Mulan (Disney character)
Fa Mulan is a fictional character, inspired by a legendary figure, who appears in Walt Disney Pictures' animated film Mulan (1998). Her speaking voice is provided by actress Ming-Na Wen, while singer Lea Salonga provides the character's singing voice. Created by author Robert D. San Souci, Mulan is based on the legendary Chinese warrior Hua Mulan from the poem the Ballad of Mulan, making her the first Disney Princess not to be based on a fairytale or folktale but rather a legend. Her name "Fa Mulan" is inspired by the Yue Chinese name for the character, which is pronounced Fa Muklan. The only child of an aging war veteran, Mulan disregards both tradition and the law by disguising herself as a man in order to enlist herself in the army in lieu of her feeble father.
Mulan
Mulan (1998)
Hua Mulan from the Ballad of Mulan
Ming-Na Wen (speaking voice)
Lea Salonga (singing voice)
Fa Mulan
Hua Mulan (2020 film)
Fa Ping (male alter ego)
Hua Jun (male alter ego; 2020 film)
- 1998 film:
- Fa Zhou (father)
- Fa Li (mother)
- Grandmother Fa (grandmother)
- First Ancestor Fa (ancestor)
- 2020 film:
- Hua Zhou (father)
- Hua Li (mother)
- Hua Xiu (sister)
Grandmother Fa (grandmother)
General Li (father-in-law)
Disney had originally conceived Mulan as an oppressed young Chinese woman who ultimately elopes to Europe to be with a British prince. However, director Tony Bancroft, who was inspired by the well-being of his own daughters, wanted Mulan to be a different, unique kind of Disney heroine – one who is strong and independent, whose fate does not depend upon a male character. Thus, the relationship between Mulan and Captain Li Shang was relegated to that of a minor subplot, while Mulan's bravery and strength were emphasized in order to ensure that she remained the hero of her own story. She became the eighth Disney Princess and the first one who isn't actually a princess in her film, as she wasn't born of royalty nor did she become one by marrying a prince. While an argument could be made that Pocahontas is still technically a princess since she is a chieftain's daughter, Mulan quite literally is not, but is included in the lineup nonetheless. She also became the first one of Asian descent as well. She is the last Disney Princess to be developed during the Disney Renaissance. Mulan's supervising animator was Mark Henn, who deliberately designed the character so that she would appear less feminine than her predecessors.
Reception towards Mulan's personality has been generally positive, with critics praising her bravery and heroism. However, her romantic relationship with Shang has been accused of compromising Mulan's heroism.[1] Both Wen and Salonga have been awarded Disney Legends for their contributions to the role. Yifei Liu played the live-action version of the character in the 2020 live-action adaptation of the original 1998 film, named Hua Mulan.
Development[edit]
Conception and writing[edit]
Mulan was originally conceived as an animated short in 1994, in which a miserable Chinese girl elopes to the West to be with a British prince.[2] While developing a series of treatments based on traditional stories and folk tales, children's book author Robert D. San Souci discovered the Ballad of Mulan, an ancient Chinese poem about Hua Mulan – a Chinese woman who replaces her ailing father in the army by disguising herself as a man. Fascinated by Hua Mulan's story,[3] San Souci suggested the poem to Disney;[2] the studio hired San Souci himself to write the film's treatment and story.[4]
Mulan explores the age-old theme of remaining true to oneself,[5] with co-director Tony Bancroft summarizing the character's role in the film as "the story of a girl who can't help who she is but she exists in a different society that tells her who she is supposed to be."[5] Because the Ballad of Mulan is such a beloved and well-known story, San Souci longed to maintain the character's integrity.[3] However, certain creative liberties were taken with the story in regards to Mulan's role, such as the character neglecting to ask her parents' permission prior to enlisting herself in the army.[3] Mulan's surname was rendered as the Yue Chinese (aka Cantonese) "Fa", though this was to pay respect to the poem being originally written in that language. [6] Finally, Mulan's true identity is discovered much earlier in the film, soon after the army's initial encounter with the enemy, whereas her comrades remain ignorant throughout their entire 12 years at war until after Mulan has returned home.[7]
Unlike preceding traditional Disney animated feature films, the developing romantic relationship between Mulan and Li Shang is treated as more of a subplot as opposed to a traditional central plot, as observed by film critic Andy Klein of Animation World Network. Klein commented, "Mulan isn't waiting for her prince to someday come; when he does arrive, having known her primarily as a man, and having learned to admire her for her deeper qualities, the romance is muted and subtle."[6] Throughout the movie they are constantly working towards helping each other change into better and truer versions of themselves in order to achieve their true potential.
Reception and legacy[edit]
Critical response[edit]
Reception towards Mulan's personality and characterization have been generally positive. Time Out hailed Mulan as "A feisty young go-getter [who] rises above the male-dominated world in which she lives."[53] Ken Fox of TV Guide wrote, "Intelligent and fiercely independent, Mulan ... runs afoul of social expectations that a woman will be always obedient and duty-bound to her husband." Bridget Byrne of Boxoffice wrote that "Mulan ... has pride, charm, spirit and aesthetic appeal which prevents her from being upstaged by the vigorous and exciting action in which she participates."[54] Variety's Todd McCarthy praised the character for inspiring "a turn of the circle from such age-old Disney classics ... in which passive heroines were rescued by blandly noble princes." McCarthy continued, "Here, it's the girl who does the rescuing, saving not only the prince but the emperor himself from oblivion, and this in a distant culture where women were expected to obey strictly prescribed rules."[55] Similarly, Margaret A. McGurk of The Cincinnati Enquirer lauded Mulan for "solv[ing] her G.I. Jane dilemma by proving that brains can do more than brawn."[56] Hailing the character as "Among the strongest heroines in Walt's cartoon canon," Ian Freer of Empire enthused, "Mulan's engaging mixture of vulnerability and derring-do becomes incredibly easy to root for."[57] Hollis Chacona of The Austin Chronicle dubbed Mulan a "winning protagonist."[58] Likewise, the Los Angeles Times' Kenneth Turan wrote, "As a vivacious rebel who has to be true to herself no matter what, Mulan is an excellent heroine, perfect for the young female demographic the studio is most anxious to attract", additionally calling her a "more likable and resourceful role model than Pocahontas".[33]
Although largely well-liked, Mulan's characterization has drawn some mild criticism and speculation, inspiring a series of generally mixed to positive reviews from some film critics. Entertainment Weekly's Owen Gleiberman wrote, "Far more than Beauty and the Beast or the stolidly virtuous Pocahontas, Mulan showcases a girl who gets to use her wits ... a testament to the power of mind over brawn." However, Gleiberman continued, "Mulan finally falls a notch short of Disney's best ... because the heroine's empowerment remains ... an emotionally isolated quest."[59] Similarly, Moira Macdonald of The Seattle Times hailed Mulan as "a strong, engaging character who, unlike many of her Disney counterparts, needs no one to rescue her from danger," while questioning her personality, asking, "was it really necessary to bestow Mulan with self-esteem problems? Because she seems so confident and intelligent, her sad statement that she wants to 'see something worthwhile' in the mirror comes as a bit of a shock."[60]
Critics were not unanimous in their praise. The Phoenix's Jeffrey Gantz felt that character was unoriginal, inaccurate and Westernized, writing, "[her] costumes (particularly the kimono and obi Mulan wears to the Matchmaker) and hairdos look Japanese ... Give Mulan Native American features and you have Pocahontas."[61] Similarly, James Berardinelli of ReelViews felt that the character's depiction was too "familiar," reviewing, "Although she looks different from Ariel, Belle, Jasmine, and Pocahontas, Mulan is very much the same type of individual: a woman with a strong, independent streak who is unwilling to bend to the customs of her culture, which decree that the role of the female is to be ornamental. The film isn't very subtle in reinforcing the idea of equality between the sexes".[62] Additionally, some critics, such as Alex von Tunzelmann of The Guardian, have criticized Mulan for her violence, writing, "Disney struggles to make Mulan both a killer and a heroine ... Gingerly, the film attempts to tread a middle path, implying that Mulan annihilates most of the Hun army by causing an avalanche, and having her dispatch Shan Yu with a load of fireworks. Very pretty. But still technically killing." However, von Tunzelmann did conclude more positively, "as Disney heroines go, Mulan herself is a clear improvement on the standard-issue drippy princess."[63]
Liu's portrayal as Mulan in the 2020 film was generally well received by critics. Richard Roeper of Chicago Sun-Times described Liu's performance as "star-turning" as well as "a boundaries-shattering, stereotype-defying hero-warrior for her time and for ours."[64] Writing for IndieWire, Kate Erbland found Liu, "engaging" as Mulan and adding, "she delivers, easily inhabiting both the reticent, shy Mulan and her bombastic evolution into unmitigated badass."[65] Mick LaSalle of the San Francisco Chronicle wrote, "Liu is so strong in the role of Mulan that it's only later that you might realize that you were not watching Mulan herself, but someone giving an exceptional performance in a difficult part. In addition to the challenge of portraying Mulan's journey from insecurity to glorious attainment, there were the physical rigors, which Liu had to accomplish with balletic grace."[66] In her review for London Evening Standard, Charlotte O'Sullivan said Liu played, "a Mulan whose fighting skills — and emotional life — dazzle. Liu often looks 13, but is actually 33. She has the kind of face you never get bored of. There's something Meryl Streep-y about her soulfulness and all her moves are magical."[67] While Christy Lemire of RogerEbert.com wrote, "Liu's performance might have been more powerful if she'd been a bit more emotive", she still overall described it as "lovely" and that "the steeliness and physicality she displays make her a convincing fighter."[68]