The Little Mermaid 50 Day Challenge: Week Five

Zachary Kenny- For week 5, we’ll be taking a look at the best aspect of the film; the music. Yes, the story, animation & characters are great, but admit it, the fantastic music is what probably what you remember the most. (I’ll also be discussing the Broadway versions of the songs, to save from when we talk on the show, & any other version of the songs.) So today, we’re focusing on the award-winning music of The Little Mermaid.

DAY 29: HOWARD ASHMAN & ALAN MENKEN

Here’s the duo who made one of Disney’s best soundtracks possible: lyricist Howard Ashman and composer Alan Menken. Before this film, Howard worked with Broadway, writing plays like Little Shop of Horrors and Smile (which starred Jodi Benson). The former being a success and the later sadly flopping. After Smile, Howard took a break from Broadway, but as still active, like joining Frank Oz for a film adaptation of Little Shop & writing the opening song of Oliver & Company, with Alan assisting him all the time. Then they both joined Disney when hearing about this film. Howard came up with the idea to change Sebastian’s original character from British butler to Jamaican composer & have the music reflect that, turning the film into a musical. He knew the importance of songs had to be to move the characters, not just be there. He also wrote in a couple scenes, like Sebastian’s turning point, Sebastian giving Ariel tips to kiss and Triton’s decision to make Ariel human. For Alan, this was the first score he ever written, which was frightening for him, thinking he’d be fired, but after the directors heard the shark chase, they loved it. So here we have the duo at their well-known place, the piano, with Ariel and Sebastian listening in to some demos.

DAY 30: UNDER THE SEA

To start the songs, here we have what can pretty much describe all of Howard’s songs: big, colorful (in every meaning) & all-around fun to listen to. “Under the Sea” is set near the beginning of the second-half, where Sebastian’s trying to convince Ariel to forget the human world, complete with sea creatures of every size & species. It’s very bouncy, the lyrics are filled with Howard’s creative wordplay, the colors shown run the spectrum & Samuel E. Wright’s performance is spectacular. This played at the presentation reel, opens the Hollywood Studios show, the Broadway version isn’t half-bad & Raven Symone’s cover is maybe one of the best from the Disney Mania songs (‘cause it’s one of the few faithful). For the drawing, you wouldn’t believe how long it took, mostly with each individual bubble having to be filled in. But in all, this is one of Disney’s most colorful (literally) & most fun songs.

DAY 31: PART OF YOUR WORLD

This has quite a backstory, very similar to “Somewhere Over the Rainbow” from The Wizard of Oz. It was on the brink of being cut out. Why? Get a load of this: Because Katzenberg saw during a screening the kids were squirming a bit but mostly because one kid, ONLY ONE KID, dropped his popcorn & was more concerned with picking it up…………… Unbelievable, right? Something THAT stupid & that’s why he said delete it. Disney’s reaction: “NO!” They fought back as hard as they could, but smart ol’ Jeffery (I’m being sarcastic) kept refusing for this “bore-fest song”, until Howard stepped up, asked for another screening going to sue, & THIS time, it was well-received & was kept. With decisions like these, it’s no wonder Jeffery got fired.

For “Part of Your World”, it’s one of Howard’s most beautiful ballads. Ariel has as many human items she can find, but what she really wants is to be on dry land. The music’s very soft, Glen Keane’s animation is fantastic & Jodi Benson’s performance is beyond gorgeous; it can actually mood you to tears, just as the sheer beauty of it. For the drawing, it was part to get the colors right, especially with the shading. It was often called “Somewhere That’s Dry” by Howard & Alan, due to it sounding similar to “Somewhere That’s Green” from Little Shop. Jodi later sung the song atthe Disney Legends Awards, the TLM attraction’s opening & possibly the best version outside the film, at Howard Ashman’s memorial service. For other covers, aside from Sierra Boggess, the others are too pop or too rock, losing the serenity of the original. No doubt one of Disney’s most moving.

DAY 32: KISS THE GIRL

With 2 days gone and Eric not puckering up once, Sebastian decides to set “de mood to Kiss de Girl”. The tropical sound is great, it’s great how the music builds, the swamp/lagoon animal species shown is very diverse from the ocean life we’ve seen previously in the film and, like I said before, Sam’s performance is great. The staging for the picture was pretty easy & if you look carefully, you’ll see a little hidden something in there. Ashley Tisdale’s cover is pretty good but the Broadway version is too slow & doesn’t build like the original. It’s a perfect song for Valentine’s Day.

DAY 33: POOR UNFORTUNATE SOULS

Just in time for Halloween, here’s Ursula’s villain song, “Poor Unfortunate Souls”. Originally there was “Silence is Golden”, but Howard didn’t like it so they rewrote it & what came to be was one of the best Disney villain songs. It’s where Ursula convinces Ariel that she’s reformed & what her plan to grant Ariel’s wish will go. The way the music builds is the best aspect, going from waltz-like into full-blown “wow” & Pat Carroll is fantastic. She actually stole some stuff from Howard’s demo, like the inflections, “idn’t it?” & “no more talking, singing, zip *pop*!” Howard was really great at making villain songs, for characters we’re supposed to hate, not sound AT ALL like villain songs, & that’s what’s really great. The Broadway version’s not that great (it’s kept at the same level of intensity) & don’t get me started with the Jonas Brothers. A perfect song to hear at the season of ghouls & goblins. Happy Halloween, everyone!

DAY 34: LE POISSONS

Since it’s now the first day of November, the time of Thanksgiving, what better way to start than a cooking food? “Les Poissons” is sung by Chef Louis, an over-the-top French chef who loves to make fishy dishes, with Sebastian trying not be the next meal. It shares many similarities with“Dentist” from Little Shop; taking something mundane (being a dentist/cooking) & giving it a comical sadistic side, expect Louis does it unintentionally to torture fish. With this, it has a nice waltz feel & seeing Louis go nuts is hysterical. The Broadway version goes a little TOO sadistic, with Louis sounding like he LOVES to purposely kill fish for no reason & it sounds too much like “Be Our Guest”. & even though his situation with Sebastian was pretty bad, at least he wasn’t cooking lobster. Imagine how that would’ve turned- oh, wait.

DAY 35: OSCARS

Howard & Alan’s great works for this film paid off perfectly. On the night of the 62th Academy Awards, they got the Oscars for “best original song” for “Under the Sea” for both Howard & Alan and “best original score” for Alan. This was Disney’s first Oscar win The Rescuers in 1977. The film also won two Grammys and two Golden Globes. Howard & Alan soon became two of the best people assisting the company and Howard began immediately writing for two other films in the works, Beauty & the Beast & Aladdin. Alan would later write the music & score for many Disney films to come, but unfortunately, Howard didn’t. He sadly passed away on March 14^th, 1991, six months before Beauty & the Beast was released. He died from AIDs and he was HIV positive since 1988. He didn’t tell ANYONE but Alan after the Oscars. 4 days before his death, everyone visited Howard in the hospital telling him that the film was a success at a screening. “Who would’ve thought?” they said. Howard’s reply: “I would have.” Beauty & the Beast was dedicated to Howard, saying “To our friend Howard, who gave a mermaid her voice and a beast his soul, we will be forever grateful.” Howard, thank you so much for what you’ve done. You’ve helped strengthen Disney with a greater part; for the greater good, bless your giant heart. All of us, Disney & Alan are proud of you, boy.