Pop culture may help protect king of the jungle
Remake of Disney’s The Lion King has revived interest in animal’s preservation in Kenya
Why have lions held the world in thrall since the dawn of history? As long ago as the seventh century BC, the Assyrian king Ashurbanipal had his royal palace at Nineveh decorated with magnificent bas-reliefs of lion-hunting scenes. In Ancient Rome, the walls of the Colosseum resonated to the roars of lions as gladiators fought to the death with the king of beasts.
Celebrated in literature by the likes of Ernest Hemingway and Karen Blixen, lions have maintained their enduring hold on our psyche. They’re visible everywhere: on TV documentaries, on the shirts of England’s national soccer team, done up as decorated, supersized art sculptures — you name it.
But not since Born Free, Joy Adamson’s 1960 true-life saga about Elsa — the lioness she raised and returned to the wild — has anything gripped the public imagination like The Lion King.
From its very beginning in 1994, the original Disney production took the world by storm, becoming the ninth-highest-grossing animated film of all time.
Following his successful remake of The Jungle Book, director Jon Favreau has created a similarly photorealistic stateof-the-art version for Disney. Plans for a Lion King remake were confirmed as far back as September 2016 — with the end result released in theatres in North America and the United Kingdom in July.
The story remains essentially faithful to the 1994 film, revolving around a mischievous young cub called Simba, his father Mufasa and Scar, his wicked uncle. When Scar plots to usurp Mufasa’s place by luring father and son into a wildebeest stampede, his plans go astray. Only Mufasa is killed and Simba eventually returns as an adult to take back his land with the help of his friends.
Giving voice to the pride and their allies is a stellar cast featuring Donald Glover as Simba and Chiwetel Ejiofor as Scar. Beyoncé stars as Nala, a lioness that was Simba’s playmate as a cub, and James Earl Jones returns to reprise the part of Mufasa.
In their search for authenticity, Disney’s writers visited Kenya’s lion country, discovering locations such as Borana Ranch on the Laikipia Plateau, whose sweeping views and spectacular granite outcrops provided the inspiration for Pride Rock and the Pride Lands.
Having seen the film, you too may wish to follow in their footsteps to find the real Lion King, in which case Kenya is hard to beat. This is where I saw my first wild lion 40 years ago in the Maasai Mara National Reserve, and the memory is as fresh as if it happened only yesterday.
I’d flown down by light aircraft from Nairobi at the end of the rains and the land was still green as we bounced from thermal to thermal over endless plains on which herds of buffalo stampeded away beneath our wings. Even before we touched down on the rough dirt airstrip I knew it would be love at first sight. The kiangazi was just beginning, the dry season that would tempt the migrating wildebeest to pour in from the Serengeti, and the ripening grasses had not yet been eaten down. Instead they stood tall, rippling in the wind like the waves of the sea toward a horizon so far away that it seemed like the edge of the world, heralding a time of plenty for the Mara lions.
We had driven out at first light to find the cats before they went flat and hadn’t gone far when I spotted an adult male perched on a termite mound. He was still quite a long way off, so I watched him through my binoculars, a magnificent sight with his mane backlit by the rising sun.
Then he began to roar through half-closed jaws, and with every cavernous groan his breath condensed in the sharp morning air like smoke from a dragon’s nostrils. All other sound ceased, as if the whole world was listening and the hairs on the back of my neck stood on end. Then this entered my thoughts: Who could fail to be hooked on lions after a moment like that?
A few years later, my growing passion for the big cats led to a friendship with George Adamson of Born Free fame and the lions he was returning to the wilds of northern Kenya. In the early ’80s, I had flown to Nairobi to cover the story of Joy Adamson’s murder. Afterward, having met George at the end of the funeral, he invited me to fly up to Kora, where he lived in what resembled an inside-outside zoo, with the people inside the wire and the lions outside. It was an extraordinary place, which he shared with Tony Fitzjohn, his young assistant, Hamisi, his cook, and an odd assortment of wild creatures, including a pair of vultures known as Bourne and Hollingsworth.
It was clear that George couldn’t wait to be reunited with his lions. For no sooner had we arrived than he threw some camel meat into the back of his Land Rover and we went to look for them. We stopped somewhere beside the Tana river and George got out. “I’d stay put if I were you,” he said, and began to call for Arusha, his pride matriarch, the way you might yell for a lost dog.
And suddenly, there she was, a full-grown lioness with blood on her muzzle from a fresh waterbuck kill, running straight at George. I watched in disbelief as, on reaching him, she rose on her hind legs and draped her huge forepaws over his shoulders. “Arusha, old girl,” he said, hugging her like a long-lost friend as she grunted with pleasure at seeing him again.
Since then I have lost count of the lions I have seen and heard, but from that day on they have continued to walk through my life and my dreams.
Over the years, they have become an obsession. And, frankly, who can fail to be moved by their majestic profiles? Even in repose, lions exude an aura of imminent drama. They are the ultimate predator, their mere presence holding the constant possibility of unimaginable violence. Long since hardwired by evolution for a life on the savanna, they are the apex predators of a parallel universe far older than ours.
Today, tragically, these glorious carnivores are in decline almost everywhere except in the Serengeti and the private conservancies adjoining the Mara, leaving them with only eight per cent of their former range.
In the 25 years since Disney released the original version of The Lion King, Africa’s lion population has halved, leaving no more than 20,000, of which perhaps only 3,000 are the big adult males everyone wants to photograph. That is why this latest version of The Lion King could not have come at a better time. Disney has already donated $1.5 million (all figures in U.S. dollars) to lion conservation and now hopes to raise a further
$1.5 million through its Protect the Pride campaign, whose aim is to double the lion population by 2050.
Not all conservation groups are happy, arguing that $1.5 million is a mere fraction of The Lion King’s billion-dollar franchise profits. But there is no doubt that their contribution is desperately needed.
Climate change, trophy hunting and conflict with the pastoralists who live alongside lions all have conspired to loosen their grip on the land they once held; but above all it is loss of habitat to the inexorable advance of the modern world that is putting their lives at risk.
Conservation organizations including The Tusk Trust (tusk.org) play a vital role, as does ecotourism, whose dollars underpin the survival of wild places where lions can still be seen.
And this year The Lion King will add its own clarion call, appealing to the future generations on whose shoulders the very survival of the species will rest.
As George Adamson once asked: “Who will speak up for the lion when my own voice is carried away on the wind?”