Just a few days ago, news broke about an upcoming “feminist retelling” of a well-known novel. The details of which novel are not important. It’s possible that many people will read and enjoy it, just like the countless individuals who have already preordered tickets for a live-action, Black female lead version of a beloved Disney animated film. Repurposing and reimagining old stories has become a common practice in the entertainment industry, although often with lackluster results.
This year alone, we’ve seen the release of the new “Fatal Attraction” series that attempts to infuse erotica and thrills through a so-called feminist lens into the original 1987 movie, ultimately falling short of satisfying expectations. “Grease: Rise of the Pink Ladies” takes a vibrant and subtly subversive classic from 1978, diversifies the cast, but unfortunately turns it into an unwatchable mess on the small screen. Amazon’s “Dead Ringers” is an awkward remake of the 1988 body horror film, so far removed from the original that it begs the question of why they didn’t just create something entirely new. And now, we have “The Little Mermaid” to add to this list, which raises the perennial question of why these remakes are even necessary.
Leading up to its release, there was a flurry of promotions surrounding the fact that director Rob Marshall’s new movie features a Black actress, Halle Bailey, as princess Ariel, instead of the original white voice actor, Jodi Benson. Disney, like many other remake campaigns, seemed to believe that this alone would make the film unique and progressive. While it is undoubtedly a step forward to have a Black princess in a major Hollywood production, there is nothing groundbreaking or transformative about this movie.
As Angelica Jade Bastién of Vulture aptly put it, “This ‘Little Mermaid’ only provides the skin of progress, not the bone, marrow, sinew, and guts necessary to change a story on a deeper level.” The film’s bewildering two-hour, 15-minute runtime, nearly an hour longer than the 1989 original, offers nothing to justify its length. It simply retreads the same narrative as the original, with Ariel, a mermaid, yearning to be part of Prince Eric’s human world, even though they have barely spoken to each other. Director Rob Marshall’s attempt to replicate many elements from the first film, including Javier Bardem as King Triton, falls flat.
In the new version, Ariel’s overprotective father King Triton still opposes her desire to be with humans, fearing for her safety just as he did in the original. The villainous Ursula, this time played by Melissa McCarthy, remains a threat at the bottom of the sea, waiting for another unsuspecting soul like Ariel to fall into her trap. Ariel strikes a deal with Ursula to gain legs and a limited timeframe to win over her human crush, while her friends Sebastian, Flounder, and Scuttle, voiced by Daveed Diggs, Jacob Tremblay, and Awkwafina respectively, try to keep her out of trouble. The film also retains the most iconic musical numbers from the original, such as “Poor Unfortunate Souls,” “Part of Your World,” “Under the Sea,” and “Kiss the Girl.”
But what is the purpose of this new “Little Mermaid” if it merely replicates the same story beats as the original? That answer remains unclear. While it may be unfair to directly compare the two films, it is hard not to do so when one of the few enjoyable aspects of the new version is anticipating the moments it borrows from the 1989 classic. Despite Melissa McCarthy’s comedic talents, her portrayal lacks the chilling malevolence and vocal prowess of Pat Carroll in the animated version. Daveed Diggs and Awkwafina also deliver awkward performances as Sebastian and Scuttle, struggling to capture the essence of their respective characters.
The movie heavily relies on Halle Bailey’s exceptional vocals and her portrayal of a curious, teenage mermaid torn between duty and desire to prevent it from sinking into mediocrity. However, even she can only do so much to save the film. The inclusion of a poorly received rap collaboration between Scuttle and Sebastian, courtesy of Lin-Manuel Miranda, has been criticized by social media users. This song, among other half-hearted updates to the original, attempts to justify the movie’s extended runtime but ultimately falls short.
Furthermore, the film’s handling of its Black lead actress is uncertain. While it explores Ariel’s longing for independence as a teenage girl, it also emphasizes the clash between human and sea creatures. Queen Salina, Eric’s mother who adopted him when he washed up on the shore, reprimands him for his affection towards beings considered different. King Triton constantly criticizes humans for taking away his love and leaving his children motherless. These conflicting messages about race and inclusion in the film’s narrative are thinly veiled and fail to make a significant impact. It is as if the movie is unsure of how to handle the fact that its protagonist is now Black. The on-screen pairing of a Black actress with a white romantic interest, without addressing their respective backgrounds, further adds to the confusion.
Ultimately, “The Little Mermaid” fails to bring anything new or meaningful to the table. It rides on the coattails of its predecessor while attempting to justify its existence through superficial updates and extended runtime. The film’s lackluster execution of its ideas and mishandling of its Black lead actress leaves much to be desired. Despite Halle Bailey’s best efforts, the movie falls short of greatness and fails to justify its existence in an era hungry for genuine progress and innovation.
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