It’s widely accepted that direct-to-video Disney sequels usually don’t compare with the original films in terms of quality. For the most part, they are bogged down by low-budget animation, weak plot lines, and, in some cases, replacement voice actors. However, direct-to-video sequels get far more hate than they deserve, especially considering the existence of The Lion King’s sequel, which is one of the best direct-to-video Disney movies.
While the first film borrows elements from Shakespeare’s Hamlet, The Lion King II: Simba’s Pride borrows from Shakespeare’s Romeo and Juliet, continuing the theme of Shakespearean tragedies re-imagined. Kiara (voiced by Neve Campbell), the daughter of Simba, and Kovu (voiced by Jason Marsden), the chosen heir of Scar, become childhood friends and eventually develop a forbidden romance. The story is rife with conflict as Kovu secretly plots to kill Simba (voiced by Matthew Broderick) under orders from his mother, Zira (voiced by Suzanne Pleshette), and Simba struggles with trusting an “Outlander” enough to welcome him into the pride after years of dealing with grief and fear.
Simba’s Pride feels like a proper sequel to the original, with animation almost on par with The Lion King. In terms of visuals, the film looks great, as it plays with color and setting in ways that are similar to the original. It also includes visual callbacks to The Lion King that are natural to the story and draw parallels between characters. For example, when Kovu sees his reflection in a stream, he is horrified to see the face of Scar, an interesting contrast to Simba’s fear and reverence when he sees Mufasa’s face in his own reflection.
In addition to following in the same tonal footsteps as its predecessor, Simba’s Pride also uses a spot-on playlist of songs that not only fit with the developments within the present story but also feel like natural progressions from The Lion King’s soundtrack. The movie begins in a similarly solemn way that The Lion King does, substituting the song “He Lives in You” for “The Circle of Life,” which both reminds the viewer of Mufasa and reinforces the idea of the circle of life.
The film is full of good music, especially the father-daughter bonding song “We Are One” and the romance bop “Upendi.” The song that plays when all the characters are at their lowest points, “Not One of Us,” displays the distrust of Simba’s pride and their unwillingness to absolve Kovu of a crime he never committed, choosing instead to punish him in the place of Scar and Zira. And while it certainly isn’t “Be Prepared” (how could anything live up to that?), Zira’s villain song, “My Lullaby,” oozes creepiness and evil to spare.
What’s more, each prominent character has a complete and satisfying arc. Kiara is able to translate her empathy into action by stopping the fight between Simba’s pride and Zira’s Outlanders. She draws on the lessons of her ancestors by urging her pride to realize that the Outlanders are, in fact, “us,” a callback to “We Are One” and “Not One of Us” that questions the conflicting teachings of the pride. By combining her own individuality and empathy with her ancestors’ belief in the circle of life, she is able to bring peace to the warring groups, something that not even Romeo or Juliet could do in their original story.
Kovu is able to remain open-minded enough to think for himself and reject the teachings of his mother and of Scar. He wants to be honorable and enjoy the everyday delights of friendship, but being indoctrinated by Zira made that impossible when he was growing up. Halfway through Zira’s evil plot, he abandons his role in it and plans to come clean to Kiara in the hopes of saving Simba and earning her forgiveness and love. When he doesn’t act quickly enough, he is cast aside by Zira, who blames him for the death of his brother Nuka (voiced by Andy Dick), and exiled by Simba. This development forces him to come to terms with who he is without regard for how others see him.
As a quick aside, Simba’s Pride contributes to the tonal similarities to The Lion King by refusing to shy away from death and what comes after. Just like the original film shows the direct aftermath of Mufasa’s death, Nuka also dies on screen, and the event has lasting consequences. For children’s films, The Lion King and Simba’s Pride both deal with difficult concepts and heavy tones.
Even Simba gets to learn a few lessons from the story. Clearly still dealing with the grief of losing his father at the hands (paws?) of his uncle, the distrust he feels in anyone sympathetic to Scar or anyone who happens to live outside the bounds of the Pride Lands, leads him into a mindset that teeters on the edge of paranoia. He refuses to let his daughter practice independence, due to the fear of losing her, either because of the remnants of Scar (the Outlanders) or by treachery. After all, it’s happened before. If only he could have seen through the deception, maybe he could have prevented the death of his father.
Of course, Simba was only a cub when Scar enacted his evil plot, and there was nothing he could have done to save Mufasa. But this mindset of guilt, fear, and distrust leads Simba to exile anyone he deems “not one of us,” and this worsens the rift between lion clans. Only when faced with the impossible sight of Kiara and Kovu standing in the middle of the fighting grounds does Simba begin to realize that he could be wrong. Kiara explains to him that nothing differentiates one clan from another, while Kovu holds off Zira (proving that, while he is an Outlander, Kovu isn’t evil). Their attempt to stop the fighting is enough of a wake-up call not just for Simba, but for the other Outlanders as well. The only one still distrustful and bitter enough to continue fighting is Zira herself.
With a tone that matches the original, music and animation that clearly shows love and care, and three dynamic character arcs, Simba's Pride is Disney's most underappreciated direct-to-video sequel.
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