019s screenwriters crafted a <a href=\"https:\/\/screenrant.com\/lion-king-hamlet-similarities-differences\/\">Shakespearian<\/a> plot which featured an all-animal cast instead of\u00a0princesses. Elton John replaced famous Disney composers Alan Menken and Howard Ashman, breaking Broadway tradition to take on a rock sensation. Yet despite these uncertainties, not only was the original film a hit, \u201cThe Lion King\u201d was adapted into the highest grossing Broadway musical of all time.\u00a0<\/p>\n<aside class=\"scaip scaip-1    \">\n\t\t<\/aside>\n<p>It follows that a movie celebrated for its risk-taking should have a live-action remake that does the same. But this time around, the \u201crisks\u201d amounted to two hours of CGI lions running around a computer-generated Sahara underscored by Beyonc\u00e9 songs.<\/p>\n<p>The most overt issue with the live-action \u201cLion King\u201d adaptation is the use of utterly soulless CGI to tell a story that primarily relies on the audience\u2019s emotional attachment to its original characters. While many scenes are visually impressive from afar, when the camera zooms in on Simba\u2019s (Donald Glover, \u201cSolo: A Star Wars Story\u201d) face during the emotional high points of the film \u2014 such as his father\u2019s death or Scar\u2019s (Chiwetel Ejiofor, \u201c12 Years a Slave\u201d) betrayal \u2014 all of the tension deflates as we are met with the blank stare of a CGI lion. Furthermore, the monumental beauty of Pride Rock is greyed out and dulled with hyperrealism. Even in its best shots, Simba\u2019s pride lands look no better than an Animal Planet documentary.\u00a0<\/p>\n<p>As for the music, not only did Disney have both the animated classic\u2019s soundtrack and the highest grossing Broadway musical to pull from, but they also had star power like Glover and Beyonc\u00e9. Yet, the film\u2019s soundtrack still managed to feel underwhelming. While many of the vocal performances are stellar \u2014 notably JD McCrary\u2019s (\u201cLittle\u201d) enthusiastic Simba and Lindiwe Mkhize\u2019s (\u201cMufasa: The Lion King\u201d) rendition of \u201cCircle of Life\u201d \u2014 the reimagined soundtrack lacked imagination. Instead of pulling <a href=\"https:\/\/www.youtube.com\/watch?v=OPJqaxkBRro\">showstoppers<\/a> from the musical for Beyonc\u00e9\u2019s star moment, Disney instead requested she write an <a href=\"https:\/\/www.youtube.com\/watch?v=civgUOommC8\">original song<\/a>. Despite \u201cSPIRIT\u201d being vocally grand, it relies too much on a modern (literal) stomp-clap rhythm and reverb to fit with the rest of the film, both instrumentally and spiritually. Worse, in \u201cBe Prepared,\u201d which has been hailed as one of the most menacing Disney villain songs, Scar is utterly declawed \u2014 blandly talk-singing while his hyenas build into discordant screaming instead of classic harmonies at the end of the track. The remade soundtrack follows the same pattern, relying on a less grandiose version of Hans Zimmer\u2019s original moodscape and failing to do anything innovative with its powerhouse vocal performers.\u00a0<\/p>\n<p>Hopefully, it is now clear why \u201cThe Lion King\u201d has been banished to the bottom of our list. Not only did the remake fail to live up to its source material, it sucked the soul out of a childhood classic. Instead of making us feel nostalgic, watching this film just made us feel old.\u00a0<\/p>\n<p><em>Daily Arts Writer Siena Beres can be reached at <\/em><a href=\"https:\/\/www.michigandaily.com\/arts\/film\/film-x-music-ranking-live-action-disney-musical-adaptations\/mailto:sberes@umich.edu\"><em>sberes@umich.edu<\/em><\/a><em>.<\/em><\/p>\n<aside class=\"scaip scaip-2    \">\n\t\t<\/aside>\n<p><strong>7. \u201cSnow White\u201d (2025) <\/strong><\/p>\n<p>\u201cSnow White and the Seven Dwarfs\u201d should never have been adapted into a live-action film. The original 1937 film was a monumental turning point in cinematic history \u2014 the first full-length animated feature film <em>ever<\/em> and the springboard for the entirety of Walt Disney Animation. The film is so singular and significant that it feels almost sacrilegious to adapt it into a cheap-looking live-action film \u2014 which is exactly what Disney has done with \u201cSnow White.\u201d <\/p>\n<p>This new take on the Snow White story doesn\u2019t even attempt to maintain the <a href=\"https:\/\/filmcolors.org\/galleries\/snow-white-1937\/#\/image\/8075\">charm and artistry<\/a> of its original source material. Instead, \u201cSnow White\u201d is a cut-and-dry modern Disney musical: It opens with expository voiceover and ends with an overblown wedding dance sequence. In between, the film is full of terrible CGI dwarves, cheap costumes and muted green screen backdrops. The most interesting part of the film is its choice to do away with the generic Prince charming character, replacing him with a swashbuckling bandit named Jonathan (Andrew Burnap, \u201cThe Front Room\u201d). Jonathan isn\u2019t particularly interesting, but he\u2019s got a harder edge than the idealistic Snow White (Rachel Zegler, \u201cY2K\u201d). When the two first meet, they have some genuinely tense exchanges about class and politics, setting the stage for a fairly compelling slow-burn romance. Beyond Jonathan\u2019s addition and some extended song-and-dance sequences, \u201cSnow White\u201d feels like nothing more than a weak copy of the original film.<\/p>\n<p>The music in \u201cSnow White\u201d is similarly unremarkable. Disney increased the number of tracks in this adaptation, adding five original songs to the existing track list. While the original 1937 film is more of a proto-musical, \u201cSnow White\u201d is a full-blown musical spectacle, replacing the simple original tunes with garish Broadway numbers reminiscent of modern <a href=\"https:\/\/www.theringer.com\/2018\/02\/05\/music\/greatest-showman-soundtrack-success\">pop musicals<\/a> like \u201cThe Greatest Showman.\u201d This new \u201cSnow White\u201d soundtrack hits all of the modern Disney musical requirements: There\u2019s a soaring \u201cI Want\u201d <a href=\"https:\/\/indianapublicmedia.org\/afterglow\/the-american-songbooks-i-want-songs.php\">song<\/a>, an ominous villain lament and a romantic ballad. Unfortunately, none of these tracks are particularly memorable. The villain song is monotonous, the love song trite and the ensemble numbers embarrassing to witness. <\/p>\n<p>Of all these forgettable songs, the most disappointing by far is \u201c<a href=\"https:\/\/www.youtube.com\/watch?v=hZY9PyT8EUw&amp;list=RDhZY9PyT8EUw&amp;start_radio=1\">Waiting On A Wish<\/a>.\u201d As the film\u2019s aforementioned \u201cI Want\u201d song, \u201cWaiting On A Wish\u201d should clearly outline Snow White\u2019s <em>wants<\/em>, introducing her to the audience as a compelling protagonist with specific goals and dreams. Unfortunately, \u201cWaiting On A Wish\u201d does none of this. Snow White does not mention a single specific desire within the song. Instead, she sings about holding out for a \u201cmiracle,\u201d expecting that \u201csomehow, some way\u201d her life might begin to get better. It\u2019s a frustratingly vague character introduction. Sure, she\u2019s \u201cwaiting on a wish,\u201d but what exactly is she wishing for? We never really find out. The entire film comes and goes without any deeper character development.\u00a0<\/p>\n<aside class=\"scaip scaip-3    \">\n\t\t<\/aside>\n<p>It\u2019s fitting and ironic that \u201cSnow White and the Seven Dwarfs,\u201d the very first film that enabled Disney\u2019s success, has now been corrupted by that same company, molded into a lukewarm imitation of the studio\u2019s bygone genius. \u201cSnow White\u201d is a boring, unnecessary film. For the purposes of this article, we\u2019ve ranked it higher than \u201cThe Lion King,\u201d simply because some surprising choices were made. Between the new songs and the addition of Jonathan\u2019s character, it\u2019s clear that there was an attempt at something original and artistic \u2014 even if that vision never came to fruition. The original Snow White story changed the course of film history. The new \u201cSnow White\u201d changes nothing at all.\u00a0<\/p>\n<p><em>Senior Arts Editor Lola D\u2019Onofrio can be reached at <\/em><a href=\"https:\/\/www.michigandaily.com\/arts\/film\/film-x-music-ranking-live-action-disney-musical-adaptations\/mailto:lolad@umich.edu\"><em>lolad@umich.edu<\/em><\/a><em>.\u00a0<\/em><\/p>\n<p><strong>6. \u201cMulan\u201d (2020) <\/strong>\u00a0<\/p>\n<p>A victim of the year 2020, \u201cMulan\u201d <a href=\"https:\/\/www.the-numbers.com\/movie\/Mulan-(2020)#tab=summary\">grossed<\/a> roughly $69.9 million in the box office despite its production budget of $200 million \u2014 the widest profit gap of all on this list.\u00a0<\/p>\n<p>While timing is partially to blame, even if this remake was released a year earlier, it likely would have suffered the same fate due to its utter dullness. After removing the musical aspect and multiple characters (including Mulan\u2019s beloved grandmother and comic-relief dragon Mushu) all that remains is a movie that feels more akin to historical drama than a Disney classic. While <a href=\"https:\/\/www.cinemablend.com\/new\/Blunt-Reason-Cinderella-Isn-t-Musical-70235.html\">other remakes<\/a> have distanced themselves from their musical origins successfully, \u201cMulan\u201d loses the appeal of its original duality.\u00a0<\/p>\n<aside class=\"scaip scaip-4    \">\n\t\t<\/aside>\n<p>Mulan is not a classic Disney princess. She is a warrior, but she is also a warrior who still sings. This combination of the masculine and feminine overtly demonstrates Mulan\u2019s (Liu Yifei, \u201cHanson and the Beast\u201d) central conflict and keeps her story fresh. By dropping the musical element in favor of historical grit, the film loses a piece of its identity and alienates its audience. Not to mention the missed opportunities \u2014 imagine epic live-action fight scenes underscored by classic Disney songs!\u00a0<\/p>\n<p>Furthermore, the removed soundtrack only serves to sap the emotional depth of Mulan\u2019s character who, despite a charming performance from Liu, comes off as stale due to clunky writing. This narrative flatness is only exacerbated by replacing the Huns with individual villains \u2014 a warrior and a witch \u2014 whose inclusion lowers the stakes of the original and makes for a more convoluted narrative overall. Even the central romance of the film, now between Mulan and a fellow soldier rather than Captain Li Shang (Donnie Yen, \u201cThe Prosecutor\u201d), feels stiff and detached from the original.\u00a0<\/p>\n<p>Overall, \u201cMulan\u201d fell short of both its box office budget and, worse, our expectations.\u00a0<\/p>\n<p><em>Daily Arts Writer Siena Beres can be reached at <\/em><a href=\"https:\/\/www.michigandaily.com\/arts\/film\/film-x-music-ranking-live-action-disney-musical-adaptations\/mailto:sberes@umich.edu\"><em>sberes@umich.edu<\/em><\/a>.<\/p>\n<p><strong>5. \u201cThe Jungle Book\u201d (2016)<\/strong><\/p>\n<aside class=\"scaip scaip-5    \">\n\t\t<\/aside>\n<p>The live action version of \u201cThe Jungle Book\u201d (2016) is a genuinely good movie. At least, as good as a mostly-CGI film can be. Director Jon Favreau (\u201cThe Lion King\u201d) was open about his <a href=\"https:\/\/www.awn.com\/animationworld\/jon-favreau-looks-back-jungle-book\">desire<\/a> to make this adaptation \u201ctonally different\u201d from the original 1967 film. It is a goal that he undeniably achieved. \u201cThe Jungle Book\u201d eliminates all traces of the original film\u2019s lighthearted rollicking, turning the story into a restrained, soaring drama. In this solemn adaptation, Mowgli (Neel Sethi, \u201cAll You Need is Blood\u201d) is trapped in a tense game of cat-and-mouse with the cruel, human-hating tiger Shere Khan (Idris Elba, \u201cSonic the Hedgehog 3\u201d). Shere Khan\u2019s sharp gaze misses nothing in his jungle domain, and Mowgli spends the film\u2019s runtime desperately trying to escape to the safety of the human world. This journey forces Mowgli to confront some pretty complicated jungle politics, raising genuine questions about human-animal relationships, and suggesting a future where both parties can coexist.<\/p>\n<p>The greatest weakness of \u201cThe Jungle Book\u201d is its reliance on CGI. A live-action adaptation of \u201cThe Jungle Book\u201d necessitates a cast of computer-generated animal characters, automatically draining much of the original film\u2019s innate charm. In order to combat this lifeless CGI, Disney wisely selected a bevy of hugely talented actors to play these animal characters. From Lupita Nyong\u2019o (\u201cThe Wild Robot\u201d) as Raksha to Christopher Walken (\u201cDune: Part Two\u201d) as King Louie, the film\u2019s primary cast of actors bring such gravitas to these CGI animals that their bland character models are easy to overlook. The actors tapped to play Baloo (Bill Murray, \u201cGhostbusters\u201d) and Bagheera (Ben Kingsley, \u201cGandhi\u201d) are particularly standout \u2014 Murray\u2019s take on Baloo is warm and affable, contrasting beautifully against Kingsley\u2019s rigid, refined Bagheera.<\/p>\n<p>Despite its technical merit, \u201cThe Jungle Book\u201d cannot be ranked higher because it removes the most memorable part of the original film \u2014 its soundtrack. Composed by George Bruns, the original film\u2019s soundtrack consisted of six original songs, each of which helped color the film\u2019s on-screen world with distinct, clever musical vignettes. Who can forget the jovial, Gershwin-inspired \u201cThe Bare Necessities,\u201d or \u201cI Wan\u2019na Be Like You (The Monkey Song),\u201d the ominous jazz lament sung by the imperious King Louie (Louis Prima, \u201cRafferty and the Gold Dust Twins\u201d)? From Beatles-esque vultures to psychedelic singing pythons, the 1967 soundtrack elevated the original film into a culturally engaged art piece, rooting it in the sounds and styles of the 1960s.\u00a0<\/p>\n<p>Although \u201cThe Jungle Book\u201d recreates a couple of these original songs, they\u2019re performed without any energy or artistic flair. The film leans so heavily into its \u201cserious drama\u201d veneer that it forgets to retain any of the kitschy musical iconography that made the 1967 film so beloved. \u201cThe Jungle Book\u201d is perhaps the most neutral installment on this list: It\u2019s a genuinely good movie without any lasting impact.\u00a0<\/p>\n<p><em>Senior Arts Editor Lola D\u2019Onofrio can be reached at <\/em><a href=\"https:\/\/www.michigandaily.com\/arts\/film\/film-x-music-ranking-live-action-disney-musical-adaptations\/mailto:lolad@umich.edu\"><em>lolad@umich.edu<\/em><\/a><em>.\u00a0<\/em><\/p>\n<aside class=\"scaip scaip-6    \">\n\t\t<\/aside>\n<p><strong>4. \u201cAladdin\u201d (2019)\u00a0<\/strong><\/p>\n<p>You may not remember it, but 2019 was a Disney summer. Both the live-action remakes of \u201cAladdin\u201d and \u201cThe Lion King\u201d were released within two months of one another, each <a href=\"https:\/\/www.boxofficemojo.com\/release\/rl3246360065\/\">grossing<\/a> roughly $200 million in the box office. We\u2019ve already talked about \u201cLion King,\u201d but what did \u201cAladdin\u201d gross in our hearts?\u00a0<\/p>\n<p>Unlike \u201cThe Lion King,\u201d the \u201cAladdin\u201d remake is visually stunning. The streets of Agrabah are busy and vibrant, inviting the audience into a rich reimagining of the classic film. On the other hand, the costumes were a bit more wishy-washy, with ornate showstopper looks from <a href=\"https:\/\/ew.com\/thmb\/tYpUWtZvfWYfj7h1be6yyifHdCY=\/1500x0\/filters:no_upscale():max_bytes(150000):strip_icc()\/al_7327234894390430934-2000-bc90942d5ec4448eb4aefda261316ea3.jpg\">Jasmine<\/a> (Naomi Scott, \u201cSmile 2\u201d) but a complete disregard for <a href=\"https:\/\/stylecaster.com\/wp-content\/uploads\/2019\/03\/jafar-2.jpg\">Jafar<\/a> (Marwan Kenzari, \u201cThe Return\u201d), who looks more Spirit Halloween than supervillain. One of the <a href=\"https:\/\/media.vanityfair.com\/photos\/5ce576601f3a6f262dc01783\/1:1\/w_1332,h_1332,c_limit\/will-smith-aladdin.jpg\">best costumes<\/a> was actually worn by Will Smith\u2019s (\u201cBad Boys: Ride or Die\u201d) Genie \u2014 of whom I am a staunch defender. As the only major celebrity-bait casting in the film, Smith\u2019s performance was shockingly fresh and funny. He did not try to be Robin Williams (\u201cDead Poets Society\u201d) and instead delivered his unique take on a character with the most ambitious and rewarding musical numbers of the film: \u201cFriend Like Me\u201d and \u201cPrince Ali.\u201d<\/p>\n<p>Speaking of music, the soundtrack of \u201cAladdin\u201d fails to invent but is overall listenable. Compared to Brad Kane\u2019s (\u201cThe Adventures of Tom Thumb and Thumbelina\u201d) emotive original performance as Aladdin, Mena Massoud (\u201cWish You Were Here\u201d) falls short vocally but manages to make up for it with his physical acting, especially his dancing. Unlike other live-action adaptations, Aladdin is not afraid to lean into its musical origins, with multiple flash-mob musical dance numbers, making the film feel monumental yet charming. Another welcome addition to the remake is Jasmine\u2019s song, \u201cSpeechless,\u201d which hammers home the independent spirit of her character.<\/p>\n<p>Despite this, there is an unforgivable issue with the original film that the remake failed to address: It\u2019s still racist. Most glaringly obvious are the accent differences. While our protagonists, Aladdin and Jasmine, speak with American accents, Jafar and other villainous characters speak in thick stereotypical Arabic accents. Furthermore, the kingdom in which Aladdin is set perpetuates <a href=\"https:\/\/thenerdsofcolor.org\/2019\/03\/14\/the-live-action-aladdin-doubles-down-orientalist-and-colorist-trends\/\">orientalist<\/a> stereotypes by lumping together different cultures, resulting in an uneducated Westerner\u2019s imaginary version of the Middle East. While there\u2019s no harm in having a made-up city like Agrabah, it\u2019s not OK when negative stereotypes are children\u2019s first introduction to different cultures. Or adults for that matter, as four years before the release of the Aladdin remake, <a href=\"https:\/\/www.theguardian.com\/us-news\/2015\/dec\/18\/republican-voters-bomb-agrabah-disney-aladdin-donald-trump\">30% of GOP voters supported the bombing of Agrabah<\/a>.<\/p>\n<p>In the end, \u201cAladdin\u201d is a fun surface-level watch. However, not only does this remake fail to envision a whole new world \u2014 it chooses to preserve the worst parts of the old one.\u00a0<\/p>\n<p><em>Daily Arts Writer Siena Beres can be reached at <\/em><a href=\"https:\/\/www.michigandaily.com\/arts\/film\/film-x-music-ranking-live-action-disney-musical-adaptations\/mailto:sberes@umich.edu\"><em>sberes@umich.edu<\/em><\/a>.<\/p>\n<p><strong>3. \u201cThe Little Mermaid\u201d (2023)<\/strong><\/p>\n<p>Of all live-action Disney adaptations, \u201cThe Little Mermaid\u201d is by far the most romantic. The film is a sweeping journey across land and sea carried entirely by the glowing chemistry between Ariel (Halle Bailey, \u201cThe Color Purple\u201d) and Prince Eric (Jonah Hauer-King, \u201cThe Threesome\u201d). In the original 1989 film, Eric and Ariel\u2019s love story is a fairly bland \u201clove at first sight\u201d situation, with Ariel given far more character development than Eric. \u201cThe Little Mermaid\u201d (2023) rights that wrong, giving both characters fairly equal screen time and characterizing Eric as an avid sailor dissatisfied with his princely life. This helps tie him to Ariel, who also dreams of exploring places beyond her ocean home. As the two fall in love, they\u2019re able to bond over their shared curiosity, resulting in an intellectual chemistry that the original film lacks. This love story is aided immensely by Bailey and Hauer-King\u2019s performances. With her wide eyes and crystal-clear voice, Bailey is a pitch-perfect Disney princess, and Hauer-King easily matches her sparkling energy with his dimpled smile and earnest devotion.<\/p>\n<p>This strong romantic core is helped along by a wonderful visual style, which adapts Prince Eric\u2019s domain into a colorful Caribbean nation replete with arching palm trees, bustling outdoor markets and sandy stretches of tropical beach. It\u2019s a fun, fully realized world that feels totally distinct from the original film\u2019s generic European setting. Unfortunately, this carefully executed on-screen world does not extend to the underwater scenes, which lack any sort of artistic touch. The mermaid characters and sea creatures are lazily designed, dressed in generic CGI outfits and positioned against blank blue walls of rippling \u201cwater.\u201d Nothing about the underwater world is beautiful, engaging or real. It makes for a tonally uneven viewing experience \u2014 for every gorgeous above-water scene, there\u2019s an underwater scene that feels like a poorly rendered school project.\u00a0<\/p>\n<p>Luckily, the film\u2019s stellar soundtrack makes even the blandest underwater scenes worth watching. The film faithfully recreates all of the best songs from the original, effortlessly distracting from its poor CGI. When Bailey soars into her octave-jumping <a href=\"https:\/\/www.youtube.com\/watch?v=kf7Dss2gCe0&amp;list=RDkf7Dss2gCe0&amp;start_radio=1\">rendition<\/a> of \u201cPart of Your World,\u201d it\u2019s hard to notice the boring ocean backdrop. The only musical weak point is \u201cPoor Unfortunate Souls,\u201d the iconic villain ballad delivered by sinister sea witch Ursula (Melissa McCarthy, \u201cUnfrosted\u201d). Ursula\u2019s original character design was based off of the iconic drag queen <a href=\"https:\/\/time.com\/6282514\/little-mermaid-ursula-drag-queen-divine\/\">Divine<\/a> and voiced by a gravelly, sneering Pat Carroll (\u201cOnce Upon a Studio\u201d). Up against such a legendary original performance, McCarthy never stood a chance. Her rendition of \u201cPoor Unfortunate Souls\u201d is flat, CGI-centric and deeply untheatrical.<\/p>\n<p>Still, \u201cThe Little Mermaid\u201d is a generally successful musical endeavor and one half of a really great film. Prince Eric\u2019s island kingdom has a real fairytale elegance to it \u2014 beautiful, visceral and totally fresh. If the underwater sequences also measured up, \u201cThe Little Mermaid\u201d would easily top this list.\u00a0<\/p>\n<p><em>Senior Arts Editor Lola D\u2019Onofrio can be reached at <\/em><a href=\"https:\/\/www.michigandaily.com\/arts\/film\/film-x-music-ranking-live-action-disney-musical-adaptations\/mailto:lolad@umich.edu\"><em>lolad@umich.edu<\/em><\/a><em>.\u00a0<\/em><\/p>\n<p><strong>2. \u201cBeauty and the Beast\u201d (2017)<\/strong><\/p>\n<p>\u201cBeauty and the Beast\u201d is a meticulous, opulent recreation. The film lovingly revisits the original 1991 film\u2019s French countryside setting, spinning it into a fully imagined fantasy-historical world inspired by 18th-century French fashion. There are powdered wigs and rouged cheeks, mirrored ballrooms and cinched corsets. This attention to detail makes for a dazzling, opulent and deeply textured on-screen world. The film\u2019s talented cast fits seamlessly into this richly imagined setting. Luke Evans\u2019 (\u201cWeekend in Taipei\u201d) swaggering portrayal of Gaston is particularly impressive, and Josh Gad (\u201cOnce Upon a Studio\u201d) is the genuine standout of the film, adding a real layer of wit and charisma to his portrayal of Gaston\u2019s ditzy sidekick LeFou. Emma Watson (\u201cLittle Women\u201d) has enough strength and sweetness to believably portray Belle, and Dan Stevens\u2019 (\u201cAbigail\u201d) nuanced portrayal of the Beast plays well against Belle\u2019s earnestness. Between the acting, costuming and set design, \u201cBeauty and the Beast\u201d is a genuine pleasure to watch. It has such a confident visual style that it feels totally distinct from the original film, despite its unchanged setting.<\/p>\n<p>The music in \u201cBeauty and the Beast\u201d adds to the film\u2019s rich quality. The entire original 1991 soundtrack is recreated for this adaptation, and the songs land successfully for the most part. Strings come in at the right time; romantic music swells when it\u2019s called for. In classic live-action Disney musical fashion, several songs are added to the soundtrack as well. Of these new songs, the highlight is absolutely \u201c<a href=\"https:\/\/www.youtube.com\/watch?v=diLa-gpHRKc&amp;list=RDdiLa-gpHRKc&amp;start_radio=1\">Evermore<\/a>,\u201d a romantic lament delivered by the Beast after Belle returns to her old life. It\u2019s well-written, vocally arresting and infused with a real sense of yearning. As the Beast sings, he climbs through the highest towers of his crumbling palace, mourning Belle\u2019s presence and confessing that \u201cShe will still torment me \/ Calm me, hurt me\u201d \u2014 no matter how far apart they travel. It\u2019s the sort of gothic, sweeping proclamation of male devotion that modern Hollywood musicals tend to sorely lack. The song is a strong point of the film and certainly the best original song to come out of a live-action Disney remake.\u00a0<\/p>\n<p>The musical weakness of the film is Emma Watson\u2019s obvious autotuning, which is especially apparent on her loftier vocal riffs. It\u2019s a point that\u2019s been <a href=\"https:\/\/www.eastwoodrecords.co.uk\/mini-blog\/2017-4-15\/emma-watson-and-auto-tune\">discussed<\/a> <a href=\"https:\/\/www.mugglenet.com\/2017\/03\/verdict-emma-watsons-singing-voice\/\">to<\/a> <a href=\"https:\/\/www.refinery29.com\/en-us\/2017\/02\/141928\/emma-watson-beauty-and-the-beast-singing\">death<\/a>, so I won\u2019t rehash it here, but the autotune certainly dulls a bit of her Disney princess charm. It\u2019s not ideal, but not enough to tank the value of the entire film. As a full artistic project, \u201cBeauty and the Beast\u201d meets expectations beautifully. It\u2019s a faithful adaptation with its own visual style and real artistic merit (at least in terms of costuming and set design). With distinct visuals, solid music, excellent costume design and consistent tone, it feels correct to rank it second on this list.<\/p>\n<p><em>Senior Arts Editor Lola D\u2019Onofrio can be reached at <\/em><a href=\"https:\/\/www.michigandaily.com\/arts\/film\/film-x-music-ranking-live-action-disney-musical-adaptations\/mailto:lolad@umich.edu\"><em>lolad@umich.edu<\/em><\/a><em>.\u00a0<\/em><\/p>\n<p><strong>1. \u201cCinderella\u201d (2015)<\/strong><\/p>\n<p>Though the Cinderella story has been reformed and recast countless times since its inception some <a href=\"https:\/\/www.vox.com\/2015\/3\/15\/8214405\/cinderella-fairy-tale-history\">2,000<\/a> years ago, when we think \u201cCinderella,\u201d we no doubt think of Walt Disney\u2019s hand-drawn blonde from the 1950s. Despite not being the first Disney princess, Cinderella is as much of a symbol of the franchise as Mickey Mouse. Oftentimes, we don\u2019t question what has always been; we accept it. But really \u2014 does Disney deserve this Cinderella monopoly?<\/p>\n<p>The 2015 live-action remake\u2019s ranking at the top of our list says yes.\u00a0<\/p>\n<p>\u201cCinderella\u201d is two hours of fairytale charm come to life, complete with gorgeous gothic sets, jaw-dropping costumes and a healthy dose of male yearning. Disney effortlessly strikes the balance between tradition and innovation, embellishing the original plot with welcome details like Prince Charming\u2019s (Richard Madden, \u201cKiller Heat\u201d) relationship with his father and the lovely meet-cute scene that sets off the central romance. Because the 1950 original has been reinvented so many times, it felt almost more innovative to keep the bones of the original plot and instead focus on building a realistic world for its characters.\u00a0<\/p>\n<p>This focus on atmosphere results in the most aesthetically cohesive sets and costumes on this list, standing out due to its painstaking attention to detail. With sensibilities akin to those of \u201cBridgerton,\u201d the characters in \u201cCinderella\u201d are styled at the perfect medium between over-exaggeration and class. Each room in Cinderella\u2019s (Lily James, \u201cMamma Mia!\u201d) home appears lived in, especially the bedroom of the evil stepsisters, which manages to be Regency-era and teen-girl all at once. There is a surplus of artful attention in the creation of \u201cCinderella,\u201d which most of the other films on this list lack, resulting in gorgeous analysis-worthy shots \u2014 for example, during Cinderella\u2019s childhood exposition at the very beginning of the film, we see her feet hanging out of a pair of blue slippers, hinting at the ending the audience already knows.\u00a0<\/p>\n<p>On the musical front, the remake chooses to replace the original soundtrack with brief scenes of Lily James humming \u2014 an absence that feels purposeful instead of detrimental. Like \u201cSnow White,\u201d the original \u201cCinderella\u201d was less of a musical and more of a movie with songs, meaning that the emotional core of the film was not tied to its soundtrack. By replacing musical performances with cheeky allusions to the classic soundtrack, the film shows its artistic sensibility. The lack of music preserves the remake\u2019s carefully crafted gothic tone while allowing the charm of the original to shine through. <\/p>\n<p>Ultimately, \u201cCinderella\u201d demonstrates Disney\u2019s ability to do a remake right. The adaptation breathes new life into its source material by creating a magical mise en sc\u00e8ne and trusting the tried-and-true story, striking an effortless balance between classic and modern that all of our previously listed films fell short of.\u00a0<\/p>\n<p><em>Daily Arts Writer Siena Beres can be reached at <\/em><a href=\"https:\/\/www.michigandaily.com\/arts\/film\/film-x-music-ranking-live-action-disney-musical-adaptations\/mailto:sberes@umich.edu\"><em>sberes@umich.edu<\/em><\/a>.<\/p>\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-dots\"\/>\n<p>With the trend of remakes only persisting and the golden age of Disney long past, the classic Disney musical has taken on a new face. This new era of live-action adaptation is seemingly here to stay, with artistic integrity continuing to take a backseat to nostalgia bait. It\u2019s an unfortunate trend, but it doesn\u2019t have to continue. The best of these live-action films are rooted in intention and artistry, proving that Disney can successfully recreate the fairy tale magic of their classic animated canon. If Disney relies on innovation rather than nostalgia to draw audiences, their future live-action remakes have the potential to add value to the franchise instead of regurgitating the same tired formula. We deserve good musicals, and we know Disney can deliver on that promise. So stick with adaptations that innovate and improve upon the original, instead of swallowing whatever nostalgia-coated pill Disney tries to next shove down our throats.\u00a0<\/p>\n<p><em>Daily Arts Writer Siena Beres and Senior Arts Editor Lola D\u2019Onofrio can be reached at <\/em><a href=\"https:\/\/www.michigandaily.com\/arts\/film\/film-x-music-ranking-live-action-disney-musical-adaptations\/mailto:sberes@umich.edu\"><em>sberes@umich.edu<\/em><\/a><em> and <\/em><a href=\"https:\/\/www.michigandaily.com\/arts\/film\/film-x-music-ranking-live-action-disney-musical-adaptations\/mailto:lolad@umich.edu\"><em>lolad@umich.edu<\/em><\/a><em>, respectively.\u00a0<\/em><\/p>\n<aside>\n\t\t<\/aside>\n<p><h3 class=\"jp-relatedposts-headline\"><em>Related articles<\/em><\/h3>\n<\/p><\/div>\n","protected":false},"excerpt":{"rendered":"<p>When you think \u201cDisney musical,\u201d what comes to mind? You probably think of colorful animated set pieces, charming animal sidekicks and lilting princess ballads. You probably don\u2019t think of anything live-action \u2014 something Disney is clearly trying to change. In the past decade, Disney has released eight live-action adaptations of their beloved animated musicals. All [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":1055,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[20],"tags":[1174,374,1173,1096,1172],"class_list":{"0":"post-1054","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-entertainment","8":"tag-adaptations","9":"tag-disney","10":"tag-liveaction","11":"tag-musical","12":"tag-ranking"},"_links":{"self":[{"href":"https:\/\/tmbglobal.news\/index.php\/wp-json\/wp\/v2\/posts\/1054","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/tmbglobal.news\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/tmbglobal.news\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/tmbglobal.news\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/tmbglobal.news\/index.php\/wp-json\/wp\/v2\/comments?post=1054"}],"version-history":[{"count":1,"href":"https:\/\/tmbglobal.news\/index.php\/wp-json\/wp\/v2\/posts\/1054\/revisions"}],"predecessor-version":[{"id":1056,"href":"https:\/\/tmbglobal.news\/index.php\/wp-json\/wp\/v2\/posts\/1054\/revisions\/1056"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/tmbglobal.news\/index.php\/wp-json\/wp\/v2\/media\/1055"}],"wp:attachment":[{"href":"https:\/\/tmbglobal.news\/index.php\/wp-json\/wp\/v2\/media?parent=1054"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/tmbglobal.news\/index.php\/wp-json\/wp\/v2\/categories?post=1054"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/tmbglobal.news\/index.php\/wp-json\/wp\/v2\/tags?post=1054"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}