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What do all of the films directed by Ron Clements and John Musker have in common?
Scary and horror elements.
ALADDIN (Dir: Guy Ritchie, 2019).
Disney raids its back catalogue once again for their latest remake of an animated classic. Released in 1992, Aladdin (Ron Clements and John Musker) is one of the Disney Studios most critically acclaimed and commercially successful movies. With an excellent musical score, groundbreaking animation and a magnificent performance by Robin Williams as The Genie, it is also a difficult act to follow, not least for Will Smith stepping into the winklepickers of Williams.
This version of the Arabian Nights story of the boy who finds a magic lamp and the genie within who will grant him three wishes sticks close to Disney’s previous telling, although adding a further 40 minutes to its runtime. Surprisingly these extra minutes do not feel superfluous. Jasmine and Jafar both gain a little deeper character development and the Genie gets a love interest. Alan Menken, Howard Ashman and Tim Rice’s song score remains mostly intact with the addition of a new number, ‘Speechless’, co-written by Menken with songwriting duo Pasek and Paul.
Brit Guy Richie seemed an unlikely choice of director but acquits himself admirably with his first family friendly musical fantasy. As do the cast; Mena Massoud as Aladdin and Naomi Scott as Jasmine make attractive leads and Smith is reassuringly great as Genie. Thankfully, Disney cast actors who can also sing and the soundtrack is mercifully free of the auto-tuning that has plagued previous features.
What Aladdin lacks in originality it makes up for in spectacle. This is a very good looking movie with lavish song and dance numbers, exciting action sequences and top line special effects. Does it supplant the beloved animated version? Of course not. But it does hold up as a visually stunning, tuneful, wholly entertaining 130 minutes. While perhaps not as essential as its animated predecessor it is still a lot of fun and well worth a watch.
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THE LITTLE MERMAID (Dir: Ron Clements & John Musker, 1989).
Based upon Hans Christian Andersen’s classic tale, The Little Mermaid was Walt Disney Animation’s first fairytale adaptation in three decades. It was their biggest critical and commercial success in years and is credited with starting a renaissance in Disney feature animation.
As I am sure you know, The Little Mermaid is the story of Ariel, the teenage mermaid who trades her voice for a man. Not the most feminist of plots but I don’t think it raised eyebrows back in 1989. Be thankful we are more enlightened now and don’t let it spoil your entertainment. Because The Little Mermaid is very entertaining.
The most cinematic Disney animation to date, thanks to inventive use of ‘camera’ angles; directors Ron Clements and John Musker and the talented Disney artists created a movie which felt simultaneously contemporary and classic Disney. Clichéd as it may sound, there is a sense of magic in The Little Mermaid that had been absent from Disney movies for some time.
As the voice of Ariel, Jodi Benson has the right amount of naive wonder and youthful determination while Pat Carroll’s lends her husky tones to Ursula, one of Disney’s most hissable villains. Comic relief comes in the form of Samuel E Wright as Ariel’s crustacean custodian Sebastian who brings a Caribbean vibe to musical numbers Under the Sea and Kiss the Girl.
Howard Ashman and Alen Menken’s excellent musical score is, arguably, what elevates The Little Mermaid from a good movie to a great one and in the modern Disney era has only ever been matched for greatness by Ashman and Menken’s Beauty and the Beast (Gary Trousdale & Kirk Wise, 1991).
It is unfortunate that in subsequent years the Disney Company chose to market The Little Mermaid, and the ‘princess’ movies in general, almost exclusively to little girls. The appeal of great filmmaking should extend beyond age or gender and The Little Mermaid undoubtedly does; its status as a classic is entirely justified.
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