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Mufasa's 'Bye Bye' shows how Disney villain songs went wrong
What’s missing from the modern era’s increasingly rare Disney villain song? We have a theory
During the Renaissance, though, they became big, dynamically choreographed Broadway-style numbers, and a vital aspect of Disney’s animated features: Memorable examples crop up in The Little Mermaid, Beauty and the Beast, Aladdin(as a reprise), The Lion King, Pocahontas, and The Hunchback of Notre Dame. “Hellfire,” perhaps the single greatest Disney villain song, is the darkest of them all, as Judge Frollo reveals the unquenchable lust for Esmeralda that’s driven him to unimaginable evil, and contrasts it with his strict, austere religious beliefs. These songs don’t need to be dark or downtempo: Upbeat numbers like “The Headless Horseman,” Beauty and the Beast’ s “Gaston,” The Sword in the Stone ’s “Mad Madam Mim,” and The Great Mouse Detective ’s “The World’s Greatest Criminal Mind”(which features a chorus of flunkies joyfully celebrating the idea of Ratigan drowning widows and orphans) all deliver smug portraits of cruelty.
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