Although not more than two years after Disney released its version of the live action from Forest Book, Netflix began late November this year with another quote from the same book, this time under the name of Maugley: The Legend of the Jungle "He said. It is not only the name that has changed in this new quote, but we see the story of Maujli, which we have written, as a young one that takes a much darker direction than we have used.
The quote retains the same outline, the infant who lost in the forest and was raised by a family of wolves who lived a stable life. Then came the tiger Shirkhan, who wanted to destroy it. But, in the face of this, he gets rid of the atmosphere of humor and fun that has long prevailed in the other Maogli quotations. From Disney's animated version of 1967 to the version of the Love Action produced in 2016, and through all the quotations between them, there is always a tendency to make the world of Maugli light and delightful. We see the young boy live a happy childhood wandering through the bush and engaging in adventures with his friends of wolves and elephants and monkeys, under the eyes of the guard to his two companions Pajera Cheetah and Palo Bear. In the Netflix version, all this is completely different.
The last quotation begins with the tiger, Sherkan, Yiftars or Maogli. It is true that this is not happening on the screen, but we hear the sound of the tiger's teeth piercing her body and her blood spreading over the body of her little baby. This scene paves the way for the dominating atmosphere that will dominate the film from that moment until the end. The darkness dominates the screen most of the time. Most events occur in the darkness of the night, which is very different from Disney's story of the story, where the little boy walks in the sunlight that gives a warm beauty of the forest. This color character is in line with the direction this quote takes. The forest is here without warmth. The jungle here is a brutal place full of cruelty, which is what the young man Maujley experiences himself and who is suffering from his pain. [1]
Growing up with wolves thought himself one of them, but his reflection on the surface of the water lied to his hypocrisy
Unity and brutality and ostracism
"Maugley, the man and the wolf, both together, neither of them"
The voice of the Ka Snake playing here plays the narrator's role in one of the previous scene scenes. It is summarized in this poetic world of the young boy: grown and grew up with wolves thought of himself as one of them, but his reflection on the surface of the water lied to him, looked at the people who like them, saw only beings he could not understand or communicate with. Thus he remains trapped in a hazy space between two worlds, unable to belong to either.
The events in this quote play on Maujli's feeling of alienation from everyone. This is not just an inner obsession that haunts him. In a deviation from the usual narrative line in other quotations, the director of the film, Andy Sirkis, makes here a transitory ritual in which the wolves standing at the edge of the puberty of the Cheetah Pajira escape if they can escape; This is not a recreational contest, its outcome is what determines whether the young wolf will join the herd or not. Belonging here is not free, you have to prove yourself and prove yourself to others. As for the loser, it is not even worth respecting others.
This race, in addition to the constant threat of Tiger Sherkhan, make the inner world of Maogli, which is dominated by constant pressure and fear of loss and ostracism. It is not different from the flock of wolves who live in the middle only, because the tiger Sherkhan like to prey, many members of the herd that protects him is only a burden on them and the source of danger and problems are indispensable. Of course, he knows all this very well; making the race so important is his entire destiny and a last chance to prove to the herd that he is one of them, able to protect himself, and does not need anyone's help.
On Palo, the task of training Maugli is for that hinge race. So, in keeping with the weight of that job and the overall blackness of the film, Andy Sirkies is making the biggest change in his personality from Disney quotes. The bear, who has been associated with Disney fans and young people with joy and joy, becomes a stern and serious milestone, with no time for fun or fun. Thus, both the film and Maujley take away both the source of warmth and insomnia, leaving them in a brutal world where no one is consoled.
This little boy may someday grow up and become the one who protects them from the evils of man
In that monstrous world, the interest rules everything, and the leader of the herd tells Pagera that Maugli did not accept the herd in love only, but to be with them one of the men whose strength is increased and controlled over larger parts of the forest every day. And he becomes the one who protects them from the evils of man. Here, another derivation of Sirkis from Disney's narrative line, is a complete chapter in the film where Maugley lives with human beings.
Maujli's situation is very different among humans from his position among wolves: he remains a stranger who does not belong to anyone. In his first steps in the middle of man, looking for nothing but love and belonging, which he feels at the beginning on the bland. But this little sense of belonging is almost completely destroyed. In the fisherman's room, the head of his closest friend of the wolves is seen hanging on the wall, not far from the elephants' elephants. Mowgli is thus at once confronted with the savagery of man. This object is more cruel than fellow animals, this object takes a killing kind of amusement. Maujli's heart is re-infiltrated by feelings of alienation and loss, accompanied by warm tears on his face. Again, he finds himself among people who do not resemble him or him.
But at least Mawgli learns to use human tools from fire and dagger. These flames and daggers become compensation for the weakness of the human body compared to the bodies of forested animals armed with strong claws and sharp canines. With these tools, Maugli can eventually win over his enemy, Sherkhan, and a full cycle of events takes place from the very beginning of the killing of Sherkhan or Maogli to the end of the killing of Maogli Shirkhan. However, Nasr Mawgli remains deficient, echoing the echoes of alienation. With the death of Sherkan, Maugli breaks the law of the sacred jungle and symbolically links murder to power.
The original origin of Maogli
When Disney quotes the stories of the British novelist Rudyard Kipling about the boy Maugley published in "The Book of the Forest" for the first time in 1967, went over many details in the stories and either deleted or modified. This came in fulfillment of the vision of Walt Disney himself who saw in the original stories a lot of material that did not fit in the film for children. To a large extent his vision was correct. [2]
The delightful songs that the bear Balo and Lowe the king of the monkeys spread among young and old alike
Disney's popularity has been widely recognized, and the fun songs of Palo and Loye, king of monkeys, have spread among young and old alike, making it one of its most important classics. The action version of the 2016 animated film, Away from the Kipling Tales, has also taken on a great deal of success, earning about $ 1 billion at the box office. What Andy Cirquez did in his copy of the film was exactly the opposite, and often this did not have the same success. The film is borrowed from the original Rudyard Kipling. The theme of alienation and inability to belong was emphasized by Cirquez's quotation in the book, and was largely a reflection of Kepling himself. After six years during which Rudyard lived among his parents in India where he was a farmer and where he was born, he found himself forced to go to England to be educated. There, he lived with a couple of his family's acquaintances and was subjected to various forms of psychological and physical abuse, making him unable to cope and leaving himself with untold wounds, which appeared in his later writings, most notably the "Book of the Forest." [3]
Sirkis preferred to include in his film all those painful details about a child who finds it difficult to belong anywhere, to distinguish his film from the previous quotations, which always tended to the light of the subtraction, and because he sees the story of Maogli as written by Kepling more appropriate to the spirit of this age on the other. "We live in a world full of danger and full of change," says Sirkiz. "The story of Maujli is a strange story, one who always finds himself" the other "wherever he goes. About a journey of psychological and emotional complications, where risks and consequences are always great. " [4]
Sirquez may have been correct, but he failed to think of a point that was the main cause of the failure of the film, both massively and critically. By taking his film for a serious, sometimes tragic, and bloody trend, Maujley's main audience of children has been lost. In addition to the fact that the film, with all the changes it made, did not inspire the enthusiasm of adults, there is no real audience for it, of course without mentioning that Disney produced a film that was a resounding success of the same story only two years ago, The saturation of the Maugli story and the lack of excitement to see it again. Thus, the same film as Cirquez Cagogli becomes a strange mix of things that are incompatible with one another and do not find a group that fully accepts it.