THE LITTLE MERMAID (Dir: Ron Clements & John Musker, 1989).

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.

Visit my blog JINGLE BONES MOVIE TIME to read a longer more in-depth version of this review and reviews of other Disney classics! Link below.

THE MAN IN THE WHITE SUIT (Dir: Alexander Mackendrick, 1951).

Ealing Studios were on fine form in 1951, producing two classic comedies. The Lavender Hill Mob (Charles Crichton) released in June, was followed two months later by possibly the greatest Ealing comedy of all, The Man in the White Suit.


Set in the textile mills of the north of England, The Man in the White Suit tells of Sidney Stratton (Alec Guinness), a research chemist who delivers a new wonder fabric. Indestructible and dirt repellent, the miracle fabric initially has Sidney lauded a genius. However, once the ramifications of such a product become clear, both mill owners and trade unions are keen to suppress Sidney and his invention.


In some repects, The Man in the White Suit in atypical of the Ealing Comedies. It shares with the others the broad theme of the individual vs the Establishment, but here seems to be taking a swipe at trade unions and the common man. In actuality its view of big business and commercialism is just as critical. Yet here, the 'little guy against the system' is a more ambiguous figure than usual. Although Sidney's noble ambition to clothe the world in indestructible fabric is a commendable one, ultimately the price of doing so would come at too great a cost. As his landlady remarks "What's to become of my bit of washing when there's no washing to do?" On the flipside of this is the wealthy mill owners whose greed sees them clamouring for Sidney's invention before attempting to suppress it, initially with bribes, then with more underhanded means. Business and labour eventually side with each other as poor Sidney is chased through the dark streets with his suit glowing luminous white! While the audience sympathy undoubtedly lies with Sidney, we are not too sorry at his inevitable downfall.


Thankfully, social commentary does not get in the way of this being a very funny film. The astute screenplay by John Dighton, Roger MacDougall and Alexander Mackendrick nicely balances the two opposing sides of industry with equal satirical bite. Mackendrick directs at brisk pace, creating a real feeling of suspense in the final moments.


Alec Guinness, arguably the greatest comic actor all time, is excellent here. His childlike optimism offsetting the cynical nature of the film. While Sidney’s blinkered belief in his invention is foolhardy, Guinness never portrays him as foolish, eliciting audience sympathy for a character who could have easily evoked derision. Reunited with Guinness is his Kind Hearts and Coronets (Robert Hamer, 1949) leading Joan Greenwood, equally effective here as his chaste love interest.

The Man in the White Suit walks a thin line between cynical satire and offbeat whimsy, but it does so with ease. I would argue it is the greatest of the Ealing comedies and an absolute comedy masterpiece. Highly recommended to anybody with the slightest semblance of a sense of humour.

Check out my blog JINGLE BONES MOVIE TIME for more reviews of classic Ealing Studios movies!

FREAKY FRIDAY (Dir: Gary Nelson, 1976).

Walt Disney Productions' Freaky Friday is an early example of the 'body swap' comedy.

It tells the story of frustrated housewife Ellen Andrews (Barbara Harris) and her daughter Annabel (Jodie Foster). Following an argument on the morning of Friday the 13th the pair wish to change places, both believing the other has the more desirable life. Magically their wish is granted. Mom has to try to make it through a school day, while daughter deals with the pressures of housework. Comedy high jinks ensue.


While its concept no longer seems original, Freaky Friday is still a fairly fresh and funny movie, largely due to the excellent performances from its leads. Jodie Foster is terrific as the 35 year old mind in the body of a 13 year old, but the real revelation is Barbara Harris. Playing baseball with a team of 8 year olds, flirting with a teenage neighbour, having a meltdown over household chores; Harris perfectly captures the manic mind of 13 year old let loose in the body of a grown woman, proving herself an adept comedy actress in a fairly demanding physical role. Solid support from John Astin as bemused husband/father Bill Andrews, Sparky Marcus as Annabel’s brother ‘Ape Face’, Marc McClure as neighbourhood crush Boris and Patsy Kelly as the Andrew’s boozy housekeeper round out an appealing principle cast.


For the most part director Gary Nelson avoids the formulaic, cookie-cutter approach associated with Disney comedy movies of the era, thanks to Mary Rodger's superior script which stays close to spirit of her book. The movie occasionally veers a little too far into slapstick but most of it works and there are more big laughs than not. The mother/daughter relationship at the movies core is completely believable, through the misunderstandings to the inevitable reconciliation. The denouncement is nicely handled, not too sentimental and quite touching.

Freaky Friday is a good natured romp, with plenty of big laughs and let's be honest, who among us hasn't wondered what it would be like to switch places with Jodie Foster?

Read a longer, more in-depth version of this review on my blog: jinglebonesmovietime.blogspot.com

STUDENT EXCHANGE (Dir: Mollie Miller, 1987).


A lightweight teen comedy from Walt Disney Television. Originally screened in two parts on ABC's The Disney Sunday Movie series.


Greeley High School students Carole and Neil are top of the class academically but bottom of the heap socially. Passing themselves of as foreign exchange students in a bid to be noticed, they are a hit with fellow pupils, less so with the school principal. Predictably, things get a little out of hand and the pair are soon wishing they were their old selves again.


Inexplicably, identity switch movies were something of a Disney Sunday Movie staple in the 1980s. The previous season had presented Young Again (Steven Hilliard Stern, 1986), Double Switch (David Greenwalt, 1987) and Double Agent (Michael Vejar, 1987) while the current series also offered Rock 'n' Roll Mom (Michael Schultz, 1988) and 14 Going on 30 (Paul Schneider, 1988). Meanwhile The Disney Channel was churning out a seemingly endless series of sequels to Disney's original switheroo comedy The Parent Trap (David Swift, 1961).


There is little in Student Exchange that is particularly original and nothing that really makes it stand out among the plethora of teenage wish fulfillment movies. Mollie Miller's direction is solid and the performances are fine, although the production cannot quite shake the feeling of an extended TV episode.


It also suffers from a message that is slightly muddled. While it is undoubtedly important to be yourself, Student Exchange makes it seem a lot more fun to be the popular kid and get the girl/boy of your dreams.


Viveka Davis and Todd Field are likeable leads, but perhaps of more interest to modern audiences is the supporting cast. A post-Bionic Woman Lindsay Wagner, pre-fame Heather Graham and pre-infamy O J Simpson all put in appearances.

Student Exchange is a pleasant enough nostalgia trip. Teens and tweens of the late 80s may get more out of it than anybody else. But i don't see why younger audiences wouldn't enjoy it too; essentially it is a modern day Disney Channel movie in 1980s clothing. It is predictable and formulaic but also good-natured fun.

Visit my blog JINGLE BONES MOVIE TIME for a longer, more in-depth review of Student Exchange!

THE LITTLE MERMAID: ARIEL’S BEGINNING (Dir: Peggy Holmes, 2008).

The third and to date final movie of Disney’s animated Little Mermaid franchise. As its title would suggest Ariel’s Beginning is a prequel to the original The Little Mermaid (Ron Clements & John Musker, 1989).

Following the death of his wife Queen Athena, King Triton bans all music from Atlantica. Ariel and pals set about showing him the error of his ways and returning music and happiness to the kingdom. Yes, the plot really is that silly.

The Little Mermaid: Ariel’s Beginning was to be the last of Disney's animated made for video sequels, a line of movies that began 14 years earlier with Aladdin follow-up The Return of Jafar (Toby Shelton, Tad Stones & Alan Zaslove, 1994). Yet while these movies brought in the big bucks, their lower quality animation and storytelling had a detrimental effect on the public perception of Disney animation, possibly contributing to the disappointing box office returns of the studio’s product in the early 2000s.

Considering its made for video origins, Ariel’s Beginning is a visually pleasing film. Unfortunately the quality does not to extend to the storytelling which is decidedly puerile and aimed squarely at the youngest of mermaid obsessives. The movie also suffers, as do many prequels, from the fact that we know the story’s outcome before it has begun.

Returning as the voice of Ariel is Jodi Benson. While her performance is undoubtedly the movie’s highlight it is a shame that no-one thought to write her any decent new songs. The movie as a whole suffers from an overall lack of original tunes, ironic considering its subject. Sadly, the few that are included are instantly forgettable.

With its impressive visuals and its abysmal storytelling The Little Mermaid: Ariel’s Beginning showcases the best and worst of DisneyToon Studios output simultaneously. I personally found it a chore to watch. The most undemanding of very young mermaid fans may disagree.

A longer version of this review is available to read on my blog jinglebonesmovietime.blogspot.com

THE JOURNEY OF NATTY GANN (Dir: Jeremy Kagan, 1985).

Dating from an era when Walt Disney Pictures were pursuing edgier family entertainment, The Journey of Natty Gann is a road movie drama set during the Great Depression of the 1930s.

In her movie debut Meredith Salenger stars as the titular Natty. Separated from her father (Ray Wise), she travels the length of Chicago to Washington to find him, accompanied by an unusual travelling companion in the shape of a wolf. She also strikes up a friendship cum chaste romance with a young drifter (John Cusack).


Director Jeremy Kagan delivers a thoughtful, intelligent movie that’s pulls no punches in its believable and affecting account of the hardships caused by poverty and mass unemployment. It also touches, albeit lightly, on subjects such as union activism and police brutality.

The movie treats it subject matter seriously, yet the tone is never too sombre and its uplifting moments offset the gentle melancholic mood which runs through it. Certainly, it is sentimental but it is never sticky and the sentimentality never seems false, while its female lead gives it a feminist slant not usually found in family films of the era.

While the performances are uniformly excellent, the standout is undoubtedly Salenger. Age just 14 during filming, her performance is both moving and charismatic. How she did not become a massive star is anybody’s guess. John Cusack also impresses in an early role as Natty's drifter friend Harry. It is beautifully photographed by cinematographer Dick Bush, capturing the crisp Canadian wilderness (standing in for the US) and the grimy back alleys with a cinematic grace rare in 80s Hollywood.

Although The Journey of Natty Gann won admiration from critics it was not, initially, a hit with audiences. It would eventually find a more appreciative audience on the burgeoning home video market. Still, the movie seems vastly underrated today. It is among the Disney Studios’ best live action releases and one of the most artful major Hollywood releases of the 1980s.

Check out my blog jinglebonesmovietime.blogspot.com for a longer, more in-depth version of this review.