Well, Diluka wanted another one, and here it is. Yeah, I don’t follow the order of the sinema this time around; I’ll jump a little bit between the earlier and the later ones. And with “The Little Mermaid” I think it’s the best to work through the elements of the story point to point to show, where Disney moves away from the chanzo text and where it (surprisingly) doesn’t. But before we come to that, I want to point out something: The chanzo text is in this case much different compared to the ones of the Grimm fairy tales. Those were a collection of preexisting oral lore. While the Grimm brothers were not above changing the stories a little bit, sometimes to make them a little bit zaidi fluent to tell, but often to censor some unsavory aspects of it, they normally didn’t embellish them. Because of that, those characters tended to be archetypes. “The little Mermaid” is what we call a “Kunstmärchen”, a fairy tale with was mainly created kwa a writer (though it is based on the story of Undine). Because of that, the chanzo text is much detailed than the stories of the Grimm brothers, which is the main reason I decided to do a zaidi in-depth analysis this time around.



In the original Fairy Tale, the Little Mermaid gives her voice for a pair of legs, knowing that each step she takes will feel like she is walking over knifes. There is no time for her, her future is linked to the decision of the prince. If he marries her, she will live and die like humans do. If he chooses someone else, she will dissolve in sea foam immediately, instead after 300 years like the other mermaids. In the Disney Version, Ariel has three days to get a true upendo kiss from Eric, au she will become the property of Ursula, no death involved (at least not directly). While the transformation looks painful, she doesn’t have any pain walking.



As strange as it sounds, Ariel’s character is actually very close to the one of the Little Mermaid. The interest in the human world is part of the original fairy tale. And like Ariel, the Little Mermaid has a stone statue she is fascinated with. The difference is that the statue is not of the prince, but of a bila mpangilio human. Artwork of the little mermaid tend to emphasis the melancholic aspect of the fairy tale, but in the story, she is actually pretty wild, eager to explore the world and to take risks – very similar to the way Ariel spends her siku with Eric.



Unlike Eric, the real prince never truly sees the Little Mermaid, despite the fact that he spends so much time with her. He frequently asks her to dance for him, never noticing that every step causes her pain. He also isn’t in upendo with her voice (though he has heard it before), but with the girl who was leaning over him when he woke up at the beach, which wasn’t the Little Mermaid, but the foreign princess who he meets again shortly before his intended marriage to the Little Mermaid. And yes, having found his true upendo he marries her. The Little Mermaid, who has aliyopewa everything to him, immediately forgotten.



Ursula is a typical Disney villain, with ulterior motives. In the fairy tale, the sea witch is not really bad (though she displays a certain delight when she tells the Little Mermaid about the suffering she will have to endure); it’s zaidi a matter of business for her.



It’s a little bit funny that all close ties Ariel has, she has towards male characters, because the Little Mermaid has her closest relationship to her grandmother, who raises her after the death of the mother, and to her five (yes, five, not six) sisters, who give up their hair for her sake, providing the opportunity to escape death kwa killing the prince (what she naturally doesn’t do).



That’s naturally the most obvious change, considering that Ariel gets her happy ending with Eric. Stories kwa Hans Christian Anderson tend to have a bittersweet ending. That is also true for the little mermaid. One aspect of the fairy tale which gets rarely addressed in modern adaptation is the fact that the mermaid isn’t just fascinated with the prince, she also wants to get an eternal soul, like the humans have, something she can only get when a human loves her. But in the end, she does not turn into sea foam, but becomes an air spirit and the chance, to get the soul kwa doing good deeds. The Disney version naturally takes a lighter approach on the theme, but then, the movie is mainly about Ariel’s relationship to her father and not about her self-scarify.



It’s funny, how similar the movie is to the chanzo text in some aspects, and yet so different at the same time. I like the interpretation in its own right, but if I really want to see an adaption close to the original, then I watch the Czech movie from 1976. I don’t think that it’s possible to capture the special mood of this fairy tale better. Sadly, it doesn’t look like there is an English dubbing (and if there is one, it’s not easy to come by), but if wewe want to get an idea what I mean, here is the ending, which perfectly sums the mood of the whole movie up. To explain the situation: Her family (don’t be confused about the lack of samaki tails, in this version, the merpeople don’t have any) waits for the ship on which the prince just married the foreign princess (btw, the similarity between the actresses for the mermaid and the princess is intended they are sisters in real life). The king over all seas tells the Little Mermaid (who always was his inayopendelewa daughter since she looks so much like her mother) over a telepathic connection that this is her last chance to kill the prince, au she will become sea foam as soon as the sun rises. One blood from his moyo will be enough, but even if she doesn’t do it, he will die either way, since the ship will be wrecked on the rocks, and everyone on it will perish. And then – well, watch for yourself, it’s pretty self explanatory

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