The War of the Worlds (1953) (Movie Review)

  The 1950’s is often considered a dark time in the history of classic cinema, at least for the A-list pictures. B-movies on the other-hand went through a renaissance of sorts, and for Science Fiction … this decade sparked a great golden age, which firmly shaped the whole genera. While most films of the time still fell into that cheap, B-movie camp, there were still some gems like “The Day the Earth Stood Still” and “Forbidden Planet”, which maintained the campy esthetic, yet still went that extra mile into classic motion picture territory. The 1953 picture “The War of the Worlds” is one of the bright spots of this time, as it can be branded as a campy alien invasion movie of the 50’s, but the execution was done so well, and with so much ground breaking innovation for it’s time, that it’s been preserved as a classic motion picture in its own right. As far as I’m concerned, this movie remains the gold standard for the hostile alien invasion genera, and while it doesn’t quiet peak into the realms of my all-time favorite movies, it never the less has a secure spot among my favorite classic Sci-Fi pictures, and it’s easily my personal favorite to come from the 1950’s.  

  Of course, it helped that “The War of the Worlds” already had an impact on the public culture, well before the release of the movie. The original 1898 novel by H. G. Wells is a staple in early Science Fiction literature, and was considered ahead of it’s time, both in relevant themes and in creating a freighting premise. 

The real event however was the 1938 radio drama hosted by Orson Welles, which aired as a live broadcast, and caused mas hysteria, as many tuning in thought it might have been real coverage. This helped generate a lot of hype for the movie when it finally came out several decades later, and was a smashing success from both critics and audiences … almost like an early example of our modern summer blockbusters. The movie follows the main layout of the book, focusing on invading Martians from Mars, who aim to annihilate the human race, and colonize Earth as their new home. The film opens with a delightfully cheesy intro, as we see a montage of stock-footage from both World Wars One and Two, and a stock narrator stating that … “Of all the great world wars man kind has faced, nothing could have prepared us for … The War of the Worlds”. It’s so corny, I love it, and the music by Leith Stevens is a wonderful product of the time. What follows is a surprisingly chilling narration about the planets in our solar system, and why the Martians singled out Earth, which gets me hooked every time I watch this film.  

  Everything in the movie is now seen from the perspective of a scientist, who was on a fishing trip, and gets himself roped-into the situation to try and save the human race. While that’s a small change, other major alterations were made due to the constraints of the time. 

Originally, the book was set in London of the 1800’s, while the movie is set in California of the 1950’s. Also, the original depictions for both the aliens and their war machines were heavily altered. The aliens were initially described as being huge and bear-like, while the movie depicts them as small and squid-like. The aliens themselves are admittedly kind of silly looking, with a face that looks like a video game console, but there’s still a lot of technical ambitions in the details, with visible veins, pulsing skin, and even changing colors. 

Also, the build-up to their first appearance is reasonably effective, first with a quick glimpse of them from a window, then with a lingering shadow, and finally the creature sneaking-up from behind. The whole scene with our two lead survivors in the house is one of the film’s most memorable set-pieces, and would be replicated in further remakes. The movie was directed by Byron Haskin, who had previously directed Disney’s 1950 adaption of “Treasure Island”, and was a natural talent for making the best-looking spectacles within the boundaries of his limitations … and this movie was no exception. 

  Both the special effects and sound designs were on par with the quality of “Star Wars”, almost two decades before the famous franchise reshaped the special effects industry. Both the film editing and sound effects were nominated at the Oscars, and it even won the Academy Award for Best Special Effects. Even the acclaimed Sci-Fi movies of the time didn’t get that level of Oscar recognition. So, while the product is dated in parts, one can’t dismiss that it was a technical marvel, with many referring to it as the “King Kong” of its time. 

All these years later, I still find this film visually appealing, especially with its practical miniatures, and I could listen to the sound designs all day. This brings me to the most obvious alteration from the novel, which is changing the giant tri-pod war machines to smaller hover crafts. Production designer Albert Nozaki was determined to avoid the cliched flying saucer look of the time, and instead made the ships look like a cross between a manta-ray and a cobra. Not only do these ships stand apart with a unique design, they also have a lot of personality, from their rotating head peace, to their smaller probe with the multi-colored eye scope. The one detail in which the effects are a little spotty are the visible wires holding up the ships. While there have been re-releases that have digitally removed them, you still have to do some digging to find a good copy … otherwise, those wires can be a little distracting. 

  Also, even with the changes from the novel, the film still maintains many core elements, mainly the aspects of how the aliens are depicted in threes. Instead of machines with three legs, the ships arrive in groups of three, and instead of creatures with three movable appendages, they now have three eyes, and three fingers. Even when the scientist explains the mechanics of the ships, he describes them as moving on invisible legs as opposed to floating on air … which is another commendable detail for a movie adaption of the 50’s. Producer George Pal was a longtime fan of the source material, went over all the details with a fine-tooth comb, and already had experience with bigger budget Sci-Fi pictures of the time, most notably the 1951 Sci-Fi picture “When Worlds Collide”. He even had ambitions for a sequel, which came in the form of a TV series in the 1980’s, although he sadly passed away before the shows release.

 The characters in the movie, and by extent their performances are nothing extraordinary, but they were above average for the typical genera performances of the time. The lead scientist was played by Bat Masterson, who was a successful TV star of the time, and in the film convincingly transitions from stoic scientist, to a man who can no-longer contain his emotions. Actress Ann Robinson, while a little over the top with her screaming, never the less really tried to give a layered performance, at least for a caricature of this period. She’d also have a successful career in television, staring in the Western series “Fury”, as well as reprising her character role in the 1980’s “War of the Worlds” TV series, and even made a cameo in Steven Spielberg’s 2005 “War of the Worlds” remake.

  As something of a side note, when I first saw this movie during my middle school years, I also saw 1996’s “Independence Day” for the first time, and it was interesting to see how many similarities overlapped with each other. Both depict the ships as being protected by an impenetrable shield, which the military is incapable of getting through. Both movies even have a scene in which they try using nuclear bombs, which don’t even scratch the surface. 

The movie of “The War of the Worlds” concludes the same way the novel dose, with Earth’s bacteria being our salvation, and yet, early in the third act, there’s suggestions of a man-made virus to fight off the aliens … a concept that carries all the way through in “Independence Day”. Lastly, both movies have a moment with other nations whiling to put aside differences to help each-other against a bigger threat, which was also relevant to the Cold War paranoia of the 50’s. While the novel covered themes of Religion, Science, Natural Selection, Social Darwinism, Colonialism, Imperialism, and Human Evolution, the movie wisely scales things back, and has relevant themes of the decade, without going too overboard. For me, the most effective elements of the film are in its third act, in which there’s less focus on the aliens, and more enfaces on the downfall of humanity. Amidst all the rubble and destruction, we see how mankind surrenders to both paranoia and selfish greed, and end up destroying their last chance for hope in the process. For as fun and campy as the film is, this climax remains effectively grim, and still leaves an unnerving impression. 

  While the concept of alien invasion movies has become tired and clichéd in general, “The War of the Worlds” still remains a classic, and I still adore it all these years later. The concept is no different from any other films involving Martians trying to concur earth, but the overall presentation, tone and execution is far superior to any other film from its time. Right from the films epic opening narration, this film reels me in, and delivers an experience, rather than just flashy entertainment, although the film has that too ... in bucket loads. The sound effects, color pallet, and unique alien designs are amazing cinematic marvels for the 50’s, and still hold up to this day. Even though the acting is a little off, the overall atmosphere and tone stay consistently strong, and to this day, I still regard the 1953 picture “The War of the Worlds” as more than just my own personal favorite alien invasion movie … it’s one of cinemas great classic Science Fiction motion pictures.

Thanks for reading my review of the 1953 Sci-Fi classic “The War of the Worlds” … and continue to enjoy the movies you Love!   

My Top 10 Pre-Title Card Movie Openings

 

  A while back, I posted a list of my top 10 favorite opening credit scenes, and now I wanted to continue with the next best thing … the pre-title openings … or cold-openings as their sometimes called. It’s almost like a teaser or short film before the main event, and for me, there’s nothing quiet as exciting as building-up to that main title. Now, I have to clarify, this isn’t a list of my all-time favorite openings, as the intros to movies like “Raiders of the Lost Arc”, “Toy Story 2”, “The Dark Knight”, and “The Prince of Egypt” are some of my all-time favorites … except, their titles appear on scree before the intro, and in the case of “The Dark Knight”, the title doesn’t even appear until the closing credits. Title cards in general are kind of a lost art, which is a shame, because I feel a strong lead-up to a title card really gets the experience started. So, for the occasion, I wanted to count down my own personal Top 10 Favorite opening scenes in movies that build-up to the title card. 

 

#10 The Pre-Title opening to “Batman Returns” (1992) 

Typically with comic-book movies, we open on the introduction of our lead superhero … but this is a special case in which a short origin story of the main villain can kick things off on just as effective a note. In a flashback set 33 years ago during Gotham’s holiday season, a rich family has just given birth to a son, but he was born with odd deformities, and is quite vicious as it actually made a meal of their family cat. One cold December night, the parents took him out to the park and abandoned their monster baby in the sewers. It’s like a short Gothic picture before the main feature, complete with atmospheric quires, long panning shots down the hallways, with screams heard off in the distance, and when the title finally appears, it effectively builds the anticipation on seeing this new villain in the current day story, and how he’ll challenge our hero. 

 

#9 The Pre-Title opening to “Serenity” (2005) 

This opening scene is one of my favorite examples of a crafty filmmaker at work. Right off the bat, every scene lasting till the end of the opening credits are all linked together in a way that’s very artistic, and it gives the opening an unbroken linear flow and narrative, even when jumping to a number of different settings. The Universal logo is first inserted into the opening narration, which recaps on the state of the universe … then it’s revealed the narration was actually a class … then the class is revealed to be an illusion in an abducted girls mind … then it’s revealed to be a flashback, in which the girl is rescued by her older brother … which is then revealed to be a security recording observed by the films main villain … and the scene just keeps building on itself. Even when the title appears, it’s not just the card, it’s the name of our hero’s spaceship displayed on the outer haul. It’s a rock-solid opening, and keeps going strong with an unbroken tracking shot through the ship, reintroducing us to the main cast.

 

#8 The Pre-Title opening to “The Mummy” (1999) 

One of the main selling points to a good monster movie is how the opening can get you excited to see the titular monster villain the film is named after. The movie begins in ancient Egypt, where the powerful high priest Imhotep is cursed and mummified alive after an affair with the Pharaoh’s mistress. It’s a cryptic opening that scared the hell out of me as a child, and it gets things started on a strong note. What I really love most is the narration that builds up to the title, as our story teller warns us that, should this monster ever arise … “He’ll rise as a walking disease … a plague among mankind … with power over the sands … and the glory of invincibility!” Along with the built-up music, the title appears on screen, and it gets me hyped every time.  

 

#7 The Pre-Title opening to “Beauty and the Beast” (1991) 

When it comes to Disney animation, they’ve delivered some of the all-time great openings, leading-up to their titles, with the big one being the iconic opening to “The Lion King”, which came very close to making my list. However, there are two other animated Disney opening ’s I like a little more, and for me, the opening to “Beauty and the Beast” is one of my favorite animated cold-openings, leading into a film’s title card. While not as big, and epic as “The Lion Kings” opener, it’s the subtle yet brilliant presentation on display that really makes this one stick with me more. We’re told the backstory of our titular Beast, which is brilliantly displayed through stain glass windows, and we learn that he was once a prince … spoiled, heartless and only jugged people through their outward appearances. After dismissing an ugly old woman, he was cursed by an enchantress to take on the likeness of a monster, and would remain that way until someone could find beauty hidden deep within. Everything from the narration, to the visuals, to the subtle music cues are all rich with atmosphere, and it perfectly sets the tone of the film without anything grand or operatic.

 

#6 The Pre-Title opening to “Desperado” (1995) 

Robert Rodriguez is no stranger to kicking-off his movies with an electrifying cold-opening, one of his best being the intro to his 1996 movie “From Dusk till Dawn”. However, my favorite of his movie intro’s is this top-tear lead-in to his 1995 action movie “Desperado”. A lone anti-hero is out for revenge against an underground drug ring, but before he takes action against a drug crew, who run their deals in a local bar, a witness first comes in, and relays the whole story of how he witnessed this mysteries avenger enacted Judgment Day on another dive. It is some of the most exciting build-up for an action hero that I’ve ever seen, and as the witness goes into all the details, it further builds that anticipation. The Crime Boos asks … “Wait and minuet, are you saying you saw his face?’ To which the witness responds with … “His face … no … I saw his eyes!” ... which gives me chills every time. Once he finishes his recap, the witness leaves the bar and comments … “I think he said he’s coming here next!” Then the title comes up, with a rousing music track, and I’m all in.  

 

#5 The Pre-Title opening to “Specter” (2015) 

When it comes to long-standing franchises that make a tradition of cold-openings that lead into the opening titles … nothing takes the cake like the James Bond series. Ever sense the 1964 movie “Goldfinger” set the bar for iconic pre-title openings, this franchise has consistently delivered some of the all-time best. While the 2015 movie “Specter” is admittedly not one of my favorite entries in the series … it has stuck with me for one reason … it features my absolute favorite opening of the whole franchise. In a brilliant, one-take shot with no visible edits, we see Bond amidst a carnival, leaving to his hotel room, revealing that he’s working a capper, and finally singling out his target … which culminates into a white knuckled chase, involving a dog-fight with a helicopter. It’s absolutely sensational, and as far as I’m concerned, you can just stop the film after the opening credits, because nothing else in the film is on par with this thrilling opening sequence.

 

#4 The Pre-Title opening to “Tales from Earthsea” (2006) 

When it comes to fantasy epics, they usually open with exposition to set the ground work for the story, while in other cases they open with big epic battles … however, this is a special case in which a fantasy kicks things off with all the best beats, including action, mystery, intrigue, suspense, and all before the title appears. Things start off on a thrilling note, with dragons sparring amidst a raging storm at sea, and in this fantasy world, it’s apparently unheard of for Dragons to behave so aggressively. Further intrigue is built-up as the King of the land discuss a dark and mysterious change that’s sweeping over the land. Just as the King is being set-up as an intriguing character, he’s suddenly killed by a mysterious assassin … who just happens to be the Kings son under some kind of malevolent influence. As he rides off into the night, the King speaks his final words, the music builds, the title triumphantly appears on screen, and I’m left with chills from head to toe. That’s how you start a fantasy epic, with just the right amount of action, ominous build-up, and one big surprise after the next.       

 

#3 The Pre-Title opening to “Star Trek” (2009) 

Here’s another case in which a pre-title opening is so good, it could have been a short film by itself, and I’d call it a mini-masterpiece. While the movie follows the adventures of Captain Kirk, the intro focuses on the heroism of his late father, who gave his life commanding a starship, while fighting off an enemy attacker, and all in an effort to give the crew and more importantly his wife the chance to escape. As he fights off the villains to his dying breath, his wife simultaneously goes into labor, giving birth to their son, who’s destined to carry on the mission his father started. Seeing a dad give his life, for the chance for his loved ones to live is captured very effectively in this moment, and it honestly gets me to care for Kirks dad just in these short minuets more so than the actual hero through the rest of the film. It’s a beautifully shot, powerfully acted, and emotionally stirring segment, which kicks off the film on a high note. Then when the title lights up the screen … it’s one of the biggest, most triumphant title cards I’ve ever seen, and a perfect way to start a mostly solid entry in one of my favorite Sci-Fi franchises.    

 

#2 The Pre-Title opening to “The Hunchback of NotreDame” (1996) 

Next to “The Lion King”, and “Beauty and the Beast”, my favorite opening in all of Disney … in all of animation for that matter … is the opening “Bells of NotreDame” sequence. In this opening, we’re given the detailed backstory of the deformed baby named Quasimodo. We see his mother give her life to protect the baby from the wickedness of Judge Frollo, then the villain takes him in as a surrogate son, for Atonement on his soul … and it’s all conveyed in musical form. This is the classic method of musical-storytelling in peak form, and it’s something that Disney had never really done before. It’s not a traditional song number with characters singing about themselves, or their interests … instead it’s this really Gothic and tragic tale, conveyed through a mighty quire, and some truly haunting visuals. The opening shot alone is sensational, and it’s paired with my favorite opening notes of any musical. It’s just an epic sequence, and a powerful opening to my personal favorite animated Disney movie. 

 

Before I reveal my number one favorite, here are some quick Honorable Mentions to the pre-title openings that I regrettably didn’t have room for on my list …

“The Lion King” (1994)

“Sleepy Hollow” (1999)

“Teenage Mutant Ninja Turtles: The Movie” (1990)

“The Longest Day” (1962)

“Ghostbusters” (1984)

 

#1 The Pre-Title opening to “Patton” (1970) 

Here’s arguably the most subtle opening of all … yet so efficient in its presentation, that it just takes the gold prize. George C. Scott delivers the biggest performance of his carrier as the well-spoken, charismatic, and commanding military general. This is personally my favorite war movie of all time, and the film kicks off on a really strong note as General Patton gives his speech to the third army in World War II. He instills both fear and pride into his solders, and it’s his brutal honesty that everyone rallies around. With zero reaction shots from the audience, perfect staging, silent track, iconic American Flag backdrop, and Scots electrifying screen presence, this monologue stands as an authentic recreation of the general’s real-life speech, and tells us everything we need to know about the general, all before the title even appears on screen. It’s arguably the most famous set-piece of the whole film, as it’s featured in all the marketing. Once the title appears, matched to Jerry Goldsmiths iconic music track, I feel as immersed as you can get into a movie going experience. Sometimes you don’t need a big, epic opening … sometimes it’s just the little things that leave the most memorable impression, and for me … the pre-title opening to “Patton” is my favorite, and the best way to open one of the greatest war movies ever made.

Thanks for reading my countdown … and continue to enjoy the movies you Love! 

Disney’s The Little Mermaid (1989) (Movie Review)

  Back when I was a little kid, I grew-up in San Diego County, and it made things easy for our family to make an annual tradition to drive over to Disney Land during Summer vacation. I have many fond memories of visiting the park, and one special memory that always lingered in the back of my mind was a special tour of Walt Disney’s office, in which his signature writing desk and piano were carefully preserved. Perched on top of his piano were two little brawns statues of Walt’s most cherished characters. 

One of which naturally was Mickey Mouse, who needs no introduction, and the second to my surprise was none other than the little mermaid herself Ariel. Our host explained that prior to Snow White, Ariel was the very first character that Walt Disney envisioned to bring to life in an animated feature film, and had several story notes and ideas that were arguably too ambitious for the time. Animation in general was still in its infancy, with many artists experimenting with what could be accomplished at the time, and when combined with both the financial costs, and ensuing war times, Walt elected to go with Snow White as the safer, yet still daring venture in of itself. His ideas for “The Little Mermaid” ended up getting locked away in his personal vault, and wouldn’t be discovered until decades after his passing. Fast forward to the late 1980’s, in which Disney animation was struggling to stay relevant, and had failed to produce a hit that was on par with the classics of Walt’s Golden Age. Eventually, the discarded plans for “The Little Mermaid” were discovered, and like Snow White before her, Princess Ariel launched a second Golden Age in Disney animation.

  Released in 1989, “The Little Mermaid” marked the 28^th theatrical animated feature film from Disney studios, and would prove to be a milestone in their history books, both as a success, and as an inspiration on films to come. 

While many would look to “The Jungle Book” as Walt Disney’s last animated treasure before his passing, and other ideas of his like "Beauty and the Beast" would eventually come to light, I feel an argument could be made that “The Little Mermaid” was Disney's real swan song, as his ambitions and ideas for the film predated all the other classics … it’s just unfortunate that he didn’t see the film manifest into its final form. Even the opening credits highlight that “Walt Disney Presents”, as opposed to “Walt Disney Studio”. Adapted from the 1837 fairy tale of “The Little Mermaid”, written by Danish author Hans Christian Andersen, our story revolves around the Princess Ariel, of the underwater kingdom of Atlantica, who has become dissatisfied with life under the sea. Her real fascination is the human world above, which puts her at odds with the prejudice of her father King Triton. After an incident in which she rescues a human Prince from drowning, she becomes fiercely determined to become one with the world above. 

Following an emotionally heated confrontation with her father, an evil Sea Witch named Ursula takes advantage of both the Princesses sorrows and passions, and makes a deal for her to become human for three days, in exchange for her voice. The only thing to make the transformation permanent is to win the affection of the Prince, which she’ll have to accomplish without the aid of her voice. Thus, it’s a race against time to discover true love, explore the human world, make amends with her father, and all before the Witches real malevolent intentions are revealed.        

  As far back as I can remember, along with Disney’s “Fantasia”, “The Little Mermaid” was one of the very first movies I ever owned on home video, and by extent was one of the very first animated Disney movies I ever saw. While I certainly enjoyed it, and watched it a number of times as a kid, it wasn’t exactly one of my absolute favorites either. I actually have more memories of loving the animated TV series of “The Little Mermaid” back when I was a kid. 

Also, I went through something of an anti-faze for this film, after I read the original Hans Christian Andersen story, and was surprised to discover that Ariels journey was more of a spiritual one, and that her main goal went beyond simply exploring dry-land … she wanted a human soul. According to Mermaid lore, when they die, their bodies simply become one with the ocean, but have no spirit that continues on after death. Thus, Ariel is determined to have a soul, and believes that the only way to gain one is through the love of a human. Without going through all the details of the story, her journey builds to a very tense climax, in which it’ll either be her life or the life of the Prince, and in the end, she chooses to sacrifice her life, so that the Prince can live. While Ariel tragically dies in the end, the selflessness of her sacrifice allows her to have a soul, and thus was able to accomplish her dream of crossing over into Heaven. Needless to say, it was a story that left a big impression on me at the time, and it made the movie seem so disposable and safe by comparison.

  Over time however, the Disney movie has become one of those films I don’t actively think about, but it’s somehow always there for me during sick days, or when I just needed something to put me in a good mood. 

Gradually, I was able to separate it from my feelings of the original story, and simply appreciate it for its own strengths and merits, which the film has many of. The first thing this movie really got right was Ariel herself, who’s goals admittedly aren’t as compelling as in the book, but she never the less has her own strengths that make her stand apart. Truthfully, I think she has the greatest introduction scenes of any Disney Princess. We see her love for adventure and discovery on display, as well as her fallibility, as she accidently forgets a concert, and gets both her and her friend Flounder chased by a Great White Shark for good measure. Not only does it kick the film off with some excitement, but it also tells us everything we need to know about this character. While she clearly has a big heart, she’s also a little mischievous, and can make mistakes when she forgets to look at the larger picture ... something that comes into play later when she makes her deal with the Sea Witch.

  Personally, I like my protagonists best when their generally good people, but not devoid of faults, which they either have to work with or learn from, as that makes them more interesting, as well as more fun to watch. 

Also, it was a welcome change-up for the time to have a Disney heroine who was more prone to adventure and excitement, which would become a common staple after this film. Voice Actress Jodi Benson naturally brought the character to life through a solid performance, but aside from her vocal talents, the performance in the way she’s animated is outstanding. Sense she spends half of the movie mute, the animators really outdid themselves in capturing all the right inflections, expressions, reactions and excitement, to the point where her whole visual performance really leaps off the screen. I also think she’s funnier than she gets credit for … the scene when she mistakes a fork for a comb at the dinner table … cracks me up every time. If I was to pick at anything, I never liked that pink dress she’s always marketed in, as I always felt a light purple or blue would contrast better with her bright red hair, the same way the green in her tale did. 

  However, for as delightful as Ariel is, my personal favorite character by far is the little crab Sebastian, who as far as I’m concerned belongs right up there with Jiminy Cricket or Tinkerbell as one of the great Disney supporting characters. 

Samuel E. Wright delivers an energized performance, without ever coming off as an obnoxious comedic relief, and I find his bond with Ariel to be one of the most touching elements of the whole film. Sebastian doesn’t even start as a friend of Ariel’s, and is just as tempered with her as the King is. However, he gets himself roped right into her mis-adventures, and the more time he spends with her, the more he understands her, and genuinely cares for her. I suppose Ariel’s little fish friend Flounder is cute, and memorable, but still not quite as special as Sebastian. Also, as far as comedic reliefs are concerned, I think Buddy Hackett as the Seagull named Scuttle is one of the absolute funniest, and severely underappreciated. The only thing funnier than his loony terms, and screw-loose personality are how the other characters react off of him. I always chuckle at Scuttles failed effort at making romantic music, only for the Prince to respond with … “Wow, someone find that poor bird and put it out of its misery”.

  On that note, love interest Prince Eric is okay, although I mainly like him for the novelty of voice actor Christopher Daniel Barnes, who’d voice my childhood favorite version of Spider-Man from the 90’s animated series, and it’s just cool to hear such a familiar voice behind a Disney Prince. It is worth mentioning that his relation with Ariel was a little more layered than the Disney couples of the past, as they at least do basic activities together, like go out on a date. The real heart of the movie is Ariel's relation with her father King Triton, who might just be the most interesting father character of any Disney picture. The late Kenneth Mars delivers a dual performance, ranging between gentle and hot-tempered. While he clearly loves his daughter, he’s also blinded by a prejudice, is prone to anger, and it gives him this imposing presence. Back when I was a kid, King Triton actually scared me more than the villain Ursula ever did.

  Speaking of whom … lets finally talk about the nasty Sea Witch. Ursula was arguably the first Disney villain to stand as a true classic sense the days of Walt Disney, which isn’t to say the villain’s in-between were bad, but that weren’t as well known outside of fans. 

The late Pat Carroll delivered a juicy performance, and once again, the personality that comes through her animation and expressions is extraordinary. While her motivations to rule over the ocean are generic, her twisted delight and maniacal laughter that come with her schemes make her a consistently fun screen presence. Of course, her design of a half-woman and half-octopus makes her a great contrast to the mere-people. Also, her two nasty eels Flotsam & Jetsam are two of the coolest henchmen of any Disney picture. The late actress Paddi Edwars, who previously voiced Gozer from “Ghostbusters”, has an appropriately slithery voice, and gives the two a presence equal to Ursula herself. Lastly, her musical number “Poor Unfortunate Souls” is of course one of the great villain songs. It has a catchy tempo, with an electrifying build-up, starting slow and subdued, only to build in momentum and excitement. It’s also the first villain song to have a striking visual presentation, with tilted angles, great lighting, and memorable imagery.     

  The shot at the end of the song, with Ariel bursting out of the ocean as a sparkly silhouette against a sun rise … a thing of beauty. Actually, for an older animated picture from 1989, it’s still a visual marvel to behold. It’s bright, colorful, with detailed backdrops, and a lot of personality on display. 

I especially admire the consistency of animating bubbles whenever the characters move, which further sells the illusion that these characters are underwater. Speaking of bubbles, I always loved this one visual during the “Daughters of Triton” song, in which a row of bubbles part like a stage curtain … it’s probably the best thing about that number. During the Huracan sequence, new storm and misty effects were utilized with the traditional animation, which was a technical breakthrough for its time. Even the sound design has personality, as King tritons staff has a magical chime that gives it some character. Beyond the visual design, I just love the whole under water setting. Part of the reason I loved the TV series as a kid, was further exploring more of the kingdom of Atlantica.   

  Of course, this was the first in a line-up of successful Disney films to be scored by Alan Menen, who knocked it out of the park with this movies instrumental track, and as far as I’m concerned can be branded as a Disney anthem in its own right. As the movie begins, the score is quiet and atmospheric, and as soon as the mere-people appear on screen, it transitions into this grand and triumphant quire, which wins me over every single time. 

Unsurprisingly, this score won the Academy Award for Best Music. What did surprise me was that Ariels famous song “Part of your World” didn’t get any Oscar recognition, which now days is considered the best song of the whole film. Aside from its gentle melody, I just love how this song is staged, with a school of silver fish swimming in the foreground, Ariel reaching out through a whole she’s trapped behind, and an inspiring little detail is a moment featuring the famous 1640 Oil Painting of Mary Magdalene with the Smoking Flame. Surprisingly, the number almost didn’t make it into the film, as some studio heads thought it would slow-down the pace and be boring for kids. Dorthey’s famous “Somewhere Over the Rainbow” from “The Wizard of Oz” had similar reservations going against it, but in both cases, the writers knew how important these songs were for the audience to connect with the leads, and both defied expectations, coming out as knockout hits … although, Dorthey got to leave with the Oscar gold.  

  One song that did get nominated at the Oscars for Best Original Song was “Kiss the Girl”, which has taken on a life as one of Disney’s famous romantic numbers. The song itself is slow and blissful, but it also carries a surprisingly upbeat tone that really livens it up. 

It’s embarrassing to admit, but I also have a soft spot for the Ashley Tisdale cover of the song … I can’t even explain why, it was just of a time that had a charm all its own. I also feel the opening song called “Fathoms Bellow” is kind of an underrated gem. While the song is cut short in the movie, the full number on the soundtrack is kind of a rousing peace, and continues to bounce in my head after I’ve listened to it. Another lesser-known song is “One Dance”, which was never in the movie, and was added as a bonus for the soundtrack, but still sung by Ariels voice actress Jodi Benson. It’s honestly a decent song on its own, and I can picture where it might have been able to work in the movie. Of course, my favorite song of the whole film is the big, show stopping “Under the Sea”, which did win the Academy Award for Best Original Song. Even in my adult years, this musical number fills me with so much joy, and leaves me smiling from ear to ear. It’s catchy, memorable, colorful, has a fun variety of different fish, and is arguably one of the first big “party-house” musical numbers from an animated Disney picture.  

   At last, while I wouldn’t describe “The Little Mermaid” as one of the more action driven Disney offerings, it is never the less one of the most consistently entertaining of the Princess line-up. This film moves at a brisk pace, with lots of forward momentum, and just the right amount of exciting set-pieces spread throughout. It all builds to, what is still one of the most epic climaxes that Disney has ever delivered, with Ursula gaining full power, and unleashing her wrath as a giant sea monster. While the concept of a villain turning into a giant beast had been done before this, it’s still a riveting battle that set the standard for the really cool Disney climaxes that would follow in the years to come. Also, for a G-rated picture, this final battle delivers a brutal villain death, which I don’t think would work in the contemporary animated pictures of today.

  In the end, while I still view the original Hans Christian Andersen story as the more meaningful peace of work, I just can’t help but adore the animated movie as its own special achievement separate from the book. 

It took until my thirties, but “The Little Mermaid” did eventually climb-up my figurative totem pole of Disney pictures, and found a place near the top with all my favorites. As such, I feel Disney’s “The Little Mermaid” stands apart from the rest, as it just took a little longer, and worked harder to finally reach the point where I finally view it as one of the best to come from Disney. I’d encourage anyone to still read the book, as I don’t want it to disappear under the popularity of the Disney version, but still … both deserve their gold points, and both have endured as classics to be shared with the generations to come.

Thanks for reading my review of the 1989 Disney animated classic “The Little Mermaid” … and continue to enjoy the movies you Love!