You may be shocked to hear this, but the 2020-2021 Oscar season is unlike any other awards season Hollywood has ever seen. I know, it sounds like hyperbole at its finest. Isn’t there always some jaw-dropping drama around the Oscars? We’re not even going to try and debate that one. This year, however, the worldwide coronavirus pandemic has put the entire theatrical distribution world on hold. The Academy changed its rules temporarily to allow for films that debuted on streaming to qualify if they had intended a theatrical release. Even with theaters reopening slowly in the U.S. and the arrival of Christopher Nolan’s “Tenet” (more on that later in the week), PVOD is getting its most high-profile potential awards player yet, Niki Caro’s “Mulan.”
Originally intended for release on March 27, the live-action, semi-adaption of 1998’s animated “Mulan” now arrives a little over two years from when production first began in New Zealand. It will be available to Disney Plus users for an extra $29.99, play in some drive-ins across the U.S. (maybe) and launch theatrically in Croatia, the Czech Republic, Lebanon, Malaysia, Singapore, Slovakia, Taiwan, Thailand and Turkey and China. And, eventually, it will land on the Academy’s screening site. Having seen Caro’s epic, it’s all slightly disappointing because its a film that was absolutely crafted for the big screen.
Listen, in any other year, “Mulan” would be a fringe Oscar player. Despite some noteworthy efforts, the studio’s live-action blockbusters such as “Jungle Book,” “The Lion King,” “Beauty and the Beast” and even “Avengers: Infinity War” couldn’t come close to cracking Oscar’s Best Picture race. The only big picture on Disney’s roster that has crashed that glass ceiling in the past few decades was Ryan Coogler’s “Black Panther,” which was a legitimate cultural phenomenon beyond its box office success. “Mulan” is good, in fact at times it’s very good, but without theatrical, it’s hard to see it coming close to the relevance of “Panther.” But, as we noted, this is uncharted territory.
READ MORE: Cinema chain owner calls “Mulan’s” release on Disney Plus a “death blow” to theaters
“Mulan” has a lot going for it in some respects. It’s often more grounded in its depiction of the original 7th-century tale than its animated predecessor and features strong performances from Liu Yifei (in the title role), Yoson An, Gong Li and Tzi Ma. But it’s Caro’s direction that many in the industry will take notice of. The “Whale Rider” and “North Country” filmmaker directs the hell out of the movie. While there are obvious nods to Hong Kong action cinema and a few shots are reminiscent of Zhang Yimou’s “Hero,” for the most part she successfully brings her own eye to the project. Does that really put Caro in the mix for a Best Director nomination? Potentially, but it’s the screenplay from four credited screenwriters that hinders her chances. The movie is just a little too wonky and slightly choppy at moments when it could breathe a bit more. Caro does delight with surprising and “adult” moments when you don’t expect it, however.
In many ways, that makes “Mulan” the deserved below the line player we always assumed it was. Cinematographer Mandy Walker of “Australia” and “Hidden Figures” fame, serves up some absolutely gorgeous vistas and the action scenes are impressively shot (for the most part). Underrated composer Harry Gregson-Williams delivers a wonderful score even if he has to work in a refrain from the 1999 film’s popular song “Reflection.” Oscar-winner Grant Major’s production design is often eye-popping and less sound stage looking than you might expect (that’s a compliment). Costume designer Bina Daigeler, who was just nominated for an Emmy for “Mrs. America,” does more than admirable work, most notably with the Imperial Army’s uniforms and the Emperor’s attire. The makeup and hairstyling, as well as sound editing teams, also deserve more than a passing glance from their respective branches.
The sole original song player is “Loyal Brave True” by Gregson-Williams, Jamie Hartman, Rosi Golan and Billy Crabtree. Sung by Christina Aguilera, it didn’t necessarily set the world on fire when it was released back in March and has a tough road ahead as it plays over the title credits at the end of the film. That being said, the circumstances of this year’s race means it has a better shot than Disney would have thought last Spring.
And that brings us back to an awards season that is already stressing out studios and consultants because it all simply, “unknown.” Will “Mulan” play just as well on the Academy’s television screens as it would on a big screen? Can a potentially less competitive field bump “Mulan” from a fringe player to a film with a legitimate shot at a nod? There’s too much at play to even guess. No box office, likely no official streaming numbers and no in-person events (at least not yet) for Disney to campaign it. But as 2020 has proved, surprises are always around the corner.
“Mulan” is available at an extra cost to Disney Plus subscribers tomorrow.
