The Jungle Book

Jon Favreau's take on "The Jungle Book" is a startling evolution of CGI, despite the tech pedigree of motion capture films of late. You might think, watching the film, that the only CGI elements are the talking animals. Not so; the film was shot entirely on a Hollywood sound stage with one actor -- Neel Sethi, who brings Mowgli to life -- making it to the final screen in the flesh. And Favreau's ability to eke out of relatively tame source material (Disney's animated version and the Kipling stories) tension and action sequences make of this "Book" an enchanting tale. But that's not the problem; the script lets all that terrific work down.

The story is archetypal: Mowgli (Sethi) is left alone in the Indian jungle after Shere Khan (Idris Elba) kills his father. Rescued by Bagheera (Ben Kingsley), a black panther, Mowgli is then raised by wolves until Khan, years later, realizes the boy is alive and well in the jungle and threatens to kill him. Bagheera hastens to get the boy to the "man village" for safety despite Mowgli's determination to stay in his jungle home, and after a series of adventures with bear Baloo (Bill Murray), python Kaa (Scarlett Johansson) and king of the apes Louie (Christopher Walken), the boy is forced to confront and defeat Khan.

Sithi brings a charming mix of innocence and determination to the character of Mowgli -- a mean feat for a New York kid making his debut. And for the most part, the supporting cast one-ups their Disney cartoon counterparts; particular kudos go to Murray for bring a smart-ass, manipulative side of Baloo to the screen. And Favreau manages to balance the CGI-heavy film with sufficient subtlety to also deliver a potent message about the part man plays in the circle of life.

But these assets are undercut thanks to this team's unwillingness to choose between Disney and Kipling. When Walt first heard the proposed sinister screenplay of "The Jungle Book" released in 1967, he replaced the writer and composer so that a more kid-friendly version might be offered up instead. Some of that lighthearted feel has crept into Favreau's version, most notably in the two songs that survived the transition. Much has rightfully left the jungle (thankfully, the elephant patrol was cut entirely), but the lighthearted spirit remains. On one hand, this is good; the film rips along with humor.

However, scriptwriter Justin Marks departs from Disney's conclusively ridiculous ending (wherein Mowgli abandons the jungle ogling after a human girl) by leaving Mowgli instead in sequel-friendly territory that nonetheless undermines the original Disney setup of responding to Mowgli's unique status in the jungle as one that has to end: as he is different, he is hunted and has to depart his family and friends. In not following through on this insistence, Marks and Favreau have left us with an unfulfilling ending that smacks of opportunity rather than integrity. And during the trek to the edge of the jungle (which, in this version, oddly feels like little more than a few kilometers away), the story can't seem to decide whether it's for kids or adults. Kids -- especially those of traditional Disney target age -- will be frightened by many of the elements, particularly a fiery denouement, but adults familiar with the original film might be somewhat bored until Murray's Baloo happens on the scene and begins making them laugh.