What are the names of the sisters Ariel from the cartoon The Little Mermaid. What was the name of the crab from the cartoon Ariel

Even on the humorous side, the audience was pleasantly surprised: at the suggestion of Ashman, the character of Sebastian came transformed from an English butler to a Jamaican composer, an idea that strongly influenced the film, affecting the soundtrack itself. All this adds to the strong growth of the tone of the story. Raised the register of the narrative, the audience also multiplied: multitude or variegated, which also included children who were attracted by adventure and comic addictions, and adults who are interested in the most dramatic or romantic component.

So, the colossal is disbanded for families.


The same discourse relates to the design of some characters: we are still far from a certain virtuosity, which we will see in the second half of the year. There are some really brilliant characters in the cast, such as the crowded Sebastian, the Jamaican crab and the official reporter of the kingdom. His close relationship with the music of the film, he does not add value to the figure, gives him a call and "integration with a very unique story." Other important characters are King Triton, animated by Andreas Deya and the sea witch Ursula, led by Ruben Aquino, who, to understand this, was inspired by the famous queen of divine resistance.

The strong pot, however, is undoubtedly the protagonist Ariel, the first female heroine of this completely new era of Disney. Incredible Glenn Keane is a character different from the perfectly harmonious canons that Disney’s style has adopted in the past. Frank Thomas and Ollie Johnston were worried when Glen showed them what he wanted to do: his Ariel was actually a hybrid of styling that embedded some typical Japanese features in the predominantly Western model, including especially large and communicative eyes.

Glenn Keen was then not afraid to exaggerate his expressions, to affect the deformation of the face and to question some aesthetic rules with the paper tactics of heresy, but they turned out to be very useful to become a new aesthetic reference point for the next.

As already noted, with the arrival of Howard Ashman and Alan Menken, the soundtrack returns as an important and indispensable element, so Disney films are becoming the cinematic equivalent of great Broadway musicals. Ashman is a true storytelling genius that can inspire everyone to think about music along with history, prevent layoffs, and promote what is good for the narrative economy. “If, by deleting a song, the script does not affect you, you have bad job": On the basis of this rule, he returns to reasoning from the point of view of musical narration.

The little mermaid, as we have seen, would inspire a theatrical transposition on La Bella and the Beast and the Lion King. The story of Ariel, who brought Broadway's typical sensitivity to the big screen, will return to the source, bringing his original inspiration: the theater.


After much blowing up, Little Mermaid was a success that Disney was expecting. Good results about who brings the Roger Rabbit preceded?, Ariel’s excellent work at the box office convinced management, which is still worth investing in animated films.

Thus was born the famous formula that will be observed throughout the 1990s: inspired musicals of fairy tales or fairy tales, told without any imbalance in a particular genre, but using a register that can use a transverse goal.

This recipe has been successfully applied to all subsequent work, such as La Bella and the Beast or Aladdin, giving life known today as the “disney-renaissance”. The cancellation of the medal was that from this point on the work of the studios would become contentious hostages of television departments that would use their fame in different ways. Little Mermaid was the first animated feature that spawned the series.

Valerio Pacagnella - Having graduated from modern letters, he has always been a big fan of Disney comics and animation. Although he is very heavy, he is able to immerse himself perfectly in the salty atmosphere of the film, offering the viewer. Fortunately, the extended version of the piece later turned out to be in a Broadway musical inspired by the film. Triton's Daughters - Like the fathoms below, this song is nothing more than a short version of a deferred song that will be restored only years later in a theatrical version. What remains in the film is a frivolous sequence in which the sisters of Ariel appear before the public when they perform. This is an exciting show of court composer Sebastien, who is very proud of it, but it subtly means that the final result of the finale ends with pacchia. Part of your world is one of the most beautiful and important songs of the entire Renaissance Disney. In the end, we are in a choir performance, while the centerpiece is one of the most significant moments in the history of the “Disney animation, the famous scene in which” a wave of breaks on the rock, in which Ariel sings to Eric turning. This is the famous joke that part of your world is in danger of being removed from the film. Jeffrey Katzenberg, during a test projection, noticed that the child was distracted during the cave sequence, and thought that the song would have a younger audience. This was Glenn Keane's desire to convince him otherwise, returning to the film at the most beautiful moment. Under My - With this song, Ashman and Menken are focused, demonstrating their revolutionary innovation charge. Focus on the character of Sebastian's comedic shoulder, the strict guardian and court composer makes him a key figure for the film, and under the sea, which more than any other, is his song, becomes one of Disney's greatest successes. Poor miserable soul. The character of Ursula has a rather long song, which realistically characterizes it as a left crook. The song is really good, and this is another example of how Ashman uses music to make the story more fluid. Singing ensures that the covenant between Ursula and Ariel with his very high level of play, position and his contraindications are subjected to the smallest detail, masking his skills with skill and shifting attention to the emotional aspect of the issue, a truly remarkable achievement. the comparison between him and Sebastian, and the humor that comes out of him, works very well. The text of the play does not preserve some of the arguments stored in typical French nationalism, with its mixing for no apparent reason such terms as "New Cuisine", "Champs Elysees" and "Maurice Chevalier". The sequence set in the romantic lagoon is really very elegant, with some really cool comic touches. This is a demonstration of how to create a great atmosphere, although it is not taken too seriously. Director: Ron Clements and John Mousser.