The Walt Disney Company has actively pursued live-action remakes of its classic animated films from 2015 through 2023, producing titles such as Cinderella (2015), The Jungle Book (2016), Beauty and the Beast (2017), Dumbo (2019), Aladdin (2019), The Lion King (2019), Mulan (2020), Pinocchio (2022), and The Little Mermaid (2023), with more projects like Snow White (2024) and Moana (in development) forthcoming.

These remakes feature star-studded casts and utilize advanced CGI techniques along with live actors to recreate and reimagine beloved stories for modern audiences .

Disney’s strategic motivation behind producing numerous live-action remakes is significantly driven by nostalgia and brand rejuvenation.

These remakes tap into audiences’ fond memories of the original animated classics, offering both a renewed cinematic experience for older viewers and introductions for new generations.

Nostalgia thus acts as a powerful commercial driver, leveraging existing intellectual property with high brand recognition to maximize profitability.

The company’s approach aligns with the broader strategy of revitalizing its catalog and expanding merchandising and franchising opportunities linked to Disney Princesses and other iconic characters first popularized during the Disney Renaissance era (late 1980s to late 1990s) .

Adaptation decisions in the remakes include updates to story elements and characters to reflect contemporary values and social dynamics, with a deliberate effort to balance authenticity with modern relevance.

For example, The Little Mermaid (2023) expands Ariel’s age to 18 and portrays her as a more defiant and independent figure, deepening the father-daughter relationship absent in the 1989 original.

The film also integrates greater diversity and inclusivity, including casting Halle Bailey, a Black actress, as Ariel, which has both drawn acclaim and criticism tied to changing cultural norms.

Public and critical responses have ranged widely.

The Walt Disney Company has actively pursued live-action remakes of its classic animated films from 2015 through 2023, producing titles such as Cinderella (2015), The Jungle Book (2016), Beauty and the Beast (2017), Dumbo (2019), Aladdin (2019), The Lion King (2019), Mulan (2020), Pinocchio (2022), and The Little Mermaid (2023), with more projects like Snow White (2024) and Moana (in development) forthcoming.

Title:

Content: 'Pinocchio' movie review: A wooden adaptation

If you thought the recent Marvel content hasn’t quite hit storytelling finesse in the way that the studio did for many years, wait till you see its parent company, Disney’s latest film, Pinocchio.

Published: 18th September 2022 05:00 AM  |   Last Updated: 17th September 2022 01:26 PM   |  A+A-

Express News Service

If you thought the recent Marvel content hasn’t quite hit storytelling finesse in the way that the studio did for many years, wait till you see its parent company, Disney’s latest film, Pinocchio. The studio giant has taken one of its iconic properties and somehow sucked out all charm from it, despite roping in one of the best actors of this century.

The story of Robert Zemeckis’s latest iteration of this classic sticks to the old, familiar story with few changes—and that’s perhaps the biggest disappointment of all. Adaptations offer avenues for reinvention and reimagination, and yet, Zemeckis passes on the opportunity. Sadly, the makers are content with playing things safe in a bid to replicate the charms of the 1940 original animated musical fantasy of the same name.

Problems range from lackadaisical pacing to a lack of novelty. There are plenty of Disney references in this film, but unlike clever nods from former films, Pinocchio opts for the easy way by attributing each wooden cuckoo clock adorning the house of Geppetto (Tom Hanks), to a Disney film theme. So, you see references to Toy Story, Donald Duck, Dumbo, Lion King… you name it.

The film follows in the long list of Disney’s recent tryst with live-action adaptations of previous hit animated films, including Aladdin (2019), The Lion King (2019), Lady and the Tramp (2019) and Mulan (2020). None of them succeeded in working the old Disney magic, and yet, Pinocchio hits new lows by being as soulless and wooden as the toy at the heart of it all.

The only positive, perhaps, is the voice-acting by Joseph Gordon-Levitt as the wisecracking anthropomorphic Jiminy Cricket. As the film’s narrator, Jiminy delivers some funny lines that keep you invested, including calling ‘hell’, “H, E, and double hockey sticks!” Also, the film, despite having a mix of real-life and animated characters, feels impressively realistic, thanks to some admirable VFX work, which comes as no surprise, given that the film is made by the director of Who Framed Roger Rabbit. Speaking of Zemeckis, rather curiously, his collaborations with Hanks have either been cult classics like Forrest Gump and Cast Away or middling films like Finch and The Polar Express. Pinocchio, unfortunately, is another addition to the latter.

Fans of this classic may have some hope though, given that Guillermo del Toro’s stop-motion animated Pinocchio is set for release later this year. But as for Disney’s Pinocchio, we must declare it as deadwood or risk our noses growing.

Pinocchio
Director:
Robert Zemeckis
Genre: Animation
Platform: Disney+ Hotstar
Language: English

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How has Disney leveraged nostalgia in recent years?

By turning classic animations into live-action films with major stars

These remakes feature star-studded casts and utilize advanced CGI techniques along with live actors to recreate and reimagine beloved stories for modern audiences .

Title:

Content: Snow White director’s son calls Disney remake a “disgrace”

Disney

The original Snow White director’s son has slammed the upcoming Disney remake as “insulting” and a “disgrace.”

Disney has recently recreated several of its classic films into live-action adaptations. Past examples include The Little Mermaid, Dumbo, and Pinocchio. However, these recreations have generated backlash for various reasons.

For example, Halle Bailey’s role as Ariel wasn’t universally agreed upon. This is due to haters complaining that the princess should have been white like in the 1989 animated movie.

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Now, the upcoming remake of Disney’s Snow White starring Rachel Zegler has been under fire for its controversial portrayal of the seven dwarves among other reasons. Here’s what the son of the original Snow White director had to say about the film.

Son of Snow White director criticizes upcoming Disney remake

In an interview with The Telegraph, David Hand, who worked as a Disney designer in the 1990s, admitted his negative feelings toward the Snow White remake. Hand’s father, also named David, served as one of the directors of the 1937 film.

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“It’s a whole different concept and I just totally disagree with it, and I know my dad and Walt would also very much disagree with it,” 91-year-old Hand said. He continued by calling the movie a “disgrace” and discussed Disney’s “radical thoughts.”

“They’re making up new woke things and I’m just not into any of that. I find it quite frankly a bit insulting [what] they may have done with some of these classic films,” Hand remarked. “There’s no respect for what Disney did and what my dad did. … I think Walt and he would be turning in their graves.”

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The Snow White remake has finished filming and is scheduled to premiere on March 22, 2024. Other Disney live-action projects in the works include Lilo & Stitch, Moana, and Mufasa: The Lion King.

You can find out more about Zegler’s Snow White controversy here.

Related Topics

How has Disney leveraged nostalgia in recent years?

By turning classic animations into live-action films with major stars

Disney’s strategic motivation behind producing numerous live-action remakes is significantly driven by nostalgia and brand rejuvenation.

Title:

Content: Skip to Content

A Definitive List of All the Disney Live-Action Films

From Halle Bailey’s Little Mermaid to the live-action Moana to sequels galore.

By Delia Paunescu and Amy Mackelden

Most of us grew up watching Disney movies, and for better or worse, we wondered what it might be like to be a Disney princess. In recent years, Disney has cleverly played into that nostalgia by transforming its classic animations into live-action movies filled with some of Hollywood’s biggest stars. Following the success of big-budget adaptations like Beauty and the Beast and The Lion King, Disney has committed to turning the majority of its animated catalog into cinematic treats. From Angelina Jolie’s star turn in Maleficent to the upcoming live-action version of Moana, fans will be spoiled for choice. Here, we round up all of Disney’s live-action movie adaptations to date, as well as some of the rumors about what’s to come.

1

Maleficent (2014)

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Loosely based on Sleeping Beauty, Angelina Jolie’s wicked witch arrived when lots of evil queens were getting their own feature films (Remember Charlize Theron in Snow White and the Huntsman?). Elle Fanning’s turn as Princess Aurora put her on the map as an A-lister to watch. The film even launched a Maleficent makeup collaboration with M.A.C., which we adored.

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2

Cinderella (2015)

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Disney’s dreamy live action remake of Cinderella cast Cate Blanchett as the evil stepmother, with Bodyguard star Richard Madden playing the Prince. When she landed the title role, Lily James’ most significant part had been as a rebellious cousin on Downton Abbey. Naturally, the fairytale brought James worldwide recognition (and she went on to play young Meryl Streep in Mamma Mia 2).

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3

The Jungle Book (2016)

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The original Jungle Book features some of the best music in Disney’s catalog, so director Jon Favreau’s 2016 live-action remake had a lot to live up to. Newcomer Neel Sethi masterfully took on the part of the boy trying to stay alive with a vengeful Shere Khan hunting him down.

A sequel has reportedly been in the works since Jungle Book was released, with Favreau rumored to be returning as director, according to The Hollywood Reporter.

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4

Beauty and the Beast (2017)

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Few Disney remakes were more anticipated than Beauty and the Beast. It was lavish in its production, starring Emma Watson as Belle and Dan Stevens as an all-too-human Beast. Supporting cast members like Stanley Tucci, Emma Thompson, Audra McDonald, and Ewan McGregor were exceptional as the castle staff.

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5

Christopher Robin (2018)

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Honestly, it feels like this movie came and went without anyone, besides die-hard Winnie the Pooh fans, paying much attention. It’s a shame, really, because Ewan McGregor is endearing in the grown-up title role and the Hundred Acre Woods’ animal pals are as warmly fuzzy as you’d hope.

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6

Mary Poppins Returns (2018)

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Emily Blunt steps into Julie Andrews’ cape and brings the magical nanny to life once more. The Devil Wears Prada darling did a terrific job, and was nominated for a Golden Globe as a result. Anyone who grew up loving the cheerily psychedelic musical numbers is bound to appreciate Hamilton star Lin-Manuel Miranda as lamplighter Jack. As if Mary Poppins Returns couldn't get any better, Meryl Streep, Dick Van Dyke, Julie Walters, and Angela Lansbury are also all in the film.

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7

Dumbo (2019)

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Dumbo remains one of the most upsetting stories in Disney’s roster, and 2019’s live-action remake will give you all of the feels. Directed by Tim Burton and starring Colin Farrell, Michael Keaton, and Danny DeVito, Dumbo re-tells the emotional story of a young elephant with the gift of flight, who finds himself embroiled in some circus drama.

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8

Aladdin (2019)

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Fans were desperate to find out who had been cast in the live-action Aladdin, no doubt because the original movie is so beloved. While Mena Massoud took on the title role, Power Rangers star Naomi Scott transformed into Princess Jasmine. And of course, Will freaking Smith did his very best to fill Robin Williams’ iconic lamp as the Genie.

In 2020, it was revealed that a sequel is in the works, via Deadline. Plus, a spin-off featuring Prince Anders is also in development.

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9

The Lion King (2019)

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The all-star remake of The Lion King might be the most important thing the house of the mouse has done since they released the original Lion King in 1994. This live-action version cast none other than Beyoncé herself as Nala. She stars alongside Donald Glover as Simba, and Billy Eichner and Seth Rogen as Timon and Pumbaa, with James Earl Jones reprising his original role as Mufasa. A sequel (or prequel) is on the way.

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10

Maleficent: Mistress of Evil (2019)

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Angela Jolie and Elle Fanning returned for the follow-up to 2014’s Maleficent. Jolie’s character continues to wrestle with people’s perception of her as a villain, while Princess Aurora receives a marriage proposal, much to Maleficent’s chagrin. Meanwhile, an endangered species known as the Dark Fae start to rise up.

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11

Lady and the Tramp (2019)

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1955’s canine couple du jour were given a live-action/animation hybrid update, which debuted on Disney+ in 2019. Justin Theroux voiced the scampy Tramp and Tessa Thompson played the elegant Lady in this animal romance. Thompson’s BFF Janelle Monáe, and Kiersey Clemons round out the cast of this cute remake.

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12

Mulan (2020)

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Disney casting directors had their job cut out for them with Mulan, reportedly spending a year auditioning nearly 1,000 actresses for the lead. The part ultimately went to Chinese superstar Liu Yifei. Fans finally saw the 31-year-old in full character thanks to this arresting first image. Director Niki Caro told the Hollywood Reporter: “It’s a big, girly martial arts epic. It will be extremely muscular and thrilling and entertaining and moving.” What more do you need to know?

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13

Cruella (2021)

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Anyone else think Cruella was woefully misunderstood? Enter 2021’s Cruella, which tells the story of 101 Dalmatians’ villainous diva before she became, well, fully evil. The inimitable Emma Stone won the lead role, infusing the tale with ’80s punk chic. From the eye-catching costumes to the super cute puppies, Disney’s origin story has everything. A sequel is reportedly in the works.

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14

Pinocchio (2022)

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Tom Hanks as Geppetto? Say no more. It may be 80 years later, but this live-action remake is just as relevant today as the original was upon its release. Joseph Gordon-Levitt gives a heartfelt performance as Jiminy Cricket, and Pinnochio’s journey to becoming a real boy is brought to life in stunning visuals.

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15

Peter Pan & Wendy (2023)

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There have been numerous adaptations of J. M. Barrie’s iconic story, but Disney promises to delight fans of its 1953 animated classic with the live-action Peter Pan & Wendy. After meeting Peter Pan, Wendy (Ever Anderson) embarks on an adventure to Neverland, where she faces up to Captain Hook. A story that truly never gets old.

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16

The Little Mermaid (2023)

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Ariel’s story of thirst-trapping Prince Eric, after selling her voice to that glorious diva Ursula in exchange for human legs, is ripe for a remake, especially given the 1998 original’s fishy gender dynamics. Halle Bailey wows in the lead role, with Melissa McCarthy embodying sea witch Ursula. Lin-Manuel Miranda wrote new songs for the flick, alongside Disney musical genius Alan Menken.

The Little Mermaid hits theaters on May 26, 2023.

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17

Snow White (2024)

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Disney is bringing its live-action magic to 1937 animation Snow White and the Seven Dwarfs. While Rachel Zegler will take the lead as Snow White, Gal Gadot has been cast as the Evil Queen. With Greta Gerwig tapped to write the screenplay, we can expect Snow White to be all kinds of wonderful.

Snow White is set to hit theaters on March 22, 2024, per Deadline.

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18

Moana (TBD)

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In April 2023, it was announced that Moana (which was just released in 2016) would be getting the live-action treatment, with Dwayne Johnson reprising his role as demigod Maui. The original voice of Moana, Auli‘i Cravalho, has signed on as an executive producer. Johnson said in a statement, “This story is my culture, and this story is emblematic of our people’s grace and warrior strength.” The release date is currently unknown.

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19

Lilo & Stitch (TBD)

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A live-action/CG hybrid remake of the supremely adorable 2002 film about a Hawaiian girl and the alien who befriends her was first announced in October 2018. It is being produced by Dan Lin and Jonathan Eirich, who were also tasked with the Aladdin remake. A release date is up in the air but it’s possible this will debut on Disney’s upcoming streaming service. The cast includes Zach Galifianakis, Courtney B. Vance, and newcomer Maia Kealoha as Lilo, per The Hollywood Reporter.

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20

Hercules (TBD)

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In June 2022, Deadline reported that Aladdin director Guy Ritchie had signed on to direct the live-action remake of Hercules. The 1997 animate feature retold the legend of demigod Hercules, who was voiced by Tate Donovan. While details on the remake remain scarce, Hercules is certainly one to watch for Disney fans.

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Delia Paunescu

Delia Paunescu is a writer, producer, and social media consultant based in New York City. She's written for Vulture, Racked, Brooklyn Magazine, New York Post, and amNewYork, among others. Delia also spent two years leading NowThis Entertainment. She'd very much like to shout at you about why Jane the Virgin is the greatest show of all time over on Twitter.

Amy Mackelden is a freelance writer, editor, and disability activist. Her bylines include Harper's BAZAAR, Nicki Swift, Cosmopolitan, Marie Claire, ELLE, The Independent, Bustle, Healthline, and HelloGiggles. She co-edited The Emma Press Anthology of Illness, and previously spent all of her money on Kylie Cosmetics.

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How has Disney leveraged nostalgia in recent years?

By turning classic animations into live-action films with major stars

These remakes tap into audiences’ fond memories of the original animated classics, offering both a renewed cinematic experience for older viewers and introductions for new generations.

How has Disney leveraged nostalgia in recent years?

By turning classic animations into live-action films with major stars

Nostalgia thus acts as a powerful commercial driver, leveraging existing intellectual property with high brand recognition to maximize profitability.

Title:

Content: The internet went into a tizzy recently with the announcement of Winnie the Pooh: Blood and Honey, a new horror film that utilized characters ripped straight from the pages of A.A. Milne's original children's books. This movie would see feral humanoid versions of Winnie the Pooh and Piglet going on a rampage after they're neglected by Christopher Robin. Such a project was made possible thanks to the initial iteration of this iconic literature figure going into the public domain in 2022 (Disney still has a trademark on their version of Pooh). Though this may seem like a jarring use of a character made for youngsters, Blood and Honey is following in the long tradition of public domain children's characters getting repurposed for much grislier adult means.

While companies like Disney have a firm grasp, or even a stranglehold, over the general public's default image of characters like Snow White or Cinderella, they don't own these characters in their entirety. Many classic fairy tales that are still passed down to kids were made in an era before copyright law was prominent, which allows anyone to have a go at making, say, a Red Riding Hood movie. This has often meant animation studios creating cartoons meant to mimic your standard Disney title, but it also means that adult-skewing projects have a chance to exist without worrying about getting suffocated by powerful lawyers.

Initially, the concept of public domain characters being used for adult purposes included a heavy focus on reimagining such individuals through a highly sexual lens. Appropriately for the year in which it was released, the 1969 film The New Adventures of Snow White was a sex comedy that reimagined not just the titular princess but also Cinderella and Sleeping Beauty in ribald nudity-heavy scenarios. This fate even befell fairy tales written closer to the modern world, at least compared to the likes of Snow White. Lewis Carroll's Alice's Adventures in Wonderland was published in 1865, but 111 years later, it would inspire the 1976 erotic comedy Alice in Wonderland. No familiar childhood fables were safe from getting a risqué upgrade for adult audiences.

RELATED: How 'Winnie the Pooh' Provided a Gentle Send-Off to Hand-Drawn Animation at Disney

The popularity of 1970s horror fare like The Texas Chainsaw Massacre and Halloween took violent and gory horror films from obscure oddities directed by Herschell Gordon Lewis to the mainstream. This meant a whole new avenue opened up for how public domain characters could be reimagined for eye-catching adult-skewing movies. 1984 would somewhat see an early example of this trend with Silent Night, Deadly Night, a slasher film about a man who kills people while dressed as Santa Claus. Though the film didn't involve Kris Kringle chopping off people's heads, it did lean heavily, especially in its marketing, on the iconography of a public domain children's character like Santa being paired up with decidedly non-family-friendly behavior.

The immense controversy surrounding Silent Night, Deadly Night, namely over its advertising emphasizing the idea of a scary version of St. Nick, cut the film's theatrical release short. However, it also showed how much attention one can muster up when you warp people's notions of how a beloved childhood icon should behave. That kind of guaranteed publicity was not going to go unexploited forever. That same year, another violent horror vision of beloved children’s characters emerged from the Neil Jordan feature The Company of Wolves, which was inspired by the story of Little Red Riding Hood. A trend was forming that wouldn’t be stopping anytime soon.

The boom of the direct-to-video horror market in the 1990s only increased the ubiquity of titles looking to deliver freaky visions of familiar relics of your childhood. An established brand name can make a VHS tape more instantly recognizable to potential viewers, and what’s an easier brand name to exploit than one attached to a public domain character? This is where the likes of Pinocchio's Revenge and Snow White: A Tale of Terror (the latter featuring acting heavyweights like Sam Neill and Sigourney Weaver) came in, delivering disturbing interpretations of public domain figures often used to entertain kids. The original Jack Frost from 1997, about a murderer transformed into a killer snowman, could also be said to be part of this trend, given that its title referenced the ubiquitous Winter-themed character of the same name.

The 21st-century did not see a complete end to this trend, with the likes of Gingerdead Man following in the footsteps of earlier entries in this genre. Interestingly, the ubiquity of these kinds of takes on classic fairy tales and mythological characters in the public domain did decrease a bit in prominence. This was because more family-friendly fare was beginning to mimic the incredible success of Shrek by delivering their own skewed visions of Goldilocks, Pinocchio, and other public domain figures. Even Disney got in on the act with Chicken Little and Enchanted. People were still interested in seeing familiar characters getting brought down to Earth, it was just happening in more PG-rated confines.

This trend couldn’t last forever, though, and the revival of more traditional fairy tale fare in 2010 with Disney titles Alice in Wonderland and Tangled ensured that this generation’s response to Silent Night, Deadly Night wouldn’t be far behind. Sometimes, 2010s approaches to darker manifestations of public domain properties emerged as sanitized mainstream entertainment, like Snow White & The Huntsman. Though the color palette had been toned down and nobody was singing songs, The Huntsman was a decidedly PG-13 affair, one missing out on the three B’s (blood, breasts, and bombast) that often defined earlier and grimier takes on these kinds of characters.

These old exploitation films had problems in tackling sexuality and violence, most notably in their nonchalant depiction of sexual assault against women. However, their commitment to extreme nudity and violence did offer something new and cheekily naughty compared to the mainstream fairy tales that inspired them. Snow White & The Huntsman, by contrast, was an example of using a public domain property solely for the brand name rather than as a leaping-off point for exciting transgressive entertainment.

More mischievous and violent visions of public domain characters still flooded store shelves, streamers, and even theaters, the latter being evident in Krampus. This 2015 title from director Michael Dougherty reached into classic German folklore to deliver a horror movie about the mythological figure who was basically evil Santa. It was a title that twisted lots of seemingly happy staples of Christmas into something more twisted and grisly. A few years earlier, Rare Exports: A Christmas Tale emerged from Finland with a story about a feral version of Santa Claus while, back home in America, a unique vision of Hansel & Gretel infused with R-rated action was unleashed in Hansel & Gretel: Witch Hunters.

The trend of using public domain characters in a manner that would make strict parents clutch their pearls is always evolving. This is partially to keep up with the tastes of moviegoers and also to ensure that this subgenre can always be on the cutting edge of which characters have recently fallen into the public domain. So it is with Winnie the Pooh: Blood and Honey, which started filming mere months after the Pooh character fell into the public domain. The rarely stagnant nature of this subgenre ensures that every possible familiar character of old children’s entertainment will be exploited as much and quickly as possible.

While it’s easy to see the monetary reasons that would make media companies like seeing public domain characters utilized in this way, what is it about this concept that general audiences find so endearing? Whether it’s pornographic films from the 1960s, slashers from the 1980s, or today’s Asylum horror movies about Cinderella or Snow White, why do people keep watching these films in high enough numbers to ensure their persistent existence?

Part of it comes down to just the inherent amusement in seeing somebody twist around recognizably innocent material into something more warped. Thanks to how family-friendly companies like Disney plaster their characters everywhere, cheerful and cutesy interpretations on Winnie the Pooh and Pinocchio are everywhere. Seeing somebody douse such characters with blood and violent urges can feel like a transgressive thrash against the status quo. Plus, some of these adaptations, particularly several more faithful retellings of Pinocchio, prove appealing in how they get back to the darkness that often defines the original fairy tales these characters originated from. Their modern incarnations may be connected to syrupy cheerfulness, but many public domain characters got their start in stories chock-full of brutality that could only exist in R-rated fare.

Whatever the reason for these properties existing, the enduring presence of twisted adult takes on public domain children’s characters, not to mention all the internet attention thrust upon Winnie the Pooh: Blood and Honey makes it clear these kinds of projects won’t be going anytime soon. That means moviegoers need to brace themselves for some truly subpar pieces of trash that believe just spouting harsh profanity and displaying nudity is enough to make a movie substantively “adult.” However, the likes of Krampus show that there is some enjoyably naughty fun to be had with reimagining public domain figures more grotesquely. There is potential within these kinds of movies…or at least the potential to be better than something like Snow White & The Huntsman.

How has Disney leveraged nostalgia in recent years?

By turning classic animations into live-action films with major stars

What motivates Disney to keep producing live-action remakes despite mixed reviews?

The company’s approach aligns with the broader strategy of revitalizing its catalog and expanding merchandising and franchising opportunities linked to Disney Princesses and other iconic characters first popularized during the Disney Renaissance era (late 1980s to late 1990s) .

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Content: It’s possible that being an only child was one reason I was not exposed to the phenomenon of Disney princess worship during my youth. On the other hand, the lack of a coordinated merchandising effort during the 1970s probably had much more to do with the fact that the company’s princess lineup wasn’t yet emerging as a cultural trend.

In that decade, Disney focused most of its marketing on the so-called “Sensational Six” core characters, including Mickey Mouse, Minnie Mouse, Pluto, Goofy, Donald Duck, and Daisy Duck; along with product tie-ins to the 1977’s “The Many Adventures of Winnie the Pooh.”

Of course, Disney had only made three princess movies up to that time. Those included 1937’s “Snow White and the Seven Dwarfs,” 1950’s “Cinderella,” and 1959’s “Sleeping Beauty.” Following the introduction of Aurora in 1959, Disney would make moviegoers wait 30 years for the next princess to arrive in a film that would herald the start of the Disney Renaissance.

And that film was 1989’s “The Little Mermaid.”

Written and directed by John Musker and Ron Clements, the 28th Disney animated feature film was very loosely based on the 1837 Danish fairy tale of the same name by Hans Christian Andersen. It boasted a string of memorable songs that brought imbued the production with Broadway panache. Alan Menken wrote the score, and collaborated with Howard Ashman on the songs. The film scored three Academy Award nominations, winning two for Best Original Score and Best Original Song for “Under the Sea.”

The animated film featured the voices of Jodi Benson, Christopher Daniel Barnes, Pat Carroll, Samuel E. Wright, Jason Marin, Kenneth Mars, and Buddy Hackett.

Buoyed by the success of “The Little Mermaid,” the Disney Renaissance ran from the late 1980s to the late 1990s and unleashed a series of critically and commercially successful animated films. Of the 10 films considered part of this period, five were Disney princess films. By 2000, the list of Disney princess included Snow White, Cinderella, Aurora, Ariel, Belle, Jasmine, Pocahontas, and Mulan. Andy Mooney, a former Nike executive who had been named president of Walt Disney Company's Disney Consumer Products division, saw an opportunity. He pitched the Disney Princess franchise line — and a generation of children became entranced consumers.

More than 20 years have gone by since the end of the Disney Renaissance and the official launch of Disney’s Princess Line. These days, Walt Disney Pictures is focused on making live-action adaptations of its animated films. The latest of these is “The Little Mermaid,” directed by Rob Marshall from a screenplay written by David Magee. The film was released theatrically on May 26.

When evaluating a remake, adaptation, or reinterpretation of a classic film, one must consider not only the quality of the new film, but also how it compares to the original. It’s not enough to ask if the film entertaining and well executed. One must also determine what makes the remake valuable in its own right.

“The Little Mermaid” is set in the 1830s in the Caribbean. Ariel (Halle Bailey), youngest child of King Triton (Javier Bardem), lives in an underwater kingdom. Disney wisely mentions in its synopsis of the film that Ariel is 18 years old — not 16, as she was in the animated version.

Unlike her older sisters, Ariel is defiant and rebellious. She is captivated by a world beyond her reach, defying her father’s orders to study humans and collect their possessions from shipwrecks. She is often joined in this endeavor by her aquatic companions Flounder and Sebastian (voiced by Jacob Tremblay and Daveed Diggs, respectively); as well as by the birdbrained Scuttle (voiced by Awkwafina), a seabird whose understanding of human culture is amusingly erroneous.

When a sailing ship she has been watching is destroyed in a storm, she rescues Prince Eric (Jonah Hauer-King). When Triton learns Ariel interacted with the surface world, he goes on an overprotective father rampage, destroying her collection of bric-a-bracs, baubles, and curios while reiterating his mandate that she should not indulge her inclination to learn, explore, or meet new people. Ironically, Prince Eric’s adoptive mother, Queen Salina (Noma Dumezweni) places similar constraints upon him because she is fearful of the outside world and of losing her son.

Desperate to be reunited with Prince Eric — who she is in love with despite the fact that the two haven’t even actually met at this point — Ariel turns to Triton’s evil sister Ursula (Melissa McCarthy), a scheming sea witch who sees this as an opportunity to oust Triton and take power over all the world’s oceans. Ursula strikes a deal with Ariel, giving her legs in exchange for her voice. There’s a catch: If Ariel fails to receive true love’s kiss from Eric before the end of three days, she will become Ursula’s property. To make sure Ariel fails, Ursula also causes her to forget about needing to score that kiss.

That’s just the setup. If it seems a bit drawn out, imagine how it feels watching it on the screen. With a runtime of 2 hours and 15 minutes — 53 minutes longer than the 1989 animated version — it sometimes feels like we’re treading water. One wonders if, in a post-pandemic world filled with ADHD brains, kids can manage to maintain focus on this narrative that meanders its way from scene to scene without a sense of urgency. Sebastian and Flounder know that there is a looming deadline, but in this version of the story, Ariel has been robbed of that knowledge. In the animated version, she at least had a specific objective. She actively worked toward that goal. In this version, she is a starry-eyed young woman crushing on someone she barely knows, drifting dreamily between infatuation and limerence.

Because it is both a retelling of a classic fairy tale and a redesign of a beloved Disney property, the film suffers from a pronounced scarcity of creativity and originality. There are updates to the story, changes in individual characters, and a few additional songs. Some of these facelifts work, such as the addition of Queen Salina. Some of these addendum fall flat, such as Eric’s song “Wild Uncharted Waters,” written by Lin-Manuel Miranda. Miranda’s song “The Scuttlebutt,” performed by Awkwafina and Diggs, is a more palatable add-on, despite that fact that it is jarringly different tonally from other music in the film.

All the film’s flaws and miscalculations can be forgiven by its most impressive saving grace: Bailey’s performance is as remarkable as it is enchanting. Bailey stands out again and again in the murky, sketchy CGI undersea sequences, glowing with charisma and agency. She brings the magic that is noticeably lacking in elsewhere in the film, balancing the nostalgia of childhood memories with a contemporary attitude. She carries this film on her shoulders, filling it with a sense of wonder and awe that will inspire children to seek out unexplored horizons and work toward achieving their dreams.

Mind you: I’d prefer Ariel did not have to literally transform — for a man — to be deemed successful. This version somewhat mitigates that theme. Personal transformation is fine when prompted by a desire to become a better person, while self-change enacted strictly to please an individual or a group is unwise and unhealthy.

The film also features recurring examples — both subtle and palpable — that show gender equity, diversity, and inclusivity are beneficial to society. These are the very same principled concepts extremist legislators and ultraconservative judicial officials currently vilify as “woke,” as if being socially aware, compassionate, and empathetic has somehow become objectionable. If you ascribe to that mindset, you should probably skip this movie.

The bottom line is “The Little Mermaid” may not be as artistically inspired as the animated version, but a standout performance by Bailey keeps the film afloat. It frequently captures the kinetic energy of a Broadway stage production, delighting audiences both with signature songs and newly added sequences that enhance the story and the characters. It is consistently entertaining, with sporadic moments of dazzling brilliance.

If you don’t trust an old curmudgeon to properly evaluate a Disney Princess film, I’ll share a few points my 16-year-old daughter made.

According to B.C. Zumpe, the film’s CGI could have been better. She particularly enjoyed a scene in which Ariel and Eric are dancing in a village near his castle, while a Caribbean band plays.

“Some people want all the characters to look exactly like the originals,” she said. “It wouldn’t be fair if Disney excluded Halle just because of her skin color. They chose her for her voice and her spirit. Even if you’re only upset because she looks different from the Ariel you grew up with, you can’t expect them to keep everything the way you want it.”

My daughter also felt that Awkwafina did a good job in voicing Scuttle. She appreciated how the film promoted the idea that it is good to interact with other cultures and be open to new ideas.

She’s a good kid.

Photo courtesy of DISNEY

Halle Bailey stars as Ariel and Jonah Hauer-King as Prince Eric in “The Little Mermaid.”

Photo courtesy of DISNEY

Melissa McCarthy stars as Ursula in “The Little Mermaid.”

Adaptation decisions in the remakes include updates to story elements and characters to reflect contemporary values and social dynamics, with a deliberate effort to balance authenticity with modern relevance.

For example, The Little Mermaid (2023) expands Ariel’s age to 18 and portrays her as a more defiant and independent figure, deepening the father-daughter relationship absent in the 1989 original.

The film also integrates greater diversity and inclusivity, including casting Halle Bailey, a Black actress, as Ariel, which has both drawn acclaim and criticism tied to changing cultural norms.

What aspect of Disney's strategy has been questioned due to the mixed reception of The Little Mermaid?

What controversy did Disney's The Little Mermaid spark globally?

Debate over both Ariel's casting and racial representation.

Public and critical responses have ranged widely.

How did audiences react to the 2020 Mulan live-action remake?

Some positive reactions praising both changes and additions

What controversy did Disney's The Little Mermaid spark globally?

Debate over both Ariel's casting and racial representation.