Top Photo: “The Jungle Book,” 2016 Disney Enterprises, Inc. All rights reserved.
The rarest of cultural alignments occurred
this past year
Taken from the long tradition of fables, The Jungle Book shows us “the good life” through personified animals, a primitive human culture, and a petri dish of worldviews. Just as Aesop’s Fables, 1001 Arabian Nights, and Grimm’s Fairy Tales shaped virtues in three distinct civilizations, The Jungle Book reveals our civilization, and imprints in different ways on our kids.
Classical education makes us aware of an underappreciated power: the vision of “the good life.” Every culture is shaped by the vision of what life we should pursue—our founding fathers called this the pursuit of happiness. What makes us happy is largely a function of vision, cultivated at a young age (go to school and college, get married, have 2.5 children, etc.). This vision carves our children’s track through life. Parents should teach their children two simple questions to ask every time they watch a movie or engage in a story: “What is the vision of ‘the good life’ in this work?” and, “Is this really good?”
Rudyard Kipling released The Jungle Book as a series in the 1890s. The second major retelling was in the 1967 Disney animation release. With Disney’s live-action release of the 2016 Jungle Book, we see the third major retelling of this story. (We’ll call them “Kipling’s,” “JB ’67,” and “JB ’16.”)
All three versions are well done and excellent in their own right. Kipling’s rich storytelling will leave your child with a sense of awe from deep in the Asian jungles that will be burned into their imagination for life, especially if read to them at bedtime! JB ’67’s soundtrack has some of the best jazz music written for children. And the stunning visual imagery and compelling depiction of Mowgli by Neel Sethi in JB ’16 is well worth a rental, if you didn’t see it in the theater.
None of these depictions are avant-garde. They reflect the culture that “is” more than they try to influence it. They are just playful stories. This is what makes them such good artifacts to help understand “us.” Kipling’s work is very different from the 1967 or 2016 retellings. The original Mowgli is a boy of two natures. His prideful, playful, and sometimes rebellious nature requires his animal custodians to discipline him. But, he’s also regal. The animals cannot look him in the eye. His authority over them is based simply in the fact that he’s a man-cub. Clearly, we see Kipling’s Christian understanding of Mowgli—a divine image bearer, yet fallen. And, we see an understanding of hierarchy, rather than equality. We see this most clearly in the banderlog—a lawless civilization of monkeys. Mowgli is attracted to the banderlog, not by fire as with Disney’s renditions, but because they want him to be their king. Of course, they’re lousy subjects, so this doesn’t work out.
When Walt Disney himself commissioned a team to put Kipling’s tale on the silver screen, he wanted something happier and more playful than Kipling’s original. We see a Mowgli who is fun loving, curious, and likable. JB ’67 was Walt Disney’s last anachronistic work to depict his view of “the good life” as redefined for Americans by Disney himself from 1945–1970—fun music, indulgent friends, a Mowgli-gets-thegirl scene, and a villain who gets burned (but not killed) in the end. Walt’s formula, from Snow White to The Jungle Book, did more to imprint values of “if it feels good, do it” and “free love” on the idealistic hippies than any college professor could.
In the 2016 version, the boy is not regal, he’s more “authentic.” In JB ‘16, Mowgli is a reflection of our dependence on technology—he builds simple machines to win races, get honey, and thwart Sheer Khan. This gains the friendship of the animals. And, in the end, technology (tools) wins the day. Mowgli’s ultimate victory comes through cooperating with nature’s king—the elephant. A reverence, almost worship, of nature and the belief that overcoming adversity just requires a bit of technology has been borrowed from a generation attached to i-devices while they victoriously climb El Capitan.
By “excavating” three generations, we can see what cannot be seen year-to-year. Kipling’s Christian, yet romanticized, view of “the good life” leaves children with a sense of wonder and a healthy fear of the evil in our world, and a virtuous response to that evil. Walt’s innocent and indulgent view helped to create a generation that needed every problem to be fixed, the outcome to be just, and above all, the pursuit to be fun. Where prior generations saw family, children, and the resources to support them as “the good life,” Disney reflected and helped reshape “the good life” as no obligations, no rules, just right. And, in the most recent telling, we see a good life marked by harmony and dependence on nature, and the boundless potential of the individual.
We can see the Christian worldview is not something that is spelled out in sermons or even read directly by citing verses of Scripture. Rather, it’s a subtle view of what constitutes a life well lived, informed by the whole of Scripture. What do your children believe about “the good life?”