The Lion King Class-consciousness, bigotry and hierarchy in the Pride Land

Disney’s The Lion King exhibits a creative way of legitimatizing poverty and social inequality by presenting them as benign. Rising vigorously over the Pride Land, the warm African holler summons the morning sun in the opening scene of The Lion King. The daily rising and setting of the sun represents a never-deviating pattern of death and rebirth, which embodies the films “circle of life” window dressing. Responding to the revival, animals assemble and begin to advance towards a presumed common area. Walt Disney’s vison of America is reflected in the portrayal of various unique creatures – from the mighty elephant to marching ant – a populous unified amongst differences. The camera follows the animal parade over flowing waterfalls, through lush vegetation and across sapphire skies to ascend upon the epicenter of the Pride Land. Traveling on the wings of a bird, the rhythmic African music and Swahili vocals inch towards crescendo. This aerial view provides a contrast; looking down upon the masses that have gathered, yet, in alignment to the cathedral which is Pride Rock. This imagery creates not only a physical separation but a normalization of classism; commonalty is portrayed as ground level and royalty as untouchable, similar to an absolute monarchy regime (Van Belle 153). Atop the flatiron is a stately and dignified looking lion gazing across the horizon seemingly unaware that every animal in the kingdom has amassed below. Even though the bird lands directly in front of the King, he is not recognized until he performs a traditional gesture of an inferior to a superior—an elaborate curtsey. A nod of approval from the majestic ruler gives the desired eye contact which legitimizes the bird’s presence. However, sharing the precipice above with the noble lion, the bird unequivocally respects his own position as subservient to the king, yet, privileged above the others below. The opening scene to The Lion King while accepted by some as a congenial animal utopia depicting a natural order of classification can arguably be seen by others as a characterization of a rule of patriarchy which thrives on a classist, elitist, social structure.   Jessica Hagedorn, a celebrated author and playwright, insists that “movies are still the most seductive and powerful of artistic mediums.” Ms. Hagedorn brings attention to the ease of manipulation “by a powerful combination of sound and image” in her essay “Asian Women in Film: No Joy, No Luck” (Maasik 351). Interpreting the dichotomous camera angles which portray Mufasa as the exalted and dignified Lion perching high above his dais while commoners gather below allows the viewer to witness the hierarchy which presides in the Pride Land.

In continuation with the opening scene, the camera adjusts angles and the viewer is placed at ground level, shoulder to shoulder with the animal congregation. A silent disturbance separates the herds, a figure emerges from the crowd and a mature distinguished mandrill baboon appears walking with a staff, nodding in respect as he passes by his fellow citizens. An extreme close-up reveals the climb which the sagacious and wise mandrill endures, finally reaching the pride palisade. Some would observe that this symbolism represents the struggle of the proletariat climbing out of the rank and file, reviving Walt Disney’s vision of the American dream which is achieved through progress, enterprise and freedom. The frame shifts and a scene saturated in soft lighting and warm colors shows a glowing lioness embracing the heir apparent. The brief intimate nuzzle from Mufasa implies he is not only the father of the cub, but the mate of Sarabi, the mother lioness. In this familial frame the viewer can see the entire pride, which consists of all the lionesses. Camouflaged amongst the natural rock wall, numerous lionesses sprawl comfortably overlooking the personal moment; instinctively some would say, as a reminder that lionesses – although providing the physicality obligation of hunting for the pride – are regarded as subservient to the male. The opening scene of The Lion King is void of dialogue, showcasing the rich and expressive music that has become internationally renowned, receiving awards and praise from around the world. In its spellbinding climax, the camera pans wide to include all that have gathered, once again highlighting the disparity between the animals of the Pride Land and royalty. Rafiki is seen holding Simba outstretched on the limb of Pride Rock as if the lion cub were a cell phone with insufficient service. Ostriches, giraffe’s, zebra’s and many other identifiable creatures bow their heads in unison as the fur ball is hoisted towards the heavens. Scattered clouds over the land part and laser beams of sunlight are cast from above signifying approval from an immortal source, legitimizing the monarchy. The multitude of African animals burst into celebration as the Royal Family and Shaman are centralized in the frame while their ardent supporters cheer in support underneath. The final frame can be interpreted as Walt Disney’s vision of America – his life’s work – creating a space for a clear representation of all walks of life. However, there are those that see a minefield of considerations when offering a single ideology as a representation of all, even though well intended can be perceived as controlling or authoritarian. Disney’s The Lion King seizes the opportunity of their audiences age, utilizing that specific demographic to craft a message of classism while disguising and illuminating the inequality.