ow all of China knows you’re here.” The Huns, led by the ruthless Shan-Yu (Miguel Ferrer), have crossed the northern border of the Great Wall, prompting the Emperor (Pat Morita) to call up as many reinforcements as possible to protect the people. This is of no consequence to Mulan (Ming-Na Wen) and her father Fa Zhou (Soon-Tek Oh) and mother Fa Li (Freda Foh Shen), who concern themselves with prayer over their daughter’s meeting with a matchmaker. It’s of the utmost importance that she marry well, to uphold the family honor.

This, of course, is the exact opposite of Mulan’s interests. She couldn’t care less about a man, or bearing strong sons, though she isn’t immune to the effects of her family’s standings in the community. One of the skills she’s tested on is her ability to pour tea, which would appeal greatly to future in-laws. When the Emperor’s proclamation from the Imperial City arrives, requiring one man from each family to join the army in the looming war, Mulan hatches a plan to stop her infirm father from going into combat – a plan that suits her against-the-grain attitude surprisingly well.

The initial setup, which establishes some outrageously sexist views on women’s purpose in families and in society (often excused with the phrase “traditional values”), clearly intends to generate contrast for Mulan’s coming courage and ingenuity. Although it’s a questionable method, it does the trick, highlighting how Mulan’s gender can’t stop her from not only doing what men are capable of, but also surpassing their deeds. The messages of independence, following one’s own path, and fighting for (or earning) respect among peers, are clear staples of recent Disney enterprises. “My little baby, off to destroy people.”

Many of the character designs expectedly embrace exaggerated stereotypes, while the animation itself never seems quite up to the standard of the studio’s previous animated features (some early computer-augmented additives do look sharp). And though several of the songs are catchy, they’re not of the caliber of the “renaissance” period initiated by “The Little Mermaid.” On the voice-acting front, Eddie Murphy as mini-dragon sidekick Mushu (functioning in almost the exact same role as Mulan within his own clan of ancient ancestor guardians) delivers a memorable turn, if for no other reason than his voice is so recognizable – and he’s given the freedom to perform his usual rapid-fire routines (James Hong and Harvey Fierstein are perhaps better in minor supporting roles, as they don’t get an opportunity to overshadow the storytelling with their schticks).

Despite a brief running time, some of the training sequences and montages carry on a bit too long, protracted by an extraneous song or two. And the inclusion of a love story with military leader Captain Shang (B.D. Wong) is maybe unavoidable, but curiously antithetical to Mulan’s narrative of individuality and nonconforming to outdated societal norms. But the adventure is effective, the humor (mostly as slapstick when Murphy isn’t involved) is amusing, and the conclusion is satisfying (finally adopting the notion of acceptance as opposed to potential) – even if the end result is only moderately engaging rather than emotionally powerful or thematically resonant. “You the man! Well, sorta.”

– Mike Massie