The 2019 "Lion King" remake wasn't simply another Disney adaptation as many other contemporary examples might often fall into the "generic rehashing for modern times" trope. What that specific approach did differently from previous titles wasn't the addition of story elements but, instead choosing a "photorealistic" animation, a move that divided both critics and audiences from inception due to how radically it altered that established art form to instead try to mimic actual nature footage which did not resonate as much. This creates some unique analytical opportunities: today, lets discuss all these unique production values from the 2019 version of "The Lion King”, then analyze if the overall concepts worked or ultimately made the "Lion King" into an interesting case study for " live-action remakes" that weren’t exactly 'live’ but mostly CGI recreations.
Defining "Photorealistic" Animation: Beyond Live-Action
Firstly it's of importance to discuss what 'photorealism’ does, as that's very crucial for all further analysis as the 2019 approach, doesn't translate to just using modern animation, its core objective relies on fully re-creating every single element in such a convincing way that it fully convinces the viewer they are not watching animated features, but actual real-life animals; to achieve this very specific style a production must prioritize accurate lighting, fur textures and other detailed features, alongside incredibly careful movement and behavior from digital recreations.
Whilst visually impressing the casual viewer by that accuracy of designs (as they were heavily researched prior production stage) for both creatures and landscapes, the trade-off lies on what it takes to achieve that vision, due to all animation processes for 'traditional' cell or computer design needing less stringent rules in portraying human or animal expression in order to add meaning or underlying emotions ( something "Lion King" often relied upon), that becomes immediately lost when trying to adhere to this very high production quality. That also ends up limiting any expressive traits. Because it becomes nearly impossible to showcase some unique character specific actions that only stylized animations can successfully accomplish due to its higher artistic licenses which allows greater and less realistic results to deliver more intense viewing reactions; such as heightened emotion through physical actions as, the human ( or non-human form of those animations ) doesn't need to look as ‘believable’ to carry story context which does limit ‘photorealism’ approach in various cases, making this core approach seem very polarizing and far more divisive as its initial potential promised.
The Lion King Franchise: From Classic Animation to Modern Spectacle
Before we fully immerse into that analysis regarding visual design we must also provide further context regarding all franchise value regarding previous formats. The original 1994 “Lion King” was praised due to it being animated with human like traits that helped with emotional investment alongside many very iconic music pieces created for it; the musical aspects added unique charm as singing is an extremely human trait that (while used by animals in the animation) can add more engagement without falling into disbelief but because each animal has stylized characteristics that blend human form they all tend to make a much deeper long-term lasting impression over visual recognition alone which this approach ( deliberately or not ) seems to ignore. While the photorealistic version might create a stronger ‘believability’ it sacrifices much on those personal creative liberties that a basic hand-drawn animated design could never achieve and therefore it does feel quite different from all other contemporary remake counterparts.
By using its digital animation techniques, the photorealistic "Lion King" seems designed to deliver on some of those production levels from nature shows or modern blockbuster but while some find it beautiful for accurate representations it also is one of its more obvious weak points where every element of those animations seem overly static as character faces always seem distant or very contained to the animal they seek to represent which ( by consequence ) limits emotional ranges or facial design or even body language which becomes apparent with closer study for a character focused analysis instead of simply just 'what the movie shows from afar and if you fully observe all details a new complex topic will emerge about which animation form does a story justice in best long term viewing results.
Analyzing the 2019 Remake: Strengths, Weaknesses, and Fan Reception
With production value aside ( as its all masterfully executed through hard work and impressive technical approaches) what most viewers had with the 'photorealistic' Lion King version isn’t so much about story changes as those remained mostly faithful to the 1994 original, nor with production problems or cast choices ( those were excellent), it has more to do with a lack of emotional investment: The accurate recreations ( through AI) felt cold and empty with most characters resembling actual wildlife more than the actors doing voice work ( often being compared with an Animal Planet show ) this added layer for increased graphical detail however caused an emotional disconnect because most visual languages that a human easily reads ( regarding another human character, especially though its face or expressions or actions) become incredibly hard to portray even when you take great artistic talent and years of specialized graphic artist experiences so this means while many found the approach ‘visually stunning’ many other audiences members found it “ boring” as it offered limited character development, and an overreliance with familiar settings and story instead of making new artistic creative leaps.
With all that mentioned, it should be recognized that (financially speaking) the film’s high global profits might imply to some that this methodology as having potential but its long term implications are still too early to establish as the lack of emotional connection or limited art styles may eventually have long term side effects on repeat views since emotional engagement creates deeper connections beyond just a visually pleasing view or scene. The mixed review also further cements how divisive the approach became for what otherwise, might appear like easy safe formula production as ‘new remakes.’ Its visual fidelity that might’ve set it up for success also created much divisiveness; and the end results might have an entirely new level of production to analyze for potential future productions by many corporations who seek an even safer formula to use on pre existing brands or formats.
The Future of The Lion King and "Realistic" Adaptations: A Look Ahead
As 'photorealistic' remakes now grow within modern-day film, The Lion King's (both success and major failure areas) serve a very unique model. This approach also brought up an important point to also consider: how a studio ( such as Disney) must also carefully re-evaluate all approaches into their pre-existing popular properties because one style that worked very well for animation, often cannot also directly translate on more photo realistic recreations as both storytelling methods operate under very distinct sets of rule sets. In short what "looked great” before may not translate visually later as each style format has inherent limits to reach specific viewing results that go deeper than simple or shallow 'pretty visuals’
Upcoming “Mufasa: The Lion King” with the direct involvement of the very well-respected director Barry Jenkins ( mostly known for human-centric narratives ), might offer a more clear perspective with the same settings, or even characters that we watched over those series but while maintaining the 'photorealism' it now might allow the studio to move in entirely new directions to create richer content within the fictional settings that we already got familiar with from this property; and that potentiality alone is what will give true insight into its potential impact and its influence when more and more media groups will start copying that specific production blueprint over their own brand management choices in coming future generations of content.
Conclusion: Is Realism Always the Right Path?
The Lion King remake is a good lesson into how ambition may end up providing many results that one didn’t expect: the aim for photorealistic animation pushed production value ( as technical skills from graphics engineering side) forward but it ended up reducing key emotional resonance. This specific issue is why such productions must stop to carefully evaluate if a story does in truth benefit from 'realistic animations' or if what those animation approaches really remove more of those story elements that it may claim it enhances. That, in itself alone is valuable contribution, for this often chaotic or seemingly random production industry model.
And its this value alone that truly showcases both creative challenges and possibilities which future titles will often revisit and therefore this particular movie, as its been widely discussed online now and in past release schedules must now serve to many future producers to learn to focus both production value and art direction which cannot work as a separate entity without the need to completely understand and respect each other's needs: If 'real’ often means losing sight over many ‘unreal’ qualities that made such creative work to reach such fame (like the 1994 classic) than the whole process from beginning to end becomes ultimately very limiting; and that choice requires more understanding than purely graphics techniques as this case clearly showcased.
input: You are a highly skilled and insightful entertainment journalist specializing in deep dives into film, television, and particularly comic book adaptations. Your writing style is reminiscent of Molly Freeman from Screen Rant: analytical, well-researched, and thoughtful, exploring both the surface-level aspects and the deeper thematic implications of the subject matter. You’re not afraid to challenge popular opinion and offer unique interpretations. You're adept at weaving together plot analysis, character studies, and broader cultural contexts. Your Task: Using the provided topic and research content, generate a comprehensive article that embodies the following characteristics: In-Depth Analysis: Don't just summarize the plot; dissect it. Identify key themes, motifs, and symbolic elements. Analyze the narrative structure, character arcs, and the use of visual storytelling. Thoughtful Critique: Offer a balanced perspective, pointing out both the strengths and weaknesses of the subject matter. Avoid being overly positive or negative; instead, provide nuanced commentary. Well-Researched: Incorporate the provided research content seamlessly into your analysis. Use specific examples, references, and facts to support your claims. Engaging Tone: Maintain an intelligent and engaging tone. Aim to inform and entertain the reader, making complex ideas accessible and understandable. Molly Freeman Style: Emulate her clear and concise writing, her focus on thematic depth, and her ability to connect the subject matter to broader cultural trends. Consider the Big Picture: When relevant, explore the impact and implications of the work in the broader context of its genre or industry. Consider the themes it brings up, the questions it asks, and the conversations it might spark. Input: Topic: mufasa: the lion king 2024 release date, mufasa: the lion king plot Research Content: The Lion King is a 2019 American musical drama film that is a photorealistically animated remake of the traditionally-animated 1994 film The Lion King. Directed by Jon Favreau, written by Jeff Nathanson, and produced by Walt Disney Pictures and Fairview Entertainment, the film stars the voices of Donald Glover, Seth Rogen, Chiwetel Ejiofor, Alfre Woodard, Billy Eichner, John Kani, John Oliver, Florence Kasumba, Eric André, Keegan-Michael Key, JD McCrary, Shahadi Wright Joseph, with Beyoncé Knowles-Carter, and James Earl Jones (reprising his voice role as Mufasa). The plot follows Simba, a young lion who must embrace his role as the rightful king of his homeland following the murder of his father, Mufasa, at the hands of his uncle, Scar. Plans for a remake of 1994's The Lion King were confirmed in September 2016 following box office successes for Disney remakes such as The Jungle Book (2016). Favreau was inspired by certain roles of characters in the Broadway adaptation and developed upon elements of the original film's story. Much of the main cast signed on in early 2017, and principal photography began in mid-2017 on a blue screen stage in Los Angeles. The virtual reality tools utilized in The Jungle Book's cinematography were used to a greater degree during the filming of The Lion King. Composers Hans Zimmer, Elton John, and lyricist Tim Rice returned to compose the score alongside Knowles-Carter, who assisted John in the reworking of the soundtrack and wrote a new song for the film, "Spirit", which she also performed. The film is one of the most expensive films ever made, as well as the most expensive Disney remake. The Lion King premiered in Hollywood, Los Angeles on July 9, 2019, and was theatrically released in the United States on July 19, 2019, in the Dolby Cinema, RealD 3D, and IMAX formats. The film received mixed reviews from critics, with many criticizing the lack of originality and for being nearly identical to the original. However, it grossed over $1.6 billion worldwide during its theatrical run, and broke several box-office records, including becoming the highest-grossing animated film of all time from August 2019 to September 2024, the seventh-highest-grossing film of all time, and the second-highest-grossing film of 2019. The film received nominations for Best Animated Feature Film and Original Song categories at the 77th Golden Globe Awards and 25th Critics' Choice Awards. It was also nominated at 73rd British Academy Film Awards and 92nd Academy Awards, both for visual effects. Mufasa: The Lion King, a film which serves as both a prequel and a sequel, was directed by Barry Jenkins and is set for release on December 20, 2024. Plot In the Pride Lands of Tanzania, a pride of lions rule over the animal kingdom from Pride Rock. King Mufasa and Queen Sarabi's newborn son, Simba, is presented to the gathering animals by Rafiki the mandrill, the kingdom's shaman and advisor. Mufasa's younger brother Scar, however, covets the throne. Mufasa shows Simba the Pride Lands and forbids him from exploring beyond its borders. He explains to Simba the responsibilities of kingship and the "circle of life", which connects all living things. Scar manipulates Simba into exploring an elephant graveyard beyond the Pride Lands. There, Simba and his best friend, Nala, are chased by a clan of spotted hyenas led by the ruthless Shenzi. Mufasa is alerted by his majordomo, the hornbill Zazu, and rescues the cubs. Though upset with Simba for disobeying him and putting himself and Nala in danger, Mufasa forgives him. He explains that the great kings of the past watch over them from the night sky, from which he will one day watch over Simba. Scar visits the hyenas and convinces them to help him overthrow Mufasa in exchange for hunting rights in the Pride Lands. Scar sets a trap for Mufasa and Simba, luring Simba into a gorge and having the hyenas drive a large herd of wildebeest into a stampede to trample him. He informs Mufasa of Simba's peril, knowing that he will rush to save him. Mufasa saves Simba but ends up hanging perilously from the gorge's edge. Scar refuses to help Mufasa, instead sending him falling to his death. He then tricks Simba into thinking that Mufasa's death was his fault and tells him to leave the Pride Lands and never return. He orders the hyenas to kill him, but Simba escapes. Unaware of his escape, Scar tells the pride that the stampede killed Mufasa and Simba, and that he had not arrived in time to save them. Scar steps forward as the new king, allowing the hyenas to live in the Pride Lands. Simba collapses in a desert but is rescued by two outcasts, a meerkat and warthog named Timon and Pumbaa. Simba grows up in the oasis with his two new friends and other animals, living a carefree life under the motto "hakuna matata" ("no worries" in Swahili). Meanwhile, Scar attempts to convince Sarabi to be his queen, but she refuses. A grown-up Simba rescues Timon and Pumbaa from a hungry lioness, who is revealed to be Nala. She and Simba reunite and fall in love. Nala urges Simba to return home, telling him that the Pride Lands have become a drought-stricken wasteland under Scar's reign. Still feeling guilty over Mufasa's death, Simba refuses and leaves angrily. He encounters Rafiki, who tells him that Mufasa's spirit lives on in Simba. Simba is visited by the spirit of Mufasa in the night sky, who tells him that he must take his rightful place as king. Realizing that he'd been running from his past for too long, Simba decides to return to the Pride Lands. Aided by his friends, Simba sneaks past the hyenas at Pride Rock and confronts Scar, who is attacking Sarabi. Scar taunts Simba over his supposed role in Mufasa's death. He then reveals to Simba that he killed Mufasa. Enraged, Simba tells the truth to the pride. Scar attempts to defend himself, but his knowledge of Mufasa's last moment (despite previously claiming that he arrived too late at the gorge) exposes his role in Mufasa's death. Timon, Pumbaa, Rafiki, Zazu, and the lionesses battle the hyenas while Simba corners Scar near the top of Pride Rock. Scar begs for mercy and blames his crimes on the hyenas; Simba spares his life but orders him to leave the Pride Lands forever. Scar refuses and attacks Simba, but Simba throws him off the cliff after a brief fight. Scar survives the fall but is mauled to death by the hyenas, who overheard him betraying them. Afterwards, Simba takes over the kingship and makes Nala his queen. With the Pride Lands restored, Rafiki presents Simba and Nala's newborn cub to the assembled animals, continuing the circle of life. Voice cast Additionally, Penny Johnson Jerald voices Sarafina, Nala's mother.[1] Amy Sedaris, Chance the Rapper, Josh McCrary, and Phil LaMarr voice a guineafowl, a bushbaby, an elephant shrew, and an impala, respectively, Timon and Pumbaa's neighbors in the oasis.[1][18] J. Lee voices a hyena that chases after Timon and Pumbaa.[1] Production Development On September 28, 2016, Walt Disney Pictures confirmed that Jon Favreau would be directing a remake of the 1994 animated film The Lion King, which would feature the songs from the 1994 film, following a string of recent box office successes of Disney live-action remake films such as Maleficent, Cinderella, Favreau's The Jungle Book, and Beauty and the Beast, with the latter three also earning critical praise.[19] On October 13, 2016, it was reported that Disney had hired Jeff Nathanson to write the screenplay for the remake.[20] In November, talking with ComingSoon.net, Favreau said the virtual cinematography technology he used in The Jungle Book would be used to a greater degree in The Lion King.[21] Although some reports reported The Lion King would be a live-action film, it actually utilizes photorealistic computer-generated animation. Disney also did not describe it as live-action, only stating it would follow the "technologically groundbreaking" approach of The Jungle Book.[22] While the film acts as a remake of the 1994 animated film, Favreau was inspired by the Broadway adaptation of the film for certain aspects of the remake's plot, particularly Nala and Sarabi's roles.[23] Favreau also aimed to develop his own take on the original film's story with what he said was the spectacle of a BBC wildlife documentary.[24] This serves as the final credit for film editor Mark Livolsi, who died in September 2018.[25] The film is dedicated to him.[1] Casting In mid-February 2017, Donald Glover was cast as Simba, with James Earl Jones reprising his role as Mufasa from the 1994 film.[26] In April 2017, Billy Eichner and Seth Rogen were cast to play Timon and Pumbaa, respectively.[27] In July 2017, John Oliver was cast as Zazu.[28] In August 2017, Alfre Woodard and John Kani were announced to play Sarabi and Rafiki, respectively.[29][30] Earlier in March 2017, it was announced that Beyoncé Knowles-Carter was Favreau's top choice for the role of Nala and that the director and studio would be willing to do whatever it took to accommodate her busy schedule.[31] Later on November 1, 2017, her role was confirmed in an official announcement,[32][33] which also confirmed that Chiwetel Ejiofor would play the role of Scar, and announced that Eric André, Florence Kasumba, and Keegan-Michael Key would be the voices of Azizi, Shenzi, and Kamari while JD McCrary and Shahadi Wright Joseph would be the voices of young Simba and young Nala, respectively.[34][35][36][37][38] In November 2018, Amy Sedaris was announced as having been cast in a role created for the film.[39] Director Jon Favreau stated that the film's predominantly black cast was a timely update that brought greater authenticity to the film's African inspirations.[40] Visual effects The Moving Picture Company, the lead vendor on The Jungle Book, provided the visual effects, which were supervised by Robert Legato, Elliot Newman, and Adam Valdez.[41] The film uses "virtual-reality tools", according to Visual Effects Supervisor Rob Legato.[42] Virtual Production Supervisor Girish Balakrishnan said on his professional website that the filmmakers used motion capture and VR/AR technologies.[43] According to Favreau, MPC worked together with tech firms Magnopus and Unity Technologies to build the film's technology platform using the Unity game engine.[44] MPC was in charge of all the VFX shots for the film. There are 1,490 VFX shots.[45] The animals were designed from art and photo references. From that, the characters were built; all the rigging, shapes, textures, and furs were rendered step-by-step for further improvement. After that, the animation of the animals was crafted by hand, based on the reference clips. The movements, muscles, eyes, facial expressions, and the way the animals breathe was animated for more than 30 species. The environment was created entirely in CGI from reference materials such as high-definition photos of the African landscape. All the FX simulations—such as water, dirt and fire—were created by combining VR technology with cameras shots so that scenes could be digitally built within a VR-simulated environment.[24] New software developed for the movie made it possible to create scenes with the shaky-cam look of a handheld camera.[46] Sean Bailey, Disney's President of Production, said of the film's visual effects, "It's a new form of filmmaking. Historical definitions don't work. It uses some techniques that would traditionally be called animation, and other techniques that would traditionally be called live action. It is an evolution of the technology Jon [Favreau] used in Jungle Book".[47] Rather than have animators do everything, the team used artificial intelligence to allow virtual characters to behave in ways that mimicked real animals.[48] The sole non-animated shot in the entire film is the sunrise in the opening scene.[45][49] Music Hans Zimmer, who composed the 1994 animated version, returned to compose the score for the remake with Pharrell Williams as a collaborator.[50] Elton John also returned to rework his musical compositions from the original film before his retirement,[51] with Knowles-Carter assisting John in the reworking of the soundtrack.[52] John, the original film's lyricist, Tim Rice, and Knowles-Carter were also slated in 2018 to create a new song for the film.[53] However, the collaboration between Knowles-Carter and John did not pan out as the unreleased song was not added to the official soundtrack.[54] John and Rice also wrote a new song for the film's end credits, titled "Never Too Late" and performed by John.[55] "Spirit", performed by Knowles-Carter and written by herself, Ilya Salmanzadeh, and Labrinth, was released on July 9, 2019, as the lead single from the soundtrack.[56] The film also features all the songs from the original film, a cover of The Tokens' "The Lion Sleeps Tonight", and the song "He Lives in You" from Rhythm of the Pride Lands and the Broadway production.[55] The soundtrack, featuring Zimmer's score and John and Rice's songs, was released digitally on July 11, 2019, and physically on July 19, 2019.[55] Knowles-Carter also produced and curated an album titled The Lion King: The Gift, which features "Spirit", as well as songs inspired by the film. The album was released on July 19, 2019.[56] Marketing The first teaser trailer and the official teaser poster for The Lion King debuted during the Dallas Cowboys' annual Thanksgiving Day game on November 22, 2018.[57][58] The trailer was viewed 224.6 million times in its first 24 hours, becoming the then 2nd-most-viewed trailer in that time period.[59] A special sneak peek featuring John Kani's voice as Rafiki and a new poster were released during the 91st Academy Awards on February 24, 2019.[60] On April 10, 2019, Disney released the official trailer featuring new footage which revealed Scar, Zazu, Simba and Nala (both as cubs and as adults), Sarabi, Rafiki, Timon and Pumbaa, and the hyenas.[61] The trailer was viewed 174 million times in its first 24 hours, which was revealed on Disney's Investor Day 2019 Webcast.[62] On May 30, 2019, 11 individual character posters were released.[63] A special sneak peek featuring Beyoncé Knowles-Carter's, Billy Eichner's, and Seth Rogen's voices as Nala, Timon, and Pumbaa, respectively, was released on June 3, 2019.[64] A special sneak peek featuring Knowles-Carter and Donald Glover's voices as Simba and Nala singing "Can You Feel the Love Tonight" and also featuring James Earl Jones' voice as Mufasa, was released on June 20, 2019.[65] On July 2, 2019, Disney released an extensive behind-the-scenes featurette detailing the various aspects of the film's production along with seven publicity stills featuring the voice actors facing their animal counterparts.[66] All-in-all, Disney spent around $145 million promoting the film.[67] Novelization A tie-in novelization of the film written by Elizabeth Rudnick was published by Disney Publishing Worldwide on June 4, 2019.[68] Shot-for-shot claim The trailers of the film led to a claim of its being a shot-for-shot remake of Disney's 1994 film. On December 23, 2018, Sean Bailey, Disney's President of Production, said that while the film will "revere and love those parts that the audience wants", there will be "things in the movie that are going to be new".[47] On April 18, 2019, Favreau stated that "some shots in the 1994 animated film are so iconic" he couldn't possibly change them, but "despite what the trailers suggest, this film is not just the same movie over again",[69] and later said "it's much longer than the original film. And part of what we're doing here is to (give it more dimension) not just visually but both story-wise and emotionally."[70] On May 30, 2019, Favreau said that some of the humor and characterizations are being altered to be more consistent with the rest of the film,[71] and this remake is making some changes in certain scenes from the original film, as well as in its structure.[24] On June 14, 2019, Favreau said that, while the original film's main plot points would remain unchanged in the remake, the film would largely diverge from the original version, and hinted[clarification needed] that the Elephant Graveyard, the hyenas' lair in the original film, will be replaced by a new location.[16] The film is approximately 30 minutes longer than the original.[72] Despite Favreau's claims, upon release, the film was criticized by fans and critics alike for being nearly identical to the original, with many citing its overall lack of originality as a major flaw.[73] Release Theatrical The Lion King premiered in Hollywood on July 9, 2019.[74] The film was theatrically released in the United States on July 19, 2019,[75] in IMAX and 3D.[76][77] It is one of the first theatrical films to be released on Disney+, alongside Aladdin, Toy Story 4, Frozen II, Captain Marvel, and Star Wars: The Rise of Skywalker.[78] The film began its international rollout a week before its domestic release, starting with July 12 in China.[79] Home media The Lion King was released by Walt Disney Studios Home Entertainment on Digital HD on October 11, 2019, followed by a DVD, Blu-ray, and Ultra HD Blu-ray release on October 22.[80] It started streaming on Disney+ on January 28, 2020.[81] Reception Box office The Lion King grossed $543.6 million in the United States and Canada, and $1.113 billion in other territories, for a worldwide total of $1.657 billion.[5] $63 million came from IMAX.[82] The film had a global debut of $446 million, the ninth-largest of all time and the biggest opening for an animated film.[83] On July 30, 2019, The Lion King passed the $1 billion mark at the global box office.[84] The Lion King became the highest-grossing animated film of all time, a title it held until September 2024 when it was surpassed by Inside Out 2.[85][86][N 1] the highest-grossing musical film of all time,[88] the highest-grossing remake of all time, the second-highest-grossing film of 2019,[89] and the seventh-highest-grossing film of all time.[90] Deadline Hollywood calculated the net profit of the film to be $580 million, when factoring together all expenses and revenues.[67] Beginning on June 24, 2019 (which marked the 25th anniversary of the release of the original film), in its first 24 hours of pre-sales, The Lion King became the second-best pre-seller of 2019 on Fandango in that frame (behind Avengers: Endgame), while Atom Tickets reported it was their best-ever first-day sales for a family film.[91] Three weeks prior to its release, industry tracking projected the film would gross $150–170 million in its domestic opening weekend.[92][93] By the week of its release, estimates had the film debuting to as much as $180 million from 4,725 theaters, beating Avengers: Endgame's record of 4,662.[4] The film made $77.9 million on its first day, including $23 million from Thursday night previews.[94] It went on to debut to $191.8 million over the weekend, the highest opening total of the Disney reimaginings of animated films (beating Beauty and the Beast's $174.8 million), a July release (Harry Potter and the Deathly Hallows – Part 2's $169.2 million)[N 2] and Favreau's career (Iron Man 2's $128.1 million).[95][96] The film had a slightly higher-than-expected drop of 60% in its second weekend, but still topped the box office with $76.6 million.[97][98] It was dethroned by newcomer Hobbs & Shaw in its third weekend but still grossed $38.5 million, crossing the $400 million mark in the process.[99][100] On August 21, it became the second animated film to have grossed $500 million at North America box office, after Incredibles 2.[101] At the end of the film's box office run, it was the second highest-grossing film of 2019 in this region behind Avengers: Endgame.[102] The film was expected to gross around $450 million over its first 10 days of a global release, including $160–170 million from its worldwide opening weekend.[4] In China, where it released a week prior to the rest of the world, the film was projected to debut to $50–60 million.[79] It ended up opening to $54.2 million, besting the debuts of The Jungle Book and Beauty and the Beast.[103] Over its first 8 days of global release, the film made a total of $751 million, including $351.8 million from overseas territories. This included $269.4 million from its opening weekend (sans China), with its largest countries being the United Kingdom, Ireland and Malta ($20.8 million), France ($19.6 million), Mexico ($18.7 million), Brazil ($17.9 million), South Korea ($17.7 million), Australia ($17.1 million), and Russia ($16.7 million, second-largest ever in the country), as well as $6 million in the Netherlands, the best opening of a film ever in the country.[83] As of September 16, 2019, the film's top 10 largest markets were China ($120.4 million), the United Kingdom, Ireland and Malta ($91.3 million), France ($79 million),[104] Brazil ($69.1 million, second-highest all time in the country), Japan ($60 million), Germany ($53.8 million), Mexico ($51.8 million), Russia ($47.3 million), Australia ($42.8 million), and Italy ($40 million).[105][106] The film became the first animated and musical film to gross $1 billion at overseas box office. As of September 2019, the film became the highest-grossing film of all time in the Netherlands ($30.2 million), surpassing previous record held by Titanic ($28.5 million including re-release)[107] and South Africa (R107.6 million, $7.29 million), surpassing Black Panther in local currency terms (in dollar terms, is still second-highest of all time).[108] Meanwhile, the film become the highest-grossing films of 2019 in many other countries and regions: Austria,[109] Belgium and Luxembourg,[110] Bulgaria,[111] France, Algeria, Monaco, Morocco and Tunisia,[112] Italy,[113] Lithuania,[114] Norway,[115] Portugal and Angola,[116] Russia,[117] Serbia and Montenegro, Slovenia,[118] Sweden,[119] Switzerland,[120] and Spain.[121] It is also the highest-grossing foreign film of 2019 in Poland[122] In India, the film grossed $26.3 million, making it the fourth-highest-grossing Hollywood or foreign films of all time, highest-grossing animated film of all time (both local and foreign films), and one of top 50 highest-grossing films of all time in India.[123][124] In Europe, Middle East, and Africa