Mufasa: The Lion King’s ‘Bye Bye’ is a tragedy for Disney villain songs

Disney is moving away every day wishing starof light. One big reason for this: the severe lack of animated villains. Over the past 15 years, studios have only made a handful of movies with villains, and As Disney fans often noticewhich means we lose the brilliantly entertaining staple of Disney Villains songs. The big musical number is a big part of most villains’ identities – it often allows audiences to see them in all their glorious evil in action. Disney only gave us five villain songs between 2000 and 2023, and only three since 2010— “Mom knows best” exist Tangled, “Bexon’s Song” exist winnie the pooh, and “shining” exist Moana. (“Love is an open door” exist freezing Technically, it’s a duet with Villain, but it’s not a Villain song by any definition.

But hope is not lost: the villain song rises again. disney hope Gave us our first true villain song in 13 years “This is the thanks I get?!” moana 2The fiery “Lost” Not too important, since Matangi reveals himself to be an ally of Moana, but it’s styled and presented as a villain song. Mufasa: The Lion King Also included is a complete villain song: “goodbye,” Sung by Mads Mikkelsen, who plays the white lion antagonist Kiros.

But unfortunately, “Goodbye” (much like “This Is What I Get Thanks?!”) is a pathetic plot for a villain number that manages to make the villain less threaten. “Bye Bye” is a strong candidate for the worst villain song of all time – an impressive feat when Yue Delge from ranch home exist. It’s also a valuable reminder of how great the Disney villain songs used to be.

Since the company’s first feature film Villain Song, pinocchioof “Hi-Deeder-Deedee” Providing a musical showcase for a movie’s big bad has always been one of the best expressions of Disney’s musical tradition. Before the Disney Renaissance (1989-1999), they were usually shorter and smaller. The villains themselves don’t even need to sing – check out the jazz classic “Cruella de Vil” “The False King of England” Robin Hood, or The Adventures of Ichabod and Mr. Toadof “The Headless Horseman.” While they still set up all kinds of delicious villainy, such as Captain Hook’s penchant for killing, they often feel like afterthoughts rather than central. peter pan‘s The Elegant Captain Hook or Who Painted My Roses Red?

During the Renaissance, however, they became large, dynamically choreographed Broadway-style numbers that became an important aspect of Disney’s animated features: memorable examples appear in little mermaid, beauty and the Beast, Aladdin (as a repeat), lion king, Pocahontasand The Hunchback of Notre Dame.

There’s no one way to write a successful villain song, but all of the great songs firmly establish the villain and show how evil they truly are. “Poor unfortunate soul” and “Friends on the Other Side” Showcasing Ursula and Dr. Facilier’s skill at manipulating prey. Before we even get the chance to meet Cruella, “Cruella de Vil” shows how abominable she is. “Hellfire”, In perhaps Disney’s greatest villain song, and one of its darkest, Judge Frollo reveals an unquenchable desire for Esmeralda that drives him to unimaginable evil and sets her against him The strict, austere religious beliefs are in sharp contrast.

These songs don’t need to be dark or slow: upbeat songs like “Headless Horseman,” beauty and the Beast’s “Gaston” Sword in the Stoneof “I’m crazy, ma’am” and Mouse Detectiveof “The world’s greatest criminal mind” (It features a group of slaves gleefully celebrating Rattigan’s idea of ​​a drowned widow and orphan.) All of this paints a cruelly smug portrait.

While great villain songs can help us understand the villain’s motivations, we learn next to nothing about Kiros through “Goodbye.” We only get the vaguest sense of his personality in the lyrics, which mention that the moon “doesn’t obey / and neither do I.” Kiros wants revenge on Mufasa for killing his son. But the most threatening thing he has to offer is a childish taunt: “I’m going to be the last thing you see before I let you say goodbye.”

lion king Mufasa’s tragic death is well known, so viewers don’t need to be treated so tenderly. The tone of “Goodbye” was painfully cold, as if even Kiros didn’t believe what he said. If Kiros can’t follow through with his half-baked threat, why should we believe he has a chance of killing Mufasa?

Songwriter Lin-Manuel Miranda made the mistake of making the center of “Goodbye” not the villain but Mufasa. Nothing in the song suggests that Quiros himself is evil, dangerous, or a unique and compelling character. In “Goodbye,” Kiros feels more like he’s caught up in an emotional moment that pushes him toward murder than a character who’s proud of his plans or the roots of his evil.

The lyrics make no mention of any of Kiros’s talents: no mention of his ferocious claws, musculature, or sharp, piercing teeth. The obnoxious, childish threat to tell Mufasa to say “goodbye” feels more like a willful aside than a real intention. Since “Goodbye” tells us nothing about Kiros or his abilities, there’s no reason to oppose him or even care about him.

Villain songs have always been an important opportunity for Disney storytellers to push the envelope and tackle taboo topics: Where else can a Disney character lament the rejection of his sexuality? They helped Disney grow creatively while allowing audiences to revel in some of the darker emotions that Disney films typically avoid. Compared to the classic, “Goodbye” feels particularly disappointing lion king In the song “Be Preparation”, Scar reveals his plan to take down Mufasa and Simba (making it clear that he will kill them), and how he will take control of Pride Rock and lead his ravenous hyena followers to the Promise land.

Miranda’s song feels like a spiritual successor to “Be Preparation,” but sadly it lacks spirit. Those acerbic “Goodbyes” may seem intended to echo Ska’s vitriol, but his 1994 song is filled with genuine malice and haunting imagery that deliberately evokes Germany’s Third Reich. The Goodbye’s screen staging has no visual ingenuity or audacity to match, reducing the numbers to a pack of circling, leaping lions.

In “Be Prepared,” we come to know Scar’s cunning, hateful, and manipulative charm. In “Bye Bye” we see a lion shouting “Bye Bye” multiple times. This is even more surprising considering Miranda wrote a solid villain song in “Shine,” which successfully established Cancer Tamatoa’s obsession and his menacing qualities. It’s especially important to convey all of this through song, since the numbers are this little villain’s only chance to…well, shine. But “Goodbye” is just a pale imitation of what came before.

It feels like Disney villain songs have become a box-ticking exercise, added more out of a sense of obligation than inspiration. But these numbers deserve more. They’re a big reason why classic Disney villains are so popular and memorable. They break up the lead with a parade of “I Want” songs and comic relief anthems, and provide a fun exploration of the nastiness of child safety in a creative way. If Disney’s songwriters aren’t interested in what makes villain songs such wonderful parts of the studio’s canon, then maybe we’d be better off without them.