The original Disney animated version of “Aladdin” is one of the studio’s all-time best thanks to a wonderfully melodic score, with songs by Alan Mencken and Howard Ashman and possibly the all-time greatest animated movie voice performance in history, Robin Williams as the Genie. The mercurial Williams found his ultimate mode of presentation with the help of Disney’s top animators as the magical, infinitely malleable, cartoon character, instantly creating characters ranging from Ed Sullivan, William F. Buckley, and Jack Nicholson to Peter Lorre and a bunch of zombies, always retaining the essential heart and humor that made a fantasy come alive. (The closest Williams ever came to replicating avalanche of portrayals might be his innumerable improvisations with a shawl on “Inside the Actor’s Studio.”) No live action version, even with the help of the latest CGI technology and the powerhouse charisma of Will Smith, can match the kaleidoscopic imagination of the 1992 Genie.

This version does make some substantial improvements in the story of the “street rat” who loves a princess and then, with the help of the genie in a magical lamp, pretends to be a prince so he can court her. Disney says it has the most diverse cast in the studio’s history, and it is great to see all of the lead roles performed by people whose ethnicity matches their characters, with Egyptian-born Mena Massoud as Aladdin and Naomi Scott, of British and Indian heritage, as Jasmine. The locations are authentic as well. Filmed in Jordan, and with the always-outstanding work of the Disney production designers, the settings are splendid, and the classic songs still sound fresh and hummable, especially “Prince Ali” and “A Whole New World.” The film should really be called “Aladdin and Jasmine” because it gives the princess a full, meaningful role in the story, respecting her agency, ability, and dedication to her people. It gives her father, the Sultan (Navid Negahban) more agency, as well, unlike the animated character, who spends much of the story in an enchanted fog. And it’s nice to see Genie get a bit more of a story, too, thanks to the handmaiden to the princess, played by “SNL’s” Nasim Pedrad.

But the story-telling itself is foggy in this version. Jafar (Marwan Kenzari), the story’s villain, does not have the menace of the original. He seems young and angry, more petulant than ominous. There is a hint of an intriguing backstory for him that gets lost in the busy, “look at me”-ness of the film. A storyline about whether the Sultan should approve invasion of another country does not work well and a dance number with the Genie controlling Aladdin has too many cuts to deliver on the humor of the situation. The “Step Up” movies do these moments much better, and Jasmine’s new song from “La La Land’s” Benj Pasek and Justin Paul is outshone by the originals. A wink at the map of Disneyland as Jasmine does the ancient equivalent of Googling “Prince Ali” is out of place.

If there had been no animated version, this one would have served as an entertaining family movie. But as has happened too often with Disney’s live action remakes of its best animated films, it is just an unnecessary reminder of how much we loved the original.

Parents should know that this film includes fantasy peril and violence including near-drowning, attempted murder and references to killing and to sad death of parents, action, brief alcohol, and a kiss.

Family discussion: What would your three wishes be? Remember to be careful with your words! Why was Aladdin so awkward when he becomes Ali? Why was Jafar so angry? What does it mean to be a diamond in the rough, and what made Aladdin one?

If you like this, try: the original Disney animated version and the stories of the 1001 Nights