When it comes to modern Disney classics, they mostly date back to the Disney Renaissance. Dating from the late 1980s to the late 1990s, the period saw releases such as Beauty and the Beast, Aladdin, and The Lion King – notably films that not only looked beautiful but had amazing soundtracks, cementing the studio as the undisputed king of the animated feature. The first film of the Disney Renaissance was an adaptation of Hans Christian Andersen’s fairy tale The Little Mermaid, which won two Academy Awards, including Best Original Score. Over 30 years after its initial release, it is the latest Disney film to get the live-action treatment.
Directed by Mary Poppins Returns director Rob Marshall, The Little Mermaid sees young mermaid Ariel (Halle Bailey) yearn to live in the forbidden human world and falls in love with human Prince Eric (Jonah Hauer-King). Sea witch Ursula (Melissa McCarthy) offers her a trade: her mermaid abilities – including her voice – for life as a human for three days.
With Disney celebrating its centennial this year, there is a heavy sense of nostalgia that comes with its works. If there is a contest between its animated films and live-action films, fans would firmly and more likely stand with the former. In addition, most of them aren’t totally convinced Disney’s ongoing direction to not only revamp but essentially update its filmography with bigger, bolder versions. Recent adaptations have been poorly received – last year’s release of Disney’s Pinocchio shrivelled under the shadow of Guillermo del Toro’s Oscar-winning version while this year’s Peter Pan & Wendy was restricted to a Disney+ release, denying it a wider, more mainstream audience.
However, The Little Mermaid had tongues wagging before its release with its colourblind casting of singer-songwriter Halle Bailey as Ariel. Cynics were quick to jump on the ‘no’ wagon, deeming her casting as unfaithful to the animated classic but as Disney’s recent films have proven (Encanto, Strange World), it is time to shake things up.
Along with the modern casting, Marshall’s live-action adaptation of Disney’s 1989 animated version focuses towards the antagonism between humans and merpeople. Humans, mostly sailors, hunt merpeople so they don’t seduce and harm them. At the same time, King Triton (Ariel’s father, played by Javier Bardem) has forbidden merpeople from venturing to the surface – not for the safety of his people but for marine life as each shipwreck ‘pollutes’ his kingdom. This offers an environmental angle that elevates the original narrative of a doomed and tragic romance and builds firmer boundaries between the two worlds.
This also sets a stronger foundation for Ariel and Eric’s romance. Gone is the love-at-first-sight angle and is replaced with a young mermaid who has found someone who shares her personal frustrations. As members of royal families, they have an unspoken responsibility to their kingdoms but feel suffocated by their respective overprotective single parents and subsequently long for a sense of freedom. They also display compassion towards others and a wish to connect with other cultures. This resonance feeds Ariel’s fascination with human life – and drives her desire to join them above the surface.
Although there are endearing touches in this updated version, problematic elements in its character development and narrative fail to lift The Little Mermaid. Ariel’s initial strong will dwindles in the second act into a cute-but-mute performance and Eric is unsure of what he wants and ends up juggling between his head and his heart. As the film goes on, the scales begin to tip towards Ariel’s favour as there are efforts to establish her as an empowering heroine, especially as her sisters have more to do in the film than sing, gossip and look pretty. It is just unfortunate that her actions come across as too little, too late.
In fact, the melee of inconsistent performances and messy visual effects is the tip of the iceberg of this remake. From Daveed Digg’s heavily accented performance as royal adviser crab Sebastian, Awkwafina’s grating seagull Scuttle to Jonah Hauer-King’s lost Eric, there is a lack of charisma among the characters that isn’t helped by the new (unnecessary) musical additions courtesy of Lin-Manuel Miranda. Not to mention, the script is practically word-for-word from the animated version so it boils down to being a paint-by-numbers remake. However, The Little Mermaid is shaping Halle Bailey as this year’s Rachel Zegler as the newcomer swaps her music career for the silver screen, showcasing outstanding singing abilities while conveying innocence and naivety as the eponymous protagonist. In addition, McCarthy milks her portrayal as Ursula, highlighting the character’s opportunistic and manipulative nature.
Overall, it’s another swing-and-miss for Disney. The Little Mermaid may have a modernised take on the 1989 feature with a charming lead performance from Halle Bailey, but there is not enough to lift this live-action adaptation, resulting in a soulless and pointless remake.
The Little Mermaid is in UK cinemas on Friday 26 May.
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Director: Rob Marshall, David Magee (screenwriter)
Stars: Halle Bailey, Jonah Hauer-King, Javier Bardem, Awkwafina, Jacob Tremblay, Daveed Diggs, Melissa McCarthy, Art Malik
Runtime: 135 minutes
Country: USA
