‘Little Mermaid’ solves the Disney remake conundrum

As a kid who grew up in the 90s golden era of Disney Animation, I haven’t responded well to the studio’s run of live-action remakes. Often overlong, creatively bankrupt, and visually disturbing, the remakes of classics like “The Lion King” and “Beauty and the Beast” have represented the nadir of the Disney corporation’s worst impulses.

I expected to feel the same disdain for “The Little Mermaid,” the latest live-action remake that swaps bright animation for a misguided “photo-realistic” visual palette. Say what you will about the story elements in “Avatar: The Way of Water,” but at least James Cameron knew how to craft a stunning, spectacular world under the sea.

“The Little Mermaid” still suffers from distractingly uneven visual effects. Shockingly, however, “The Little Mermaid” overcomes those missteps by emphasizing the incredible music and recalibrating the story to focus more on the events above water.

The biggest reason “The Little Mermaid” works is the casting of Halle Bailey as Ariel, the red-headed mermaid who dreams of a surface life away from the pressures of her overprotective father. Bailey is immediately captivating, even when interacting with talking animals, and just wait until she belts out a few bars from “Part of Your World.”

Much has been written about some changes to the classic “Little Mermaid” songs. Thankfully, most of the great content remains, with the original’s co-writer Alan Menken on board for the remake, as well as lyrical assists from Lin-Manuel Miranda. The songs you love are lovingly updated and performed, and the three new songs fit nicely into the movie as well. Did I mention how Bailey crushes “Part of Your World?” It’s seriously fantastic.

Ariel isn’t as boy crazy in this new version either. Sure, she’s keen on Prince Eric (Jonah Hauer-King), but Ariel also feels the pull of a life of freedom and new discoveries. Eric’s character is more fleshed out as well, as he struggles with his relationship with his mother (Noma Dumezweni) in ways that mirror Ariel’s conflict with King Triton (Javier Bardem, looking a tad uncomfortable in the CGI-enhanced role).

Melissa McCarthy, also heavily enhanced by CGI-wizardry, delivers a wickedly fun take on Ursula, the sea witch who fools Ariel into the feet-for-voice contract that dominates the film’s second half. By that point, “The Little Mermaid” commits to its story above water, allowing director Rob Marshall (“Chicago”) to craft more traditional and memorable “movie musical” set pieces.

“The Little Mermaid” clocks in at a good half-hour longer than the 1989 original, though most of the additions work to the film’s benefit and only occasionally slow the momentum of the classic narrative. Vocal work by Daveed Diggs and Awkawina as Sebastian and Scuttle are responsible for the bulk of the film’s mostly pleasant humor, and Diggs’ musical prowess elevates two classic numbers, “Under the Sea” and “Kiss the Girl.”

While I can’t quite say it was necessary for Disney to update “The Little Mermaid,” it’s one of the few titles in this run of live-action remakes that seems to be led by people who cared about making a good movie. The changes and additions are thoughtful and don’t call attention to themselves. The casting is almost uniformly fantastic. It honors the classic movie but changes enough of it to justify its existence. At least compared to the remakes of “Aladdin” and “The Lion King,” it’s a certifiable triumph.

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Tyler Wilson can be reached at twilson@cdapress.com.