Kiran Megone

Released in cinemas last month, Disney’s Wish has received mixed reviews. Some labelled it too predictable, whereas others enjoyed Disney’s nostalgic approach to celebrating 100 years of the company.

Disney’s Wish (2023) follows a quirky, charming and bubbly heroine, Asha. She discovers that her once-deemed righteous king, Magnifico, might not be as virtuous as he seems. Created to celebrate Disney’s 100th anniversary, the film’s central theme is quintessentially Disney – making a wish. Wishes are featured in renowned songs like Snow White‘s ‘I’m Wishing’ (1937), Pinocchio‘s ‘When You Wish Upon A Star’ (1940), and Cinderella‘s ‘A Dream is a Wish Your Heart Makes’ (1950).

“As a stand-alone film, Wish is fun, engaging and heartwarming”

Starting with the book’s opening, the tale introduces us to the kingdom of Rosas. We learn that it was built by King Magnifico, a seemingly benevolent king, capable of granting anyone’s wish and taking their memories in the process. People seek this kingdom, far and wide, hoping that Magnifico may grant their wish one day.

Asha aims to be the king’s apprentice so she can ask him to grant her 100-year-old grandfather’s wish. However, she soon discovers that Magnifico grants few requests, as he deems many vague, dangerous, and rebellious. Instead, he takes these wishes and the person’s memories of them, intending never to return them. Infuriated, Asha embarks on a journey to return her mother and grandfather’s wishes and everyone else’s so that the Rosas citizens can achieve their dreams.

WISHFUL THINKING

As a stand-alone film, Wish is fun, engaging, and heartwarming – it has its fair share of funny moments. I imagine the talking animal sidekick, Valentino, is particularly popular amongst children.

Asha is also an enjoyable protagonist – clumsy, funny, and always looking to do the right thing. She is also Disney’s first Afro-Hispanic protagonist, an incredibly exciting victory for diversity and representation. Especially considering the first black Disney princess – Tiana – was a frog for most of her film.

“The premise of Wish is far from flawless.”

Whilst I have some gripes with the art style, the animation style showcases her braids – something I am sure will excite many young black girls. However, the premise of Wish is far from flawless. On the one hand, it seems to be an earnest celebration of Disney’s foundations, making several references to other Disney films. For instance, in the end, we are shown that Asha becomes the Fairy Godmother, linking her to Cinderella. Valentino declares, “I dream of a utopian metropolis where all mammals are equal and wear clothes!” referencing Zootropolis.

SUPERFICIAL REFERENCES

However, the film relies too heavily on references and meta jokes. For example, Asha’s friends are loosely based on the seven dwarves from Snow White. I found these characters funny and engaging and believe they could have been further developed. As it was, I had to google their names. Providing Asha with seven close friends in a film of barely reaching an hour and a half was certainly ambitious, meaning these characters aren’t explored in depth.

Unfortunately, the film’s obsession with superficial references is its downfall – so much so that it forgets to develop its titular concept of wishes.

The entire premise relies on the fact that Asha believes it unfair that Magnifico refuses to grant certain wishes. However, little is done to reveal how this disadvantages the kingdom and its citizens. Magnifico’s reluctance seems understandable – not all dreams and ambitions are wholesome or well-intentioned.

“The impact on Rosas after Magnifico’s turn to the darkness is underwhelming”

Surely, granting every citizen’s wish as a ruler who wishes to provide stability and peace would lead to socio-political and economic collapse. The film briefly touches on how characters like Simon and Asha’s mother are overwhelmed with grief after their wishes are destroyed, but that’s all. Unlike films like The Lion King (1994), where audiences can see an obvious difference once Scar usurps the throne, the impact on Rosas after Magnifico’s turn to darkness is underwhelming.

STALE ART STYLE

Whilst it is a welcome change to have a sinister antagonist finally, Magnifico unfortunately falls flat. Magnifico still disappoints after a decade of surprise villains, like Frozen’s Hans, Big Hero 6’s Professor Callahan, or even the lack of distinctive villains in Moana and Encanto. Where we once had menacing villains dressed in dark colours and distinguished, frightful silhouettes, like Aladdin’s Jafar, The Little Mermaid’s Ursula, or Hercule’s Hades, we now have simply a man.

“Disney’s art style has remained the same for a decade”

Chris Pine throwing a temper tantrum after a teenager disobeys him isn’t exactly a Cruella De Vil level of villainy. His character’s stylistic faults are largely a symptom of Disney’s wider 3D animation problem. Though it is clear that the film’s animators tried something different – perhaps inspired by the impressive, widely applauded cell-shading of the Spider-Verse franchise – the film still suffers because Disney’s art style has remained the same for a decade.

PLAYING IT SAFE

Wish is an enjoyable, wholesome film for the whole family to enjoy. But is it worthy of being the film that celebrates Disney’s centenary – the animation powerhouse which has produced masterpieces like The Hunchback of Notre Dame? Certainly not. My judgement is undoubtedly clouded by nostalgia for a long-gone era of 2D animated films, which tackle mature, complex themes whilst simultaneously appealing to children. But maybe I am not the only one who thinks so. With Wish a certified box office flop, perhaps audiences are growing bored with Disney playing it safe.

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Featured image courtesy of Magda Ehlers via Pexels. No changes have been made to this image. Image licence found here.

Hi, my name is Kiran, and I'm an MA History graduate hoping to pursue a career in publishing. I love writing about film, TV and literature!

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