Once Upon A Disney #28: The Little Mermaid

I wanna be where the good films are... 

Oh hey, we got there! It's time for a few weeks of consistently high-quality Disney flicks, with the award-winning '90s Renaissance period. Get ready for Beasts and Hunchbacks a-plenty, Greek Gods and Genies galore. But first, we're diving into a family favourite... 

The Little Mermaid (1989) 

There are a number of reasons that Disney's animated films of this period feel like a return to form. One is the source material. Far from the city-slick modern retelling of Oliver Twist with sunglasses-wearing dogs, Disney returns to nostalgic, period-set, proper fairytales. The Little Mermaid is the first in a string of films that seem to have spiritually picked up straight where Sleeping Beauty left off, with princesses, romance, magic, perilous battles, and show-stopping musical numbers. 

The scenes when we finally come out of lockdown

This film might just be one of the best examples of this musical fairytale formula working at its best. From the opening scene, where the dashing Prince Eric's ship is setting sail for adventure, we're plunged into an age past, where men sing sea shanties and mermaids live in glistening palaces under the sea. (I'm assuming this is historically accurate). As well as setting a dreamlike, story-book feel, the opening song 'Fathoms Below,' which blends seamlessly into the film's overture, gives you the impression that you are about to settle in for a proper, Broadway-style musical. And, of course, it doesn't disappoint. 

Perfect shot of Flounder there

Legendary composer Alan Menken (along with genius lyricist Howard Ashman) has written some of the greatest Disney songs of all-time, spanning The Little Mermaid, Beauty and the Beast, and Aladdin — and Menken continues to give magical life to Disney films to this day. As compelling as The Little Mermaid is in its story and characters, it's Menken and Ashman who put the wind in its sails — which in turn breathed new life into Disney's releases going forward. 'Part of Your World' is deceptively simple, but heartbreakingly tender. 'Under the Sea' is infectiously joyous. 'Kiss the Girl' is smooth and velvety. And 'Poor Unfortunate Souls' — well, it's a cabaret headliner. 

Speaking of which (or 'witch') The Little Mermaid delivers one of Disney's best ever villains. Ursula takes everything important to an old school Disney villain — the menace of Maleficent, the manipulation of Lady Tremaine, the madness of Cruella — and adds her own swaggering, campy charm. She's essentially a Drag Queen, chewing the scenery at every turn, and unapologetically getting her nasty sh-t done. Poor unfortunate Ariel is really no match for this evil auntie. 

When deciding what to get from the Chinese takeaway

Another striking element of Ursula's rhetoric, and a theme that comes to the surface surprisingly often in the film, is a transparent discussion of sexual politics. While parents in recent times complain — perhaps rightly — that the moral of this tale (that a woman literally gives up her voice to get a man) is grossly unfeminist, we have to remember that there is an element of subversion at play. During Ursula's bargaining with Ariel to take her voice in exchange for turning her human, she famously tells her to use 'body language' to attract the object of her desires, Prince Eric. 

'The men up there don't like a lot of blabber / They think a girl who gossips is a bore!'

This, coming from the villain, is of course a jab at the outdated notion that men want women to be seen and not heard — and Ariel only cautiously believes it as she has zero experience of human interaction. Unsurprisingly, we soon learn that Ariel's lack of verbal communication with Eric is the main reason she doesn't secure his 'true love's kiss' sooner. He wants a woman with her own unique voice. 

'Look out, the flume is just ahead!'

Having said this, though, the character design does have a noticeable sexual overtone compared to previous Disney films. While Ursula shimmies and struts around, flaunting, let's say, her ample bosom, Ariel herself cuts rather a provocative figure for a 16-year-old. Of course, as a mermaid, there's nothing inherently inappropriate with her wearing a couple of seashells and not much else — but her body-language as she emerges from the sea, and the cheeky camera angles around her naked form before she gets clothed to see Eric, all seem to point to something just a little suggestive below the surface. 

Who filmed this, Michael Bay? 

We see this again in Jasmine and Aladdin's flirting, and perhaps even more obviously with Meg's teasing of Hercules. The main explanation I can think of is that it mirrored depictions of teenage sexuality in the rest of Hollywood at the time. Think coming-of-age movies like Dirty Dancing and Sixteen Candles. Much like the recent wave of feminism has played down heterosexual stereotypes in recent years, the '80s and '90s were all about strong, yet sexually alluring female characters. 

Anyway, got myself a bit carried away with a deep analysis of an animated singing mermaid there. One of the joys of The Little Mermaid, which carries through all the best Disney films, is that there's plenty for adults, teens, and kids to enjoy. Alongside teenage romance, you've also got the hilarious slapstick sequence 'Les Poissons,' where a crazed French chef tries to stuff poor old Sebastian the crab, and the charming misunderstanding when Ariel thinks a fork is a comb (because a seagull told her so). Sebastian, Scuttle, and Flounder make a funny and heartwarming trio of Ariel's cheerleaders. And even the hapless King Triton makes our hearts melt by the closing credits. All-in-all, this one swims its way straight into the Classic Disney vault. 

Me in hayfever season

Villain Rating: 10/10. Ursula is absolutely one of the best Disney Villains of all time. If she wasn't so obviously evil, shriveling people into little shrimps and such, I'd honour her as my queen.  

Best Song: It's a strong soundtrack, but I think 'Under The Sea' just clinches it. It's easy to forget how great it is when it's one of the most overplayed, but the toe-tapping calypso beat and uplifting tune make it an absolute bop. Not to mention those lyrics — 'What do they got, a lot of sand? We got a hot crustacean band!' 

Disney Detail: I didn't spot any obvious easter eggs in this one, but that could be because it's intentionally setting a new age, while being unmistakably 'Disney'. 

Why it's a Classic: This is a return to Disney purity. A fairytale through and through, The Little Mermaid has the nostalgic, sparkling feel of early Disney classics like Cinderella, Pinocchio, and Sleeping Beauty, brought up-to-date with wry humour, and a modern soundtrack deserving of the best Broadway musical. And it's the start of a pretty special streak in the Disney animated canon. 

Once Upon A Disney #27: Oliver & Company

We made it to the last film before the big Disney Renaissance! There's a string of bonafide classics coming up, but for now, we're swapping one big city for another with the radical retelling of a Dickens classic... 

Oliver & Company (1988)

'So when do we get to watch The Little Mermaid?'

As far as I can remember, this is the second time I've ever seen this film, and on this viewing, I may understand why it didn't make it into my childhood rotation. A loose rehash of Oliver Twist, this movie feels — more strikingly than most — a real product of its time. This is a celebration of the '80s, in the music, fashion, humour, choice of voice artists, and just about every element. As a '90s kid, it seems I was born too late to truly appreciate its atmosphere at the time, or look on it nostalgically as an adult. But it's not without its joyful charms. 

The contemporary New York setting is the beating heart of the film and is in large part what roots it to the decade. Unlike The Great Mouse Detective or The Black Cauldron, which reach back into tried-and-tested Disney tropes of fairytales and turn of the century cosiness, Oliver & Company is a big brash, city caper. With a backdrop of traffic and a cast of street-wise canines, this one moves to the rhythm of a new age.

Wow, the Beatles really ripped off this scene...  

Unlike the more famous musical version of this story, Disney's rendition swaps out a traditional, Broadway-style score for a style that was everything at the time — the pop music video. From the opening scene-setting number, 'Once Upon A Time In New York City' — performed by '80s icon Huey Lewis — the pop sensibility announces itself. The sound-mixing means that you can still hear the cityscape underneath the musical numbers, but the vocals and the band are clearly laid over the top 'from the studio' afterwards — a classic '80s move. 

While Oliver, the wide-eyed kitty, is the official protagonist, the city-slicking pooch Dodger is the poster boy for this strutting, modern-day musical. Voiced by Billy Joel, Dodger is the ring-leader of Fagin's ragtag group of mongrels, treating the city like his playground. From a modern point-of-view, he's a bit of a walking cliché of 'hip dude,' with his 'savoir faire' demeanor, neckerchief, and even wearing shades at one point. You can see where The Simpsons' Poochie got his inspo from, is all I'm saying.

How are you doing, fellow groovy dudes? 

 Completing Fagin's gang of streetwise doggos is Tito, the Latino, womanizing Chihuahua, Einstein, the ironically dim Great Dane, Francis, a randomly posh British Bull Dog, and Rita, the token bitch kindly yet sassy Saluki. Supporting Fagin (their human owner) in picking the pockets of unwitting New Yorkers, they form Oliver's unlikely family, with some tender moments between the gang. 

As with Dickens' tale, though, Oliver finds himself in more prosperous company as the story progresses — in this case, into the home of Jenny, a sweet little girl whose parents are very conveniently out of town for the duration of the film. Jenny, who is, let's say, not dissimilar to The Rescuers' Penny (in colouring, demeanor, age, and of course, that nearly-name) immediately takes a shine to the lost kitty and the pair form a very sweet bond, enjoying playing in the park and practising piano together.  

The only way to greet people nowadays *sanitizes hands*

This is much to the dismay of the scene-stealing Georgette, the spoilt, showgirl-inspired poodle voiced by Bette Midler, who craves undivided attention. Her song, 'Perfect Isn't Easy,' harks back to Hollywood musicals of the 1950s, where 'dames' were covered in perfume and rolling their eyes over their mobster husbands. With a twinkle of Vegas drag queen thrown in. It's all a little out-of-place, but she's so fabulous, she gets away with it. 

That post-weekly hairbrush feeling

These competing new families set up the emotional crux of the film, where Oliver has to choose whose path to follow. Luckily, a string of kidnappings helps clear up the situation. After Fagin attempts to get some cash out of stealing Oliver from Jenny, the ever-menacing Bill Sykes is much more successful in double-crossing Fagin to hold Jenny for a ransom (did I hear plot twist?) while her butler Winston is distracted by watching a wrestling match. It's down to the animals to band together and save the little girl from near-death. Nothing like a terrifying hostage situation to test where a cat's true loyalties lie, eh? 

All in all, Oliver & Company is a little too rooted to the period which has aged it more than other 'pets save the day' films like The Aristocats and Lady and the Tramp, but it does have some genuinely funny moments, a tender heart, a rollicking pace, and really expressive character design that gives it a lot of flair. Someone does need to fire that butler though. 

'I know it's Monday, please bring wine'

Villain Rating: 8/10 — Disney's version of Bill Sykes doesn't pull back the punches. He's a physically imposing, fear-inducing mobster, casting a very real shadow over Fagin, Oliver, and Jenny. Kidnapping a small child for a ransom and threatening to feed your enemies to vicious dogs is pretty dark stuff. However, I do have to dock a couple of points for lack of campiness, which for me is the mark of a well-rounded Disney villain. 

Entering the Zoom chat at the end of a long week

Best Song: 'Why Should I Worry' by Dodger and the gang, mainly because it's the only song I can still recall after watching the film. It also seems to epitomise the tone of the whole story, blaring saxophones and all. 

Disney Detail: Other than Oliver presenting more than a passing resemblance to Simba, and his Aristocats-style piano playing, we can definitely glimpse Roger and Pongo navigating the busy streets of Manhattan, while Fagin's Mickey Mouse watch gives a playful nod to the '80s era of commercialism. Add Tito's rendition of 'Heigh Ho' when he gets frisky, and it's a who's who of Disney references. 

Why it's a Classic: This one does seem a little incongruous in the catalogue, with a less nostalgic storytelling style to previous and future films. To its credit though, it's a well-paced adventure with some Disney touchstones that keep it in line with our expectations. An adorable lead, believable friendships, humour, and real peril. Oh, and of course, talking cats and dogs.