The Little Mermaid (Movie)

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    Honey, I Blew Up the Family Film

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    What ever happened to the live-action adventures and G-rated titles adults and children could watch together in the theater?My son’s first movie was “La La Land,” which he watched strapped to my chest during a baby-friendly matinee in Brooklyn. He was 7 months old then, hungry and appropriately fussy, which means that I spent most of the movie standing at the back of the theater — nursing, jiggling, shushing — and that neither of us has seen “La La Land” all the way through. But you can’t say I didn’t start him early.For me, moviegoing is a pleasure learned in the 1980s from my own mother. She mostly took me to movies that she wanted to see — “Stranger Than Paradise,” “Heat and Dust.” That decade brought plenty of kid-centered blockbusters too: “E.T.,” “The Goonies,” “The Princess Bride.” Moviegoing is a habit I’ve hoped to instill in my own children. A theatrical experience insists that we all watch the same thing at the same time. At home, on movie night, I’m as likely to be dealing with the dishes or scrolling on my phone. In a theater, we share the experience. Also: popcorn.But as we’re not superhero fans (and unlike my mother, I balk at taking school-age kids to R-rated films), our moviegoing has been sporadic. Most months, there’s nothing we want to see in theaters. We’re not alone.In the spring, Matt Singer, the editor and critic at ScreenCrush.com, posted on Twitter, “As a parent of little kids it would be great if there was literally *any* movie in theaters right now I could take them to.” His choices at the time were “Shazam! Fury of the Gods,” a PG-13 sequel with a body count that would have terrified his 5-year-old, or “Puss in Boots: The Last Wish,” which had already been running for four months, mostly because exhibitors keen to attract a family audience had no other options.G-rated titles have largely disappeared. Even the Pixar film “Elemental” was rated PG.Disney/PixarNow, in August, there are a few more films in wide release. My kids, 7 and 10, recently saw “Elemental,” Pixar and Disney’s latest animated collab, with my mom. (Her tastes have mellowed.) Theaters are still showing the live-action remake of “The Little Mermaid” and the computer-animated “Spider-Man: Across the Spider-Verse.” “Ruby Gillman, Teenage Kraken” seems to have come and gone more quickly, though it remains available on demand.David A. Gross, a film consultant who publishes a newsletter on box office numbers, estimates that family films will earn about $4.9 billion this year, commensurate, or nearly, with recent prepandemic totals. But there are only 12 major theatrical releases currently scheduled for the whole of 2023, about half as many as in 2019. And the lineup, which includes the current “Teenage Mutant Ninja Turtles: Mutant Mayhem” and the forthcoming “Paw Patrol: The Mighty Movie” and “Trolls Band Together,” is not particularly inspiring.“The companies aren’t in it for charity,” Gross said. “They’re going make movies that have an advantage.”Of these 12, a third could reasonably be called original: “Elemental,” “Ruby Gillman” and the forthcoming “Wish,” with Ariana DeBose voicing Disney’s latest animated heroine, and “Migration,” about a family of ducks written improbably by Mike White (“White Lotus”). The others all depend on pre-existing intellectual property — cartoons, video games, books. Many of these movies, though by no means all, have a lowest-common-denominator feel, testifying to conservatism among studios and a deficit of imagination and ambition.So what happened to the great family movie?Well, a lot of things. “It’s cultural, it’s technological, it’s financial, it’s sociological,” said Paul Dergarabedian, a senior analyst at Comscore, a media analytics company.“Wish,” from Disney,” is one of the few original films aimed at children this year.Walt Disney Animation StudiosWhile certain stressors on the family film predate 2020, the pandemic obviously compounded the current predicament: It disrupted the supply chain, pushed many families out of the moviegoing groove and diverted quality releases to streaming services. Of the major genres, the family film has been the slowest to rebound theatrically, which has made studios reluctant to take chances on a wide release for riskier material.“Right now, the question is what does it take to get any movie in the theater that isn’t giant branded I.P.,” said Nina Jacobson, a producer and a past president of the Buena Vista Motion Pictures Group, a studio in the Walt Disney Company. The theatrical marketplace, she suggested, has largely stopped taking those chances, creating a closed loop. “If you don’t give people anything to go to see other than Marvel movies, then you can say only Marvel movies work,” Jacobson said.But family films have been undergoing a shift that predates both 2020 and Marvel dominance. The G rating, a stalwart of the films of my childhood, has nearly disappeared, a corollary to the reluctance of producers of family films to admit that they’re meant for families.“My entire career, there has been a shortage of movies that the youngest kids can see in the theater,” said Betsy Bozdech, an editorial director at Commonsense Media, a site that rates and reviews media aimed at children. “The G rating basically doesn’t exist anymore.” This year, we will probably see no full-length G-rated movies. (Even the “Paw Patrol” sequel is PG.) Only a decade ago, there were 18. In 2003? More than 30.The dearth of family films is also a function of the much chronicled demise of midbudget movies — including ones that Jacobson oversaw, like “Freaky Friday” and “The Princess Diaries.” Midbudget movies don’t have to work as hard to earn back their investment and they can afford to appeal to a narrower tranche of the moviegoing public, meaning the releases can be more particular in tone and style.Since the turn of the millennium, there has been a related move away from live-action theatrical family films and toward animation. What live action there is, as in the case of Disney’s high-grossing remakes, often relies on so many computer-generated effects that it doesn’t seem live at all. (Compare the recent, dutiful live action “Beauty and the Beast,” with 1989’s delightful “Honey, I Shrunk the Kids” or 1991’s delirious “Hook.”) These movies can still delight and make meaning, as with the ecstatic kid reactions to Halle Bailey’s Little Mermaid. But there’s particular wonder and possibility in seeing characters who look like you or behave like you onscreen, in real-world or real-world adjacent situations.“To see a young lead in a movie who you identify with, to see a story with you in mind, to see that you matter in that storytelling as a young person, those are movies that you hold onto,” Jacobson said.No one has to go to the movies anymore. Wait a month or two or six and you can see these same films from the comfort of your couch. And quality may not even matter absolutely. Certainly there are days — rainy or too hot — when the temptation of a climate-controlled seat and Raisinets suffices, no matter the movie on offer.But if we want movie theaters to survive, that will mean building the moviegoing habit in children, which means giving them an experience, beyond the candy counter, that keeps them coming back. A third “Trolls” movie may not offer that. Instead studios will need to get comfortable with some risk and some trust, making movies for children that don’t talk down to them.“Guillermo del Toro’s Pinocchio,” a Netflix movie, shows that auteurs are still interested in making films for young viewers.Netflix, via Associated Press“Kids are more sophisticated and have the emotional capacity to be able to absorb things that traditional Hollywood doesn’t think they can absorb,” said Todd Lieberman, a producer whose coming-of-age World War II tale, “White Bird: A Wonder Story,” will be released later this year.We can’t expect an “E.T.” every year, or even movies commensurate with the gems I recall from my youth: Agnieszka Holland’s “The Secret Garden,” Alfonso Cuarón’s “A Little Princess,” John Sayles’s “The Secret of Roan Inish.” But we should expect better. And better remains possible.Prestige directors are still interested in family movies — see “Guillermo del Toro’s Pinocchio,” Greta Gerwig’s “Little Women” and planned Narnia movies. And have you seen the “Paddington” movies? Perfection. So it doesn’t seem unreasonable to imagine a future in which there are more and finer children’s movies in theaters, ones that send you back out into the light blinking and amazed. As an adult moviegoer, I often feel spoiled for choice. If we want children to return as adults, we should spoil them, too.“Give people great original family content and they will show up,” Jacobson said. “But it’s on us to give it to them.” More

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      Alan Menken on ‘The Little Mermaid,’ New Songs and Revised Lyrics

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      The composer talked revisiting “The Little Mermaid” after nearly 35 years and the similarities between working with Howard Ashman and Lin-Manuel Miranda.Alan Menken composed the musical versions of “Little Shop of Horrors” and “A Bronx Tale,” but he is at peace with being known as a Disney composer.Mostly.“One of the areas where it got to me — you go to the Alan Menken Pandora station, and it’s all these little Disney tunes, and I go, ‘What is that?’” Menken said. Listeners could probably answer him: after all, he’s best known for the scores for beloved Disney animated films like “Aladdin,” “Beauty and the Beast” and of course “The Little Mermaid.”Menken was speaking by video on a recent morning from his sunlit studio at his home in North Salem, N.Y. At 73, he is an EGOT winner with eight Oscars, 11 Grammys, an Emmy and a Tony prominently displayed in a glass case behind him. It was a few weeks before the release of the live-action remake of “The Little Mermaid” and as with Disney’s other live-action and stage adaptations of the classic animated films he scored with the lyricist Howard Ashman, he collaborated with a new partner — in this case the “Hamilton” creator Lin-Manuel Miranda — to add a few more numbers to his original Oscar-winning tunes.In some ways, Menken said, working with Miranda reminded him of his decade-long partnership with Ashman, who died from AIDS in 1991 at age 40.“Sometimes your collaborator goes, ‘Oh, that’s the problem, because this is doing this and it’s overstepping emotionally here,’” Menken said. “It’s something that Howard had. I have those same moments with Lin where I go, ‘He knows.’”(The remake also includes a few adjustments to old songs. A verse in “Poor Unfortunate Souls” urging Ariel to keep quiet was dropped and a line in “Kiss the Girl” suggesting Prince Eric kiss her without asking was changed. Menken has said elsewhere that the filmmakers wanted to avoid suggesting both that the prince “would, in any way, force himself” on Ariel and that young girls might feel they shouldn’t use their voices.)In a recent interview, Menken discussed what it was like to revisit a score he wrote nearly 35 years ago, his experience working with Miranda on new songs and how he learned to embrace being known as a Disney composer. These are edited excerpts from our conversation.DisneyYou have approximately 10 million projects in development, among them “Animal Farm,” “Hercules,” “Nancy Drew” and “Night at the Museum” stage musicals; the live-action adaptation of “The Hunchback of Notre Dame”; and a new animated musical film, “Spellbound.” Do you just have a spreadsheet?Yeah, kind of. [Laughs] After a while, you feel like a workaholic.Do you enjoy revisiting your older work, or do you do so more out of a sense of protectiveness?A little of both. These are my babies — I don’t want to walk away from them. Sometimes I’ll think, “What more do we have to say in the telling of this story?” And then it will be incumbent upon me to get to know the director, the book writer, and talk to them about the things they want to add. That’s where it becomes fun for me.What was it like working with Lin-Manuel Miranda on new songs for “The Little Mermaid”?It was a lot of fun — I knew about him because he went to the [Hunter College Elementary School] with my niece, and I would always hear about this little boy, Lin-Manuel Miranda, and how he was obsessed with “The Little Mermaid.”Of the three songs we did together, one is more in my and Howard’s wheelhouse, “Wild Uncharted Waters.” It’s a ballad sung by Prince Eric, and it’s the roiling inside him — it’s very emotional. “For the First Time,” which Ariel sings when she gets legs about all the things she’s noticing for the first time, is a real combination of our styles. I had given Lin a fragment from the score from the original animated movie, and he said, “Wait, can we put a 2 against the 3?” [referring to the tempo], and so it got that real rhythmic rub to it. And the one that was much more in Lin’s wheelhouse was “The Scuttlebutt,” which is sung by Scuttle and Sebastian [played by Awkwafina and Daveed Diggs]. I gave him a little Caribbean tune thinking he would lyricize that, and in fact, he rapped over it! It was just one of those moments where you sense somebody’s brilliance.In 1997, David Horn, now the executive producer of PBS’s “Great Performances” series, told The New York Times, “When there’s a Sondheim musical, everyone refers to it as a Sondheim musical. When it’s something Alan has done, they refer to it as a Disney musical.” Do you still mind your shows being known as Disney musicals?I sometimes would have a little resistance to simply being characterized as “Disney composer Alan Menken” because I already had a huge hit with “Little Shop of Horrors” before I went to Disney. And while I was at Disney, I wrote so many other outside projects — the “Christmas Carol” that was at Madison Square Garden for [nearly] 10 years with Lynn Ahrens, [stage shows] “Sister Act,” “A Bronx Tale,” “Leap of Faith,” [the series] “Galavant” — but there is no musical opportunity that is at the level of writing a musical for Disney. If you do your work right, you will have an experience that nothing else can match.What’s your favorite musical of all time?I remember when I saw the original “Chorus Line” — Blew. My. Mind. It pulled back the curtain in terms of the back story of people who work in theater, especially dancers and the ensemble. It was so powerful, and that was the stagecraft as much as anything else. Michael Bennett [the show’s creator] was such a genius.What dream project is still on your bucket list?Howard, before he died, wanted to do a musical based on a Damon Runyon story — [adapted for a] movie called “The Big Street” — and I took a number of cracks at writing it. The problem is, it has an unlikable central character. It’s challenging, and I still want to do it — maybe it should be an opera. I wrote, I think, a brilliant musical with David Spencer, “The Apprenticeship of Duddy Kravitz” [previously a novel and a movie]. But it’s very hard to get that musical on — it’s thorny and challenging, but I don’t shy away from those. I just have to go with what happens. More

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      How the New ‘Little Mermaid’ Goes Back ‘Under the Sea’

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      The director Rob Marshall discusses his take on the musical number featuring Daveed Diggs as Sebastian and Halle Bailey as Ariel.In “Anatomy of a Scene,” we ask directors to reveal the secrets that go into making key scenes in their movies. See new episodes in the series on Fridays. You can also watch our collection of more than 150 videos on YouTube and subscribe to our YouTube channel.When the director Rob Marshall took a journey “down where it’s wetter,” he decided to bring a dance company with him.The beloved musical number “Under the Sea” has received a makeover in the new version of “The Little Mermaid,” this time featuring one live performer (Halle Bailey as Ariel) and a host of exotic computer-generated dancing sea creatures flanking her.Narrating the scene, Marshall called it “the most challenging musical sequence I’ve ever created.” He had to figure out how to introduce dance into the scene and make it “feel organic.”To pull it off, he “took a page out of Walt Disney’s playbook.” Disney worked with the Ballets Russes to bring animated sequences to life in “Fantasia.” And here, Marshall worked with the Alvin Ailey American Dance Theater, bringing its members to London to execute the choreography of the scene. Then, CG animators used the company’s dance as a template to animate the movement of the sea creatures.Read the “Little Mermaid” review.Read an interview with Halle Bailey.Sign up for the Movies Update newsletter and get a roundup of reviews, news, Critics’ Picks and more. More

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      ‘The Little Mermaid’: 13 Differences Between the Original and Remake

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      It’s not just her voice Ariel loses in the new live-action adaptation. Plus, Sebastian has some updated advice in “Kiss the Girl.”This article contains spoilers about the live-action version of “The Little Mermaid.”Ariel, poor girl, already had no voice — and that was before the sea-witch added selective amnesia to the mix.It’s one of more than a dozen changes to the classic 1989 Disney animated film made for the new live-action adaptation, which is almost an hour longer. Among them: new songs; updated lyrics to “Kiss the Girl” and “Poor Unfortunate Souls”; and a personality for Prince Eric.Here are 13 ways the remake, directed by Rob Marshall, differs from the original.1. Ariel has locs.Halle Bailey, whose casting as Ariel led to a racist backlash, and the crew knew that death-by-flat-iron to recreate Ariel’s flowing mane of straight red hair was not the way to go. Instead, Bailey sported her natural locs, which were wrapped with strands of red hair.“As Black women our crowns are so special to us,” Bailey, who has worn locs since she was 5, told The New York Times. “Our hair is important to us in every single way, so I was really grateful that I was allowed to keep that essence of me.”2. Flounder looks like … a fish.When audiences got their first look at live-action Flounder in the trailer, there was a consensus: too real. “Before and after ozempic,” The Atlantic’s Sophie Gilbert tweeted with shots of Ariel’s anxious sidekick looking plump and colorful then and flat and scaly now.3. Prince Eric is a perk, not the prize.For Bailey’s Ariel, it’s the human world that piques her curiosity, not just the handsome prince (played by Jonah Hauer-King). Instead of giving up everything for him, Bailey told The Face, “it’s more about Ariel finding freedom for herself because of this world that she’s obsessed with.”Ariel (Halle Bailey) and Prince Eric (Jonah Hauer-King) have time to explore in the new version.Giles Keyte/Disney4. The prince is more than just a pretty face.Now he has a back story, too. “In the animated film — I’m sure the original creators would agree with this — it’s a wooden, classic prince character with not a lot going on,” Marshall told Entertainment Weekly. Now Eric’s trajectory is similar to Ariel’s. “He doesn’t feel like it’s where he fits in, his world,” Marshall said.5. Meet Prince Eric’s mother.Queen Selina (Noma Dumezweni) isn’t fond of the underwater realm and doesn’t understand her son’s obsession with oceanic exploration. The remake uses the added time to explore the divide between mermaids and humans.6. You might sympathize with King Triton.The overprotective ruler of the seas (Javier Bardem) also gets a more nuanced narrative, focused on why he hates humans so much. (His wife, Ariel’s mother, was killed by humans, a back story that fans of the prequel and TV series may know but that isn’t in the original.)7. Ariel and Eric share actual interests.Though their courtship still takes place in a blink-and-you-miss-it three days, the extra run time means they can do things other than make goo-goo eyes at each other, like poring over artifacts in his study and visiting a market.8. At times, you’ll feel like you’re watching “Hamilton.”Lin-Manuel Miranda — the “Hamilton” creator who’s also a big “Little Mermaid” fan — collaborated with the animated film’s composer, Alan Menken, on three new songs. (The original lyricist, Howard Ashman, died in 1991.)The new tunes are: “The Scuttlebutt,” a very Miranda-esque rap performed by Scuttle (Awkwafina) and Sebastian (Daveed Diggs) when they are trying to figure out whom Prince Eric will marry; a quintessentially Menken ballad for Prince Eric, “Wild Uncharted Waters”; and a Latin-infused number for Ariel, “For the First Time,” when she gets her legs.Ursula no longer urges Ariel to keep quiet in the tune “Poor Unfortunate Souls.”Disney9. Two beloved tunes sport updated lyrics.While “Kiss the Girl” originally suggested Eric do just that without asking Ariel first (“It don’t take a word, not a single word/Go on and kiss the girl”), Sebastian now advises him to “use your words, boy, and ask her.” Menken told Vanity Fair they wanted to avoid suggesting the prince “would, in any way, force himself” on Ariel.And in “Poor Unfortunate Souls,” while Ursula originally informs Ariel that “on land it’s much preferred/for ladies not to say a word” and that “it’s she who holds her tongue who gets a man,” the new version, sung by Melissa McCarthy, drops that verse entirely. (Because, Menken told Vanity Fair, some lines “might make young girls somehow feel that they shouldn’t speak out of turn, even though Ursula is clearly manipulating Ariel.”)10. “Les Poissons” is Les Poi-gone.As is Chef Louis, the French-accented cook who is out to serve up Sebastian.11. Ariel has selective amnesia regarding a certain kiss.Because simply losing her voice would have been too easy. Ursula’s spell now makes Ariel forget she must get Eric to kiss her.12. Get ready to be Team Grimsby.You might have forgotten he was even in the original, but Art Malik’s performance as the prince’s confidant will have you waving the Grimsby flag. He does everything he can to help Ariel and Eric get together.13. Ariel, not Eric, kills the sea-witch.That’s right: In 2023, women impale their own monsters. More

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      ‘The Little Mermaid’ Review: Disney’s Renovations Are Only Skin Deep

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      Disney’s live-action remake, with Halle Bailey starring as Ariel and a diverse cast, is a dutiful corrective with noble intentions and little fun.The new, live-action “The Little Mermaid” is everything nobody should want in a movie: dutiful and defensive, yet desperate for approval. It reeks of obligation and noble intentions. Joy, fun, mystery, risk, flavor, kink — they’re missing. The movie’s saying, “We tried!” Tried not to offend, appall, challenge, imagine. A crab croons, a gull raps, a sea witch swells to Stay Puft proportions: This is not supposed to be a serious event. But it feels made in anticipation of being taken too seriously. Now, you can’t even laugh at it.The story comes from Hans Christian Andersen, and when Disney made a cartoon musical of it in 1989, the tale’s tragedy and existential wonder got swapped for Disney Princess Syndrome, wherein one subjugation is replaced with another, an even exchange redrawn as liberating love. But the people who drew it had a ball with the hooey.In both movies, the mermaid Ariel wants out of her widowed father’s underwater kingdom and into the arms of the earthbound merchant prince whom she rescues in a shipwreck. Her father forbids, but that sea-witch, Ursula, fulfills Ariel’s wish, giving her three days to procure a kiss from that prince and remain human or spend the rest of her life enslaved to Ursula. Somehow mirth and music ensue. In the original, that’s thanks mostly to Ariel’s talking Caribbean crab guardian, Sebastian, and her Noo Yawky dingbat sea gull pal, Scuttle.This remake injects some contemporary misfortune (humans despoil the water, we’re told). It also packs on another 52 minutes and three new songs, trades zany for demure and swaps vast animated land- and seascapes for soundstagey sets and screensavery imagery. They’re calling it “live-action,” but the action is mostly CGI. There’s no organic buoyancy. On land, Ariel can walk but can’t speak, which means whoever’s playing her needs a face that can. Achieving that was a piece of cake in the cartoon. Ariel could seem bemused, enchanted, bereft, coquettish, alarmed, aghast, elated. And her scarlet mane was practically a movie unto itself.Now Ariel is in the singer Halle Bailey’s hands. And it’s not that she can’t keep par with the original’s illustrators. It’s that this movie isn’t asking her to. It takes the better part of an hour for the flesh-and-blood Ariel to go mute. And when she does, whatever carbonation Bailey had to begin with goes flat. This Ariel has amnesia about needing that kiss, taking “cunning” off the table for Bailey, too.With her sister, Bailey is half of the R&B duo Chloe x Halle. They’ve got a chilling, playful approach to melody that Bailey can’t fully unleash in this movie. For one thing, she’s got two songs, one of which — the standard “Part of Your World” — does manage to let her quaver some toward the end. But what’s required of her doesn’t differ radically from what Jodi Benson did in the first movie. Ostensibly, though, Bailey has been cast because her Ariel would differ. Bailey’s is Black, with long copper hair that twists, waves and locks. Racially, the whole movie’s been, what, opened up? Diversified? Now, Ariel’s rueful daddy, King Triton, is played by a stolid Javier Bardem, who does all the king’s lamenting in Spanish-inflected English. Instead of the Broadway chorines of the original, her mermaid siblings are a multiethnic, runway-ready General Assembly.The prince, Eric (Jonah Hauer-King), is white, English and now seems to have more plot than Ariel. “More” includes meals with his mother, Queen Selina (Noma Dumezweni), who’s Black, as is her chief servant, Lashana (Martina Laird). The script, credited to David Magee, John DeLuca, and the director Rob Marshall, informs us that the queen has adopted the prince (because somebody knew inquiring minds would need to know). As the bosomy, tentacled Ursula, who’s now Triton’s banished, embittered sister, McCarthy puts a little pathos in the part’s malignancy. She seems like she’s having a fine time, a little Bette Midler, a little Mae West, a little Etta James. And the sight of her racing toward the camera in a slithery gush of arms and fury is the movie’s one good nightmare image. But even McCarthy seems stuck in a shot-for-shot, growl-for-growl tribute to her cartoon counterpart and Pat Carroll’s vocal immortalization of it.The cartoon was about a girl who wanted to leave showbiz. She and her sisters performed follies basically for King Triton’s entertainment. The songs by Howard Ashman and Alan Menken aimed for the American Songbook’s Disney wing. The voices and evocations were Vegas and vaudeville. Dry land was, entertainment-wise, a lot dryer, but that was all right with Ariel. This new flesh-and-blood version is about a girl who’d like to withdraw her color from the family rainbow and sail off into “uncharted waters” with her white prince.Melissa McCarthy, as the villainous sea witch Ursula, channels a little Bette Midler, a little Mae West, a little Etta James.DisneyWhat’s really been opened up, here? For years now, Disney’s been atoning for the racism and chauvinism and de facto whiteness of its expanded catalog (it owns Pixar and Marvel, too), in part by turning its nettlesome cartoons into live-action corrections. This is important, culturally reparative work from a corporation that, lately, has more steadily inched humanity away from bottom-line priorities; consequently, it has found itself at war with the governor of Florida, where Disney World lives. Onscreen, though, that correctness tends to smell like compromise. For every “Moana,” “Coco” or “Encanto” — original, wondrous, exuberant animated musicals about relationships and cultures Disney didn’t previously notice or treat with care — there’s something timid and reactive like this.The brown skin and placeable accents don’t make the movie more fun, just utopic and therefore less arguable. Now, what you’ve got is something closer to the colorblind wish fulfillment of the Shonda Rhimes streaming universe, minus the wink-wink, side-eye and carnality. This “Little Mermaid” is a byproduct. The colorization hasn’t led to a racialized, radicalized adventure. It’s not a Black adaptation, an interpretation that imbues white material with Black culture until it’s something completely new; it’s not “The Wiz.” It’s still a Disney movie, one whose heroine now, sigh, happens to be Black. There is some audacity in that. Purists and trolls have complained. They don’t want the original tampered with, even superficially. They don’t want it “woke.” The blowback is, in part, Bailey’s to shoulder. And her simply being here confers upon her a kind of heroism, because it does still feels dangerous to have cast her. Sadly, the haters don’t have much to worry about.You don’t hire Rob Marshall for radical rebooting. He can do visual chaos and costume kitsch (“Chicago,” “Memoirs of a Geisha,” “Into the Woods”). He can do solid. And he can usually give you a good set piece while he’s at it. This time, it’s the rowboat scene in which Ariel shows Eric how to say her name, a scene that produces “Kiss the Girl,” the calypso number that Sebastian (voiced with an island accent by Daveed Diggs) sings to cajole Eric into planting one on Ariel and unwittingly restoring her voice. (The lyrics have been tweaked to add more consent.) It’s the swooniest things get.Otherwise, the movie’s worried — worried about what we’ll say, about whether they got it right. That allergy to creative risk produces hazards anyway. I mean, with all these Black women running around in a period that seems like the 19th century, the talk of ships and empire, Brazil and Cartagena just makes me wonder about the cargo on these boats. And this plot gets tricky with a Black Ariel. When Ursula pulls a fast one and reinvents herself as Vanessa, a sexy rival who appears to be white and woos Eric with a siren song in Ariel’s voice, there’s a whole American history of theft and music to overthink, too.It’s really a misery to notice these things. A 9-year-old wouldn’t. But one reason we have this remake is that former 9-year-olds, raised on and besotted with these original Disney movies, grew up and had questions. In that sense, “The Little Mermaid” is more a moral redress than a work of true inspiration. Which isn’t to say there’s nothing inspired about it. In fact, the best sequence in the movie combines these ambitions of so-called inclusion with thornier American musical traditions. It’s the moment when Scuttle reveals that Eric’s about to marry Ursula.The song that breaks this news to Ariel and Sebastian is a rap called “The Scuttlebutt” with lyrics by Lin-Manuel Miranda. And Awkwafina, who does Scuttle’s voice, performs most of it while Bailey looks on in what I’m going to call anguish. Here’s an Asian American performer whose shtick is a kind of Black impersonation, pretending to be a computer-generated bird, rhythm-rapping with a Black American man pretending to be a Caribbean crab. It’s the sort of mind-melting mess that feels honest and utterly free in its messiness, even as the mess douses a conveniently speechless Black woman.Watching it, you realize why the rest of the movie plays it so safe. Because fun is some risky business. This is a witty, complex, exuberant, breathless, deeply American number that’s also the movie’s one moment of unbridled, unabashed delight. And I can’t wait to see how Disney’s going to apologize for it in 34 years.The Little MermaidRated PG. Running time: 2 hours 15 minutes. In theaters. More

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      Halle Bailey Makes a Splash in ‘The Little Mermaid’

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      Emotions wash over Halle Bailey in waves.When a little girl embraced her at Disney World in March, Bailey, who has the plum role of Ariel in the live-action film of “The Little Mermaid,” fought hard to keep her composure. But when a box of sequined Little Mermaid dolls with auburn locs and cinnamon skin arrived on her doorstep, she couldn’t hold it in.Listen to This ArticleFor more audio journalism and storytelling, More

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      ‘The Little Mermaid’ and ‘Iron Man’ Join National Film Registry

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      Those movies, along with ‘Hairspray’ and ‘When Harry Met Sally,’ are among 25 selected by the Librarian of Congress.Ariel is officially part of the human world.“The Little Mermaid,” the 1989 Disney animated movie that revolves around a rebellious teenage mermaid fascinated by life on land, is among the motion pictures that have been selected for preservation this year on the Library of Congress’s National Film Registry. Also being added are “Iron Man” (2008), the first film in the Marvel Cinematic Universe, and “When Harry Met Sally,” the beloved 1989 romantic comedy that begins with a pair of college graduates embarking on a cross-country drive from Chicago to New York.On Wednesday, the library plans to announce that a total of 25 more films, dating from 1898 to 2011, will be honored for their historical and cultural significance and added to the registry, helping to preserve them for future generations.The library also allows the public to nominate movies at its website, and other titles that were among the most submitted were Brian De Palma’s 1976 horror classic “Carrie,” an adaptation of Stephen King’s novel of the same title; and “Betty Tells Her Story” (1972), the Liane Brandon film that was the first independent documentary of the women’s movement to explore issues of body image, self-worth and appearance in American culture.A group of notable comedies were also among the selections: “Hairspray,” John Waters’s 1988 musical about a bubbly, overweight Baltimore teenager and her friends who integrate a local TV dance show in the early 1960s; “Cyrano de Bergerac,” Michael Gordon’s 1950 adventure comedy adaptation that made José Ferrer the first Hispanic performer to win an Oscar for best actor; and “House Party,” Reginald Hudlin’s 1990 film about a high school student who sneaks out, a comedy that introduced hip-hop music and new jack swing to mainstream America.Two significant genre films were also included: “The Ballad of Gregorio Cortez” (1982), the Robert M. Young western that was part of the 1980s Chicano film movement and starred Edward James Olmos; and “Super Fly” (1972), Gordon Parks Jr.’s searing commentary on the American dream that is considered a classic of the Blaxploitation genre.The Projectionist Chronicles a New Awards SeasonThe Oscars aren’t until March, but the campaigns have begun. Kyle Buchanan is covering the films, personalities and events along the way.Golden Globe Nominations: Here are some of the most eyebrow-raising snubs and surprises from this year’s list of nominees.Gotham Awards: At the first official show of the season, “Everything Everywhere All at Once” won big.Governors Awards: Stars like Jamie Lee Curtis and Brendan Fraser worked a room full of academy voters at the event, which is considered a barometer of film industry enthusiasm.Rian Johnson:  The “Glass Onion” director explains the streaming plan for his “Knives Out” franchise.Four films that broke ground in depicting LGBTQ+ issues onscreen were also selected: “Behind Every Good Man” (1967), Nikolai Ursin’s student short that offered an early look at Black gender fluidity in Los Angeles; “Word Is Out: Stories of Some of Our Lives” (1977), which was created by six queer filmmakers collectively known as the Mariposa Film Group and which featured a diverse group of gay men and lesbians discussing their lives at a time when such onscreen depictions were rare; “Tongues Untied” (1989), a video essay by Marlon Riggs about Black men loving Black men; and the most recent film to join the registry, Dee Rees’s “Pariah” (2011), about a Black teenager in Brooklyn as she comes to terms with her identity.The lineup also honors nine documentaries, including the oldest film in this year’s class, “Mardi Gras Carnival” (1898), the earliest known surviving footage of the New Orleans festival. It was long thought to be lost before being recently discovered at a museum in the Netherlands. Other nonfiction films being added include “Titicut Follies” (1967), Frederick Wiseman’s classic look inside the Bridgewater State Prison for the Criminally Insane in Massachusetts that exposed the abuse of patients; and “Union Maids” (1976), a portrait of three female labor activists involved in workers’ movements from the early 1930s to the present. That film was directed by Julia Reichert, who died last week, James Klein and Miles Mogulescu.The Library of Congress said in a statement that these additions bring the total number of titles on the registry to 850, chosen for “their cultural, historic or aesthetic importance to preserve the nation’s film heritage.” Movies must be at least 10 years old to be eligible, and are chosen by Carla Hayden, the Librarian of Congress, after consulting with members of the National Film Preservation Board and other specialists. More than 6,800 films were nominated by the public this year.A television special, featuring several of these titles and a conversation between Hayden and the film historian Jacqueline Stewart, will be shown Dec. 27 on TCM.Here is the complete list of the 25 movies being added to the National Film Registry:1. “Mardi Gras Carnival” (1898)2. “Cab Calloway Home Movies” (1948-51)3. “Cyrano de Bergerac” (1950)4. “Charade” (1963)5. “Scorpio Rising” (1963)6. “Behind Every Good Man” (1967)7. “Titicut Follies” (1967)8. “Mingus” (1968)9. “Manzanar” (1971)10. “Super Fly” (1972)11. “Betty Tells Her Story” (1972)12. “Attica” (1974)13. “Carrie” (1976)14. “Union Maids” (1976)15. “Word Is Out: Stories of Some of Our Lives” (1977)16. “Bush Mama” (1979)17. “The Ballad of Gregorio Cortez” (1982)18. “Itam Hakim, Hopiit” (1984)19. “Hairspray” (1988)20. “The Little Mermaid” (1989)21. “Tongues Untied” (1989)22. “When Harry Met Sally” (1989)23. “House Party” (1990)24. “Iron Man” (2008)25. “Pariah” (2011) More

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      in Theater

      Pat Carroll, TV Mainstay Turned Stage Star, Dies at 95

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      Tired of sitcoms and game shows, she reinvented herself in a one-woman show about Gertrude Stein — and, later, in a gender-bending Shakespeare role.Pat Carroll, who after many years on television as the self-described “dowager queen of game shows” went on to earn critical acclaim for her work on the stage, died on Saturday at her home on Cape Cod, Mass. She was 95. Her daughter Kerry Karsian, confirmed the death to The Associated Press. She did not specify the cause.Ms. Carroll broke into television as a sketch comedian in the 1950s and later became a fixture on “Password,” “I’ve Got a Secret” and other game shows. She was also seen frequently on sitcoms like “The Mary Tyler Moore Show” and dramas like “Police Woman.” But a part she took in 1977, when she was 50, inspired her to change direction.In a 1979 interview with The New York Times, she recalled being cast as Pearl Markowitz, an overly protective mother, on the short-lived comedy “Busting Loose,” and asking herself, “Is this all there is left — playing mothers on TV?”Rather than sinking comfortably into that stereotype, Ms. Carroll provided a bold answer to her own question by commissioning Marty Martin, a young Texas playwright, to write a one-woman play for her about the poet Gertrude Stein.“Gertrude Stein Gertrude Stein Gertrude Stein” opened Off Broadway in 1979 and received glowing reviews. Ms. Carroll won Drama Desk and Outer Critics Circle awards in 1980 for the performance, and in 1981 her recording of the play won a Grammy Award in the “best spoken word” category.“It was the jewel in my crown,” Ms. Carroll said in an interview for this obituary in 2011, recalling how the play came about. “I was recently divorced, I had gained a lot of weight, and the phone was not ringing. It was not the agents’ or directors’ or producers’ fault that the phone was not ringing. I thought, ‘I am responsible for creating some kind of work.’ And I began thinking of people to do.”Ms. Carroll in 1979 in the title role in the Marty Martin play “Gertrude Stein Gertrude Stein Gertrude Stein” at the Circle Repertory Theater. “It was the jewel in my crown,” she said of the play.Gerry GoodsteinA decade later, Ms. Carroll, still looking for challenging work, sought out the role of the conniving, overweight — and, obviously, male — Falstaff in a production of “The Merry Wives of Windsor” in Washington.“When Ms. Carroll makes her first entrance,” Frank Rich wrote in The Times, “a nervous silence falls over the audience at the Shakespeare Theater at the Folger here, as hundreds of eyes search for some trace of the woman they’ve seen in a thousand television reruns. What they find instead is a Falstaff who could have stepped out of a formal painted portrait: a balding, aged knight with scattered tufts of silver hair and whiskers, an enormous belly, pink cheeks and squinting, froggy eyes that peer out through boozy mists. The sight is so eerie you grab onto your seat.”“One realizes,” Mr. Rich continued, “that it is Shakespeare’s character, and not a camp parody, that is being served.”Patricia Ann Carroll was born on May 5, 1927, in Shreveport, La., and grew up in Los Angeles. Her father, Maurice, worked for the Los Angeles Department of Water and Power; her mother, Kathryn (Meagher) Carroll, worked in real estate and office management.Ms. Carroll attended Immaculate Heart College in Los Angeles on an English scholarship but left before graduating. “I realized that what I was learning was not going to advance what I wished to do,” she said in 2011. “I always thought experience was the best preparation.”In 1947, Ms. Carroll left Los Angeles for Plymouth, Mass., where she worked at the Priscilla Beach Theater and, she said, ate, drank and breathed the theater. She made her professional stage debut there that year in “A Goose for the Gander,” starring Gloria Swanson. Soon after, she made it to New York, where, among other odd jobs, she shined shoes.She initially made her mark in the early 1950s as a comedian — first at Le Ruban Bleu, the Village Vanguard and other nightclubs, then on television, on “The Red Buttons Show” and other variety series.She was a regular on the Sid Caesar sketch show “Caesar’s Hour,” for which she won an Emmy in 1957, and, in the early 1960s, on “The Danny Thomas Show,” on which she played the wife of the Thomas character’s manager.Ms. Carroll made the first of her four Broadway appearances in 1955 in “Catch a Star!,” a revue written by Neil and Danny Simon. Her performance did not win the kind of notices that foreshadow stage success: Brooks Atkinson of The Times, for example, wrote that she did not have “a bold enough technique to come alive in the theater.”The response was different in 1959 when she played Hildy, the flirtatious cabdriver who tries to persuade a shy sailor on 24-hour shore leave to come to her apartment with the song “I Can Cook, Too,” in a revival of the Leonard Bernstein-Betty Comden-Adolph Green musical “On the Town” at the Carnegie Hall Playhouse. “If the evening has a star,” Arthur Gelb of The Times wrote, “it is Pat Carroll, a blue-eyed blonde with a genius for the deadpan and double take.”Ms. Carroll’s work at the Folger Theater garnered her three Helen Hayes Awards: outstanding lead actress for her roles in “The Merry Wives of Windsor” and Bertolt Brecht’s “Mother Courage and Her Children” and outstanding supporting actress for her role as the nurse in “Romeo and Juliet.”Ms. Carroll married Lee Karsian, a William Morris agent, in 1955. The couple, who divorced in 1975, had three children: a son, Sean, who died in 2009, and two daughters, Kerry Karsian and Tara Karsian, who survive her. Ms. Carroll played an Appalachian grandmother in the film “Songcatcher.” The role earned her an Independent Spirit Award nomination and a jury prize at the Sundance Film Festival.James Bridges/Lions Gate FilmsAlthough she spent most of her career on television (where her later work included appearances on “ER” and “Designing Women”) and the stage, Ms. Carroll also had some memorable roles on the big screen. In 1968 she played Doris Day’s sister in “With Six You Get Eggroll.” In 2000 she played an Appalachian grandmother in “Songcatcher,” a role that earned her an Independent Spirit Award nomination and a jury prize at the Sundance Film Festival.For many of her film and TV performances, Ms. Carroll went unseen: She provided voices for numerous cartoon characters, most notably Ursula, the menacing sea witch, in Disney’s “The Little Mermaid” in 1989. That role, she once said, was “the one thing in my life that I’m probably most proud of.”“I don’t even care if, after I’m gone, the only thing that I’m associated with is Ursula,” she added. “That’s OK with me, because that’s a pretty wonderful character and a pretty marvelous film to be remembered by.” More