MELBOURNE UNIVERSITY FILM INQUIRER

The saying goes, “the seaweed is always greener in somebody else’s lake.” But in Disney’s case, the seaweed is greener when you give a beloved classic room to breathe and develop into its own, somehow more beautiful iteration of its animated predecessor.

Allowed to do just that, The Little Mermaid is a breath of fresh air amidst the studio’s tired series of modern adaptations, cultivating a certain optimism for those still to come. Its brilliance lies in its capacity to achieve the delicate balance between honouring the nostalgic quality of the animated classic and recognising areas for improvement. Like in the film’s reinvigorated score by original composer Alan Menken, which effortlessly weaves motifs from the original film, such as Ariel’s siren call or the well known chorus to ‘Part of Your World’, and enlivens the film’s musical world without neglecting what made the former so cherished.

From smaller details, such as the reimagining of the iconic rock pose, the luminescence of Ariel’s scales and the added high notes at the end of ‘Part of Your World’, to an enormous (and desperately needed) update to Eric’s character and lyric changes that address concerns surrounding consent, it really is a masterclass in adaptation, showing that shifting from animation to (largely) live-action can be worth it if done correctly. The addition of extra scenes for Eric, though contributing to an extra hour in run time, are necessary to establish his character in a world where viewers will no longer settle for a bland but pretty white boy as the every desire of a superior female lead. Through the 2023 film, viewers are given the opportunity to know his character more intimately, as Jonah Hauer-King portrays him with a newfound vulnerability and yearning. In many ways, this updated Eric speaks to all the best qualities of Disney’s recent male leads, such as Kristoff and Luca, who are unashamed in their longing and aspirations, romantic or otherwise. Scenes with Eric’s sea crew or the addition of a solo song are crucial in foregrounding his and Ariel’s compatibility and chemistry. Chemistry that was formerly only upheld by Sebastian’s serenade.

In considering the lengthier run time, it is also important to note its effectiveness in addressing problems raised by Ariel’s voicelessness. Director Rob Marshall (a Disney regular, The Little Mermaid marking his fifth film for the studio) and writer David Magee extend the first act, carefully playing with pace and giving more attention to Ariel’s life underwater, ensuring her introduction isn’t merely a road block the film needs to break through before it can ignite the romance. By giving Ariel more room to stand on her own two feet and enriching Eric’s character, the film safeguards the classic tale’s place in contemporary cinema, applying to it current values in a way that is important and simply delightful without suffocating viewers with any performative wokeness.

But while Halle Bailey and King’s turns as Ariel and Eric are revelations in their own right – with Bailey embodying the princess in a way that is effervescent and angelic in both her stunning chords and grounded acting capabilities – this modern take on the characters is undeniably elevated by the stunning visuals which surround them. Through these graphics the strengths of live-action film, supported by the vast technological advancements of the medium and computer-generated imagery since 1989, are well-utilised and deliciously showcased. Above water, this manifests through the depiction of people and culture, vibrant street markets and lively sea shanties. And underwater, the beauty of these visuals is packed into every bubble and grain of sand. Ariel’s seascape is the real hero of the film, coming to life with movement and colour in the most exciting ways, and serving as the perfect backdrop for the highly anticipated ‘Under the Sea’, which not only delivered, but exceeded all my expectations through its vibrant and, most importantly, different take on the number. So much so that, were this song the only scene in the film, the adaptation would still be justified.

Little one-liners from Daveed Diggs, Awkwafina and Melissa McCarthy’s beloved ocean characters do at times cheapen the overall production with forced humour dissonant to the elegance of the best Disney films. But the attention to detail and brilliant performances from Bailey and King specifically renders this film a success in a sea of adaptation misses. While the sea itself, as the film’s most commendable aspect, must serve as a reminder to anyone who’d forgotten that, when it comes to breathtaking visuals, Disney, like the little mermaid herself, should never be underestimated.

The Little Mermaid can be seen in cinemas now. This review was produced in collaboration with Farrago Magazine.