‘The Little Mermaid’ review: Halle Bailey swims to stardom

Disney’s 1989 classic The Little Mermaid makes a splashy return to the screen with a refresh that finally bucks Disney’s live-action adaptation losing streak

After enduring expressionless hyperrealistic animals in The Lion King and an eerily artificial genie in a surprisingly dull Aladdin, Disney has finally broken their live-action losing streak with Rob Marshall’s adaptation of the 1989 classic The Little Mermaid. And there were two clear reasons for the movie’s success. 

There’s Marshall himself, who has become the go-to movie musical adapter since winning Best Picture for Chicago in 2002 — though The Little Mermaid is easily his best film since. And, of course, there’s Halle Bailey who makes the jump from musician to actor with the ease of Lady Gaga in A Star is Born, Janelle Monae in Moonlight and Hidden Figures, and Rina Sawayama in John Wick: Chapter Four (What? Like it’s hard?). If anyone keeps the movie afloat, it’s her Ariel.

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This version of The Little Mermaid largely follows the story of the original. Ariel, a young mermaid who longs to live in the surface world, gets the chance to live her dream when sea witch Ursula (a deliciously camp Melissa McCarthy) strikes a deal to make her into a human in exchange for her siren call. Of course, there’s a catch. If she doesn’t get the swoon-worthy Prince Eric (Jonah Hauer-King) to give her true love’s kiss by the third sunset, she will revert to a mermaid and find herself pledged to Ursuala.

Her journey to the surface world is aided by her father King Triton’s (Javier Bardem) trusted advisor Sebastian (voiced by Hamilton’s Daveed Diggs), her (terrifying looking) fish friend Flounder (Jacob Tremblay), and squirrely seagull Scuttle (Awkwafina). And while the surface world brings its own kind of magic, it is ahem… under the sea that is the most impressive.

Where Jon Favreau strived for realism in The Jungle Book or The Lion King (because a lion version of Shakespeare’s “Hamlet” just begs for realism), Marshall was unafraid to infuse surrealism into the world — it is a movie about mermaids after all. There’s no better example than the colorful musicality of “Under the Sea”, which largely errs to the original sequence. As Diggs joyously laments on the wonders of their ocean world, colorful sea creatures dance around the coral reef — whether sea turtles marching to the beat or sea fans mimicking burlesque fans. It’s the kind of energized musical number that was lost to the uncanny valley of The Lion King. 

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“Kiss the Girl” is formed by the sounds of the environment — wind through the trees, bird fluttering their wings — bringing the impossible magic of the cartoon into the real world. McCarthy, taking note from Ursula’s original inspiration Divine, brings us a deliciously camp “Poor Unfortunate Souls” that teems with the spellbinding antics of the original number while bringing a new sense of danger with the live-action elements. The movie’s sense of stakes was a welcome surprise. 

And while the classic numbers certainly do the heavy lifting, the movie charts new territory. Screenwriter David Magee (Life of Pi, Finding Neverland) expanded the lore in ways that help the movie reach new depths (though others leave it shipwrecked). Moving the story to an unspecified Caribbean island adds a fresh perspective to the well-worn Disney Princess genre — and adds an island musicality that keeps the scenes between musical numbers light and airy.

New numbers like “For the First Time” fall into step with the classic score, while still feeling like it fits within the tone and possibilities of this adaptation. The island kingdom itself has a new life (and music) to it — adding a new complexity to the themes of the original.

At the core of the movie’s success, however, is Hauer-King’s Prince Eric, who feels more than just a love interest thanks to added character development — and a new musical number that plays suspiciously like “Edgar’s Prayer” from Barb and Star Go To Vista Del Mar — and, of course, Bailey’s singular Ariel who teems with charisma, uniqueness, nerve, and talent. Her version of “Part of Your World” (and its subsequent reprises) have bore themselves into my psyche since seeing the movie — and likely the rest of the audience if judging by the applause break after her final ethereal riff.

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Bailey’s take on “Part of Your World” is perhaps the greatest characterization of the movie’s success. Her rendition has a deep reverence for Jodi Benson’s iconic original but finds ways to push the song in new directions to feel one with herself. As much as she is the lead of the movie, the movie is her. From her palpable chemistry with Hauer-King to her doe-eyed wonder at the surface world to her teenage angst of where she came from, her performance drives (sails?) The Little Mermaid to its peak.

Does The Little Mermaid change my mind about Disney’s commitment to producing films off of existing IP? No. I’d rather they focus on creating new stories for this generation to fall in love with. Still the movie, for all its imperfections and missteps — I will never forgive Lin Manuel Miranda for subjecting me to “The Scuttlebutt” rap — finds heart within material that already had one beating strong in it. And that heart is Halley Bailey, the Disney princess a new generation needs and deserves.