'The Little Mermaid,' which hits theaters today, dives deep into current culture wars. It encourages audiences to be accepting of people who are different from the ones they know.
“He’s a human!” bellows King Triton , an underwater sea god, who mistrusts those who live on land. “That doesn’t make him our enemy,” exclaims Ariel , his mermaid daughter, as she defends her love for a prince who is a mortal.
The characters, dialogue, and narrative in this film version of the classic story are extensions of Disney’s brand, which champions love and inclusion, as opposed to fear and exclusion. This live-action adaptation of the 1989 animated Oscar-winning film dives deep into current culture wars. It encourages audiences to be accepting of people who are different from the ones they know—a fitting companion to Disney’s 1960s theme “It’s a Small World After All.
Director Rob Marshall and the film’s producers have pulled together a stellar tech crew that makes the “merpeople’s” swimming as thrilling as Superman flying, with speedy, graceful, and mercurial movements that capture the eye. The pastel colors in Ariel’s fins are captivating, and watching her swim is as thrilling as viewing the beings in “Avatar.” Seamless VFX and SFX technology is also on display.
It’s fair to say that this very multiracial, multicultural version has strayed far away from its original 1837 source: a Danish fairytale written by Hans Christian Andersen. The interracial mix of the sisters and entire cast speaks for itself. The ensemble moves around nonchalantly as if having a Black queen, white prince, an Asian bird, a Spanish sea god, a Pakistani butler , and a crab with a thick Jamaican patois is normal. And it is. It’s the new normal.
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