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11 Facts About The Little Mermaid

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Here are a few things you may not know about everyone’s favorite self-loathing mermaid. (Not included? The alleged "phallus" on the VHS box. It was an accident, and it wasn't put there by a disgruntled artist. Most pointy things happen to look like phalluses.)

1. Jodi Benson Tried Out For the Part of Ariel via Recorded Audition.

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While Benson had never been in a movie, she appeared on Broadway in Smile, written by Howard Ashman. The production closed quickly, and Ashman, feeling guilty, gave all the women who’d been in the play a rare opportunity to try out for a Disney movie he was co-producing. Benson handed in her reel-to-reel voice audition with all the other girls' and waited a whole year before learning she’d landed the part of Ariel.

2. Producer Howard Ashman stayed in the booth with Benson while she was recording.

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It’s rare for a director or producer to sit inside the glass booth with a voice artist while he or she records vocal tracks, but Ashman wanted his young star to inhabit Ariel as perfectly as possible. Howard had to sneak around while directing her from inside the booth so the microphone wouldn't pick up his movements.

3. The Little Mermaid kicked off what is known as "The Disney Renaissance."

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Do you remember what Disney was serving up before Ariel came along? Some examples are Oliver & Company, The Black Cauldron, and a whole bunch of live action films, many of which started with the word “Herbie.” All of these were miles away from the beauty and craft of Cinderella, Dumbo, and the like.

Some credit the downward slide of Disney films to Walt’s death in 1966 (quickly followed by his brother, Roy, in 1971). For 20 years, it can be said that Disney churned out children’s movies based on a lackluster version of the company's original vision. But then came Ariel. After The Little Mermaid came ten years of fantastic features, including major hits like Aladdin, The Lion King, and Mulan.

4. The Little Mermaid was one of the first features to use Pixar’s computer animation process.

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The usual way to make cartoons had always been by transferring animators' drawings to celluloid and then painting the reverse side. This process can yield beautiful results, but it was obviously time consuming. Pixar’s program allowed animators to upload drawings onto a computer loaded with an infinite color palette and capable of impossibly subtle blending and transparencies. Though computers were used in very few scenes in The Little Mermaid, Pixar continued to develop the process until computer animation became the standard for quality Disney releases.

5. Writer Sherri Stoner and a young Alyssa Milano were the physical inspirations for Ariel

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Stoner’s slight and graceful frame guided the animators to make Ariel’s movements realistic. (You can watch a compilation of Stoner modeling the physical movements for the film here.) Meanwhile, and unbeknownst to her at the time, Ariel’s face was modeled after Alyssa Milano. Watch Milano reveal that little-known but suddenly obvious fact on The Wendy Williams Show:

6. The Inspiration For Ursula Was Positively Divine.

Many only know the talents of super-sized drag queen Divine from the original Hairspray movie. Divine was a staple of John Waters' joyfully trashy films until his death in 1988. He never lived to see himself immortalized as one of the most fun and nasty Disney villains in history. The particular inspiration appears to be taken from Pink Flamingos (see the undeniably astounding similarities here), a film that should definitely be avoided by young fans of The Little Mermaid.

7. The first choice for Ursula’s voice was Bea Arthur.

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And she probably would have done a wonderful job. In fact, the screenplay even called for Ursula to have a “Bea Arthur-type basso voice." However, she declined, or at least her agent did. As co-director John Musker remembers, “Her agent, I guess, read the script, and ... somehow in her mind, (it came across as if) we were saying Bea Arthur was a witch. I don't think that she even gave it to her." Many other famous women auditioned for the role, but only veteran character actress Pat Carroll was able to give the extremely picky songmeister Howard Ashman the performance he wanted.

8. A Muppet Version Was Planned as a Television Series.

It was called Little Mermaid's Island and it was scrapped in favor of a fully animated series that appeared on CBS. You can watch a sample of the show, which mixed puppetry and live action, above.

9. Mickey Mouse and Pals can go wherever they please in the Disney Universe. Even Under the Sea.

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There is a remarkable website, last updated in 2007, that is devoted to finding “hidden Mickeys” in the Disney universe. There is no denying Mickey's omnipresence. Look closely and don't be distracted by the flaming trident—we all know who the real king in this picture is.

10. Ursula Was Probably Triton’s Sister.

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Although it’s never directly dealt with in the film, Ursula does make reference to good old days when “I was in the palace.” The family connection is a part of the Broadway production storyline, and the 2006 DVD re-release of The Little Mermaid includes a short documentary called Treasures Untold that mentions the preliminary planning to make this family tie part of the film.

11. Christopher Daniel Barnes was only 17 when he recorded the voice of Prince Eric.

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Barnes was cast despite being only 17 years old at the time. He may be better remembered as Greg from The Brady Bunch movies of the 90s, as well as the voice of many animated incarnations of Spider-man. Says Barnes, "It's my favorite of all the Disney films, I'm not just saying that because I'm biased. In every animated film that came after, all the women look like Ariel. I was the Prince in The Little Mermaid. If I never do anything else, Disney on laserdisc is eternal!"

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14 Deep Facts About Valley of the Dolls
The Criterion Collection
The Criterion Collection

Based on Jacqueline Susann's best-selling 1966 novel (which sold more than 30 million copies), Valley of the Dolls was a critically maligned film that somehow managed to gross $50 million when it was released 50 years ago, on December 15, 1967. Both the film and the novel focus on three young women—Neely O’Hara (Patty Duke), Jennifer North (Sharon Tate), and Anne Welles (Barbara Parkins)—who navigate the entertainment industry in both New York City and L.A., but end up getting addicted to barbiturates, a.k.a. “dolls.”

Years after its original release, the film became a so-bad-it’s-good classic about the perils of fame. John Williams received his first of 50 Oscar nominations for composing the score. Mark Robson directed it, and he notoriously fired the booze- and drug-addled Judy Garland, who was cast to play aging actress Helen Lawson (Susan Hayward took over), who was supposedly based on Garland. (Garland died on June 22, 1969 from a barbituate overdose.) Two months after Garland’s sudden demise, the Manson Family murdered the very pregnant Tate in August 1969.

Despite all of the glamour depicted in the movie and novel, Susann said, “Valley of the Dolls showed that a woman in a ranch house with three kids had a better life than what happened up there at the top.” A loose sequel, Beyond the Valley of the Dolls—which was written by Roger Ebert—was released in 1970, but it had little to do with the original. In 1981, a TV movie updated the Dolls. Here are 14 deep facts about the iconic guilty pleasure.

1. JACQUELINE SUSANN DIDN'T LIKE THE MOVIE.

To promote the film, the studio hosted a month-long premiere party on a luxury liner. At a screening in Venice, Susann said the film “appalled” her, according to Parkins. She also thought Hollywood “had ruined her book,” and Susann asked to be taken off the boat. At one point she reportedly told Robson directly that she thought the film was “a piece of sh*t.”

2. BARBARA PARKINS WAS “NERVOUS” TO WORK WITH JUDY GARLAND.

Barbara Parkins had only been working with Judy Garland for two days when the legendary actress was fired for not coming out of her dressing room (and possibly being drunk). “I called up Jackie Susann, who I had become close to—I didn’t call up the director strangely enough—and I said, ‘What do I do? I’m nervous about going on the set with Judy Garland and I might get lost in this scene because she knows how to chew up the screen,’” Parkins told Windy City Times. “She said, ‘Honey, just go in there and enjoy her.’ So I went onto the set and Judy came up to me and wrapped her arms around me and said, ‘Oh, baby, let’s just do this scene,’ and she was wonderful.”

3. WILLIAM TRAVILLA BASED THE FILM'S COSTUMES ON THE WOMEN’S LIKES.

Costume designer William Travilla had to assemble 134 outfits for the four leading actresses. “I didn't have a script so I read the book and then the script once I got one,” he explained of his approach to the film. “I met with the director and producer and asked how they felt about each character and then I met with the girls and asked them what they liked and didn’t like and how they were feeling. Then I sat down with my feelings and captured their feelings, too.”

4. SUSANN THOUGHT GARLAND “GOT RATTLED.”

In an interview with Roger Ebert, Susann offered her thoughts on why Garland was let go. “Everybody keeps asking me why she was fired from the movie, as if it was my fault or something,” she said. “You know what I think went wrong? Here she was, raised in the great tradition of the studio stars, where they make 30 takes of every scene to get it right, and the other girls in the picture were all raised as television actresses. So they’re used to doing it right the first time. Judy just got rattled, that’s all.”

5. PATTY DUKE PARTIALLY BLAMES THE DIRECTOR’S BEHAVIOR FOR GARLAND’S EXIT.

During an event at the Castro Theatre, Duke discussed working with Garland. “The director, who was the meanest son of a bitch I ever met in my life ... the director, he kept this icon, this sparrow, waiting and waiting,” Duke said. “She had to come in at 6:30 in the morning and he wouldn’t even plan to get to her until four in the afternoon. She was very down to earth, so she didn’t mind waiting. The director decided that some guy from some delicatessen on 33rd Street should talk to her, and she crumbled. And she was fired. She shouldn’t have been hired in the first place, in my opinion.”

6. DUKE DIDN’T SING NEELY’S SONGS.

All of Neely’s songs in the movie were dubbed, which disappointed Duke. “I knew I couldn’t sing like a trained singer,” she said. “But I thought it was important for Neely maybe to be pretty good in the beginning but the deterioration should be that raw, nerve-ending kind of the thing. And I couldn’t convince the director. They wanted to do a blanket dubbing. It just doesn’t have the passion I wanted it to have.”

7. GARLAND STOLE ONE OF THE MOVIE'S COSTUMES.

Garland got revenge in “taking” the beaded pantsuit she was supposed to wear in the movie, and she was unabashed about it. “Well, about six months later, Judy’s going to open at the Palace,” Duke said. “I went to opening night at the Palace and out she came in her suit from Valley of the Dolls.”

8. A SNEAK PREVIEW OF THE FILM HID THE TITLE.

Fox held a preview screening of the film at San Francisco’s Orpheum Theatre, but the marquee only read “The Biggest Book of the Year.” “And the film was so campy, everyone roared with laughter,” producer David Brown told Vanity Fair. “One patron was so irate he poured his Coke all over Fox president Dick Zanuck in the lobby. And we knew we had a hit. Why? Because of the size of the audience—the book would bring them in.”

9. IT MARKED RICHARD DREYFUSS'S FILM DEBUT.


Twentieth Century Fox

Richard Dreyfuss made his big-screen debut near the end of Valley of the Dolls, playing an assistant stage manager who knocks on Neely’s door to find her intoxicated. After appearing on several TV shows, this was his first role in a movie, but it was uncredited. That same year, he also had a small role in The Graduate. Dreyfuss told The A.V. Club he was in the best film of 1967 (The Graduate) and the worst (Valley of the Dolls). “But then one day I realized that I had never actually seen Valley of the Dolls all the way through, so I finally did it,” he said. “And I realized that I was in the last 45 seconds of the worst film ever made. And I watched from the beginning with a growing sense of horror. And then I finally heard my line. And I thought, ‘I’ll never work again.’ But I used to make money by betting people about being in the best and worst films of 1967: No one would ever come up with the answer, so I’d make 20 bucks!”

10. THE DIRECTOR DIDN’T DIG TOO DEEP.

In the 2006 documentary Gotta Get Off This Merry Go Round: Sex, Dolls & Showtunes, Barbara Parkins scolded the director for keeping the film’s pill addiction on the surface. “The director never took us aside and said, look this is the effect,” she said. “We didn’t go into depth about it. Now, if you would’ve had a Martin Scorsese come in and direct this film, he would’ve sat you down, he would’ve put you through the whole emotional, physical, mental feeling of what that drug was doing to you. This would’ve been a whole different film. He took us to one, maybe two levels of what it’s like to take pills. The whole thing was to show the bottle and to show the jelly beans kinda going back. That was the important thing for him, not the emotional part.”

11. A STAGE ADAPTATION MADE IT TO OFF-BROADWAY.

In 1995, Los Angeles theater troupe Theatre-A-Go-Go! adapted the movie into a stage play. Kate Flannery, who’d go on to play Meredith Palmer on The Office, portrayed Neely. “Best thing about Valley of the Dolls to make fun of it is to actually just do it,” Flannery said in the Dolls doc. “You don’t need to change anything.” Parkins came to a production and approved of it. Eventually, the play headed to New York in an Off-Broadway version, with Illeana Douglas playing the Jackie Susann reporter role.

12. JACKIE SUSANN BARELY ESCAPED THE MANSON FAMILY.


By 20th Century-Fox - eBayfrontback, Public Domain, Wikimedia Commons

The night the Manson Family murdered Tate, the actress had invited Susann to her home for a dinner party. According to Vanity Fair, Rex Reed came by The Beverly Hills Hotel, where Susann was staying, and they decided to stay in instead of going to Tate’s. The next day Susann heard about the murder, and cried by the pool. A few years later, when Susann was diagnosed with cancer for the second time, she joked her death would’ve been quicker if she had gone to Tate’s that night.

13. PATTY DUKE LEARNED TO EMBRACE THE FILM.

Of all of the characters in the movie, Duke’s Neely is the most over-the-top. “I used to be embarrassed by it," Duke said in a 2003 interview. "I used to say very unkind things about it, and through the years there are so many people who have come to me, or written me, or emailed who love it so, that I figured they all can’t be wrong." She eventually appreciated the camp factor. “I can have fun with that,” she said. “And sometimes when I’m on location, there will be a few people who bring it up, and then we order pizza and rent a VCR and have a Valley night, and it is fabulous.”

14. LEE GRANT DOESN’T THINK IT’S THE WORST MOVIE EVER MADE.

In 2000, Grant, Duke, and Parkins reunited on The View. “It’s the best, funniest, worst movie ever made,” Grant stated. She then mentioned how she and Duke made a movie about killer bees called The Swarm. “Valley of the Dolls was like genius compared to it,” Grant said.

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How to Perform the Star Wars Theme—On Calculators
Star Wars © & TM 2015 Lucasfilm Ltd. All Rights Reserved.
Star Wars © & TM 2015 Lucasfilm Ltd. All Rights Reserved.

The iconic Star Wars theme has been recreated with glass harps, theremins, and even cat meows. Now, Laughing Squid reports that the team over at YouTube channel It’s a small world have created a version that can be played on calculators.

The channel’s math-related music videos feature covers of popular songs like Luis Fonsi’s "Despacito," Ed Sheeran’s "Shape of You," and the Pirates of the Caribbean theme, all of which are performed on two or more calculators. The Star Wars theme, though, is played across five devices, positioned together into a makeshift keyboard of sorts.

The video begins with a math-musician who transcribes number combinations into notes. Then, they break into an elaborate practice chord sequence on two, and then four, calculators. Once they’re all warmed up, they begin playing the epic opening song we all know and love, which you can hear for yourself in all its electronic glory below.

[h/t Laughing Squid]

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