- Warning: There are spoilers ahead for Disney’s live-action “Aladdin.”
- Disney’s live-action remake of “Aladdin” leaves out a few big moments from the original 1992 film.
- Don’t expect to see Jafar disguised as an old man to fool Aladdin or transform into a snake at the film’s end.
- Visit INSIDER’s homepage for more stories.
Disney’s live-action version of “Aladdin” is in theatres and you may noticed a few of your favourite moments left out of the film.
The new adaptation starring Mena Massoud and Naomi Scott as an excellent Aladdin and Jasmine and Will Smith as the Genie makes many departures from the Oscar-winning animated feature.
While some are welcome updates, including an original song for Jasmine, fans may be sad to see some iconic moments ditched making for a somewhat less magical adaptation. Keep reading to see a dozen moments you won’t see in Disney’s live-action version of “Aladdin” in the order they would have occurred.
One of the most enjoyable bits of “Aladdin’s” opening number, “One Jump,” is seeing the titular character hopping gracefully across a sea of sheep.
The only thing more satisfying is watching the palace guards struggling to manoeuvre as easily through the flock. Instead, they hilariously toss sheep through the air as they frustratingly try to make their way to Aladdin.
In the live-action film, Aladdin does a lot of running, flipping, and sliding, but he’s never hopping across sheep.
Honestly, this was never a scene I expected to see make its way to the live-action movie, but it’s one of the more fun memorable moments in the ’92 animated movie. Like many moments in the animated movie, it’s not one you can really bring to life.
It’s not the only big moment left out of the performance of “One Jump.” We also don’t see Aladdin’s monkey friend Abu wield a sword. Instead, we see Aladdin making a few daring dives in his opening number as seen above.
Jasmine never lets an entire flock of birds free to fly from inside the palace walls.
In the live-action movie, we never get a scene with Princess Jasmine on the palace grounds, though there’s a reference to the water fountain where we see her and her tiger Raja sit.
Aladdin never pretends that Jasmine is his sister to save her from getting her hand cut off.
In the animated movie, when Jasmine goes to the marketplace, she gives a child an apple from a food stand and nearly loses her hand when she tells the owner she doesn’t have any money. Oops! Along comes Aladdin to save the day, apologizing for his sister, claiming she doesn’t have all of her marbles.
Because of that, we never see Abu pretend to be the Sultan with Jasmine bowing down to him or see Jasmine purposefully mistaking a camel for a doctor. It was a good choice to not adapt that scene in full. There’s no need to make Jasmine look like she’s mentally ill.
We never get to hear Jasmine put the palace guards in their place.
After getting knocked down by the lead palace guard and called a “street mouse,” Jasmine demands Aladdin be let go, revealing she’s the princess. The guards are downright embarrassed, as they should be.
This scene simply doesn’t occur in the live-action film. After going to Aladdin’s makeshift home, Jasmine hurries off realising she needs to return to the palace when she sees a potential suitor is on his way there to meet her.
Jafar doesn’t dress up as an old man who tries to swindle Aladdin.
In the animated movie, Aladdin is placed in a palace jail cell on Jafar’s order. Jafar learns that he’s the young man he’s looking for to acquire the Genie’s magic lamp for him from the Cave of Wonders. Jafar convinces Aladdin to go to the cave by pretending to be a creepy old prisoner.
The live-action movie rids of the entire jail scene.
Instead, Jafar bonds with Aladdin by telling him that he, too, was once a simple thief like him. He then convinces Aladdin to go with him to the cave to get the lamp for him. In return, Jafar promises to make him rich.
Aladdin, Abu, and the magic carpet attempt a daring escape from the Cave of Wonders while narrowly escaping a giant wave of lava.
Aladdin nearly falls in a giant pit of lava, and the trio dodge falling rocks left and right as they race through a maze of treasure rooms. It’s the sort of chase that should have been a great one for Guy Ritchie to direct on their journey out of the cave. However, the live-action adaptation makes the big moment feel less special.
You never feel too worried or concerned about Aladdin in the live-action remake during the same sequence.
The new Cave of Wonders isn’t a series of gorgeously lit rooms. It’s just one drab and dreary oversized room full of treasures. The only thing the carpet has to do here is fly Aladdin and Abu straight up.
In the animated film, there’s a moment midway through the movie where Jafar demands to marry the princess so he can become Sultan.
For a moment, the Sultan rebukes, saying that Jafar is “so old.” It’s one of the film’s funniest lines in an otherwise uncomfortable scene.
The live-action film skirts the entire subject about Jafar marrying Princess Jasmine until the film’s very end.
For a majority of the film, it didn’t seem like Jafar was interested in marrying Jasmine at all. Instead, it gets randomly tacked on at the end as an afterthought seemingly to match up with the original film.
Abu and company bust into the great palace doors in the animated film during the song “Prince Ali.”
Jafar humorously gets crushed behind the door with Iago. We get none of that in the live-action film. Instead, Aladdin and the Genie simply appear inside the palace after the song’s end to meet with the Sultan, Jasmine, and Jafar.
Jafar gets the Sultan’s white robes and Iago gets a mini hat to match in the movie’s turning point.
During one of the movie’s big moments, Jafar wishes to be the new Sultan of Agrabah and we watch the white robes transfer from Jasmine’s father to the nefarious villain.
When Jafar wishes to be the Sultan in the remake, he doesn’t get the same clandestine white robes.
Instead, he’s dressed in darker black robes that are similar to the ones of his animated counterpart. Iago doesn’t get any little hat in this version of the film.
Aladdin never has to avoid getting crushed by a rolling palace tower in the remake.
In the new film, Aladdin and Abu get sent away to a wintry tundra, but they’re not sent flying there in one of the palace towers like in the animated movie.
That omission makes the entire scene feel like it’s missing something. In the remake, Aladdin is simply sent somewhere, needs to find Abu, and then gets quickly saved by the magic carpet before returning home.
The animated movie gave Aladdin a moment where he not only needed to save Abu, but also the carpet. Without a more perilous task, this scene appears to simply exist in the remake as a nod.
Jasmine never tries to seduce Jafar in her red outfit.
In the 1992 movie, Jafar wishes for Jasmine to fall in love with him. He doesn’t know that’s beyond the Genie’s powers, so Jasmine takes advantage of the moment and plays along to distract Jafar as Aladdin tries to take back the magic lamp.
This is another scene I never expected to see in the animated movie. It seemed too sexy and inappropriate in 2019 for the remake, especially since Jafar refers to Jasmine as his “pussycat.”
In the remake, Jafar simply tells Jasmine to stay silent and that gets her really fired up. Because of this cut, we miss out on a few big moments, including Jasmine coming up with fake compliments to placate Jafar, the best of which is telling him that his beard is “so twisted.” We also don’t get to see Jasmine kiss Jafar, toss wine in his face, or get trapped in an over-sized hour glass.
The biggest and most memorable moment from the animated movie is when Jafar transforms into a giant snake near the movie’s end.
Aladdin calls Jafar a cowardly snake, causing the villain to transform into a larger version of his beloved staff. Aladdin goes up against the serpent with a sword before convincing Jafar to become a genie himself.
In the remake, the big showdown cuts past the most interesting moments of the third act and fast-forwards to Aladdin tricking Jafar to wish himself into the cosmic being.
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