I give Disney’s Frozen 4 out of 5 stars as a kids’ movie, and 3 out of 5 as a movie for all ages. All around, it was a massive success for Disney. The songs were catchy and clever, brought to life by Idina Menzel’s powerful voice (in the sense that she can not only blast away an audience, but also knows when to pull back), and Kristin Bell’s suitably sweet one. “For the First Time in Forever” was an effective duet between Anna and Elsa, displaying their contrasting reactions to the gates opening and Anna’s ignorance to her sister’s fear, reprised in the second half of the movie in a more intense version that worked just as well. The only qualities in the music that weren’t quite up to par with Disney’s usual standards were the inconsistency in musical styles, and the sometimes blunt, conversational lyrics that just felt lazily written and awkward. For example: “There’ll be actual real live people / It’ll be totally strange / Wow am I so ready for this change” felt like filler words for a good rhyme, and “I suddenly see him standing there, a beautiful stranger tall and fair / I want to stuff some chocolate in my face!” seems like it was just put there, again, to rhyme with the previous line, and didn’t come across as funny or relatable or whatever it was supposed to be, just out-of-place and awkward — which, unfortunately happens a lot throughout the rest of the soundtrack. When I listened to the songs that didn’t make it into the movie, I found surprisingly less of this. The songs felt much more rounded out and the lyrics much more substantial, and there was even the fight between Anna and Elsa in the “Life’s Too Short” reprise (what became “For The First Time In Forever” reprise) that everyone expected to happen and never did.
I really wanted to give this movie 5 stars, and I was so close to it, but some of the scenes held just a bit too much juvenility for my tastes, and the mood of the story drifted all over the place without ever settling. It was a film that held the obvious potential to be a 5+ star masterpiece, but it just left me feeling like I’d eaten a very gooey cake that, though it was still every bit as sweet, needed a bit more baking time.
The movie opens with a beautiful un-earthly song that sets the mood for a mystical folktale far from everyday life. “Frozen Heart” continued this mood, and little Kristoff and Sven made an appearance in the sequence: they were a perfect “aww” moment while also planting the first clue to Kristoff’s personality. I wasn’t expecting to see Anna and Elsa as children, but it was very effective, seeing something fun turn to something terrifying as Elsa accidentally hurts Anna with her powers. It lets you into Elsa’s head a bit better than if they had started with her as an adult. It was also a very good choice to show how her powers affected her over the years, fed by her own fear, until it wasn’t just about the powers themselves anymore — they’d diminished her whole way of life. The only thing I was expecting to see in Elsa’s childhood that wasn’t ever explained was where her powers came from and why they were there. We know she was born with them, but don’t ever get to understand how or why.
So far, the mood of the movie seemed constant. But it was soon countered by stubby little rock trolls who looked like they came out of an entirely different movie, and a ridiculous duke who spouted nonstop nonsense in the hopes that one line somewhere in the mess would get an unnecessary laugh.
From the previews, I was expecting Olaf to have this same effect, but he didn’t at all. Every now and then his jokes about his butt that wouldn’t stay attached to him would get a bit tiring, but not enough to counter the fact that he was genuinely funny and endearing, and a bridge back to Anna and Elsa’s closeness as children.
The rock-trolls, however, never achieved this. They had little to no purpose in being Kristoff’s adopted family, and wasted a good 3 minutes on “Fixer Upper,” a song which I can only assume was put there to make us realize how good a match Kristoff and Anna would be. They drew me out of the story and left me with a difficult time getting back in, and I wish Disney would sell an alternate version without them. Or at least bother to make them match the tone of the rest of the movie.
One thing you need to know before you go into the next segment of this review: I was determined to love Frozen. I mercilessly defended it when people began dubbing it “Tangled with snow,” as I was sure Disney would be smarter than to make a movie desperately trying to re-appeal to Tangled’s audience, and I pushed all doubts I had about Olaf after watching the previews out of my mind. This movie was not going to be Tangled With Snow, it was going to be a movie all its own and I was going to like it.
The thing was, the actual movie held undeniable similarities to Tangled. Not on major aspects, and not on many, but they were there; and frankly, they ruined the possibility of Frozen‘s being a truly outstanding movie. In trying to recreate Tangled’s atmosphere in Frozen, Disney essentially crammed two movies into one and the contrast was horribly evident.
Tangled never attempted a serious tone. There were serious moments, but the overarching tone was always far more light-hearted than Frozen, which set the mood for a serious story, then dipped into the same sort of light-hearted humor as was seen in Tangled. While it was effortless in Rapunzel’s story, it wasn’t only out of place in Frozen, but seemed terribly forced. Humor cannot be sprinkled onto a movie as an afterthought, it has to blossom out of it in places where it would naturally (and makes sense to) occur; and if it instead comes only from the desire to make people laugh, it’s just not going to be funny.
I have heard numerous comments on Frozen’s “bringing animation to a whole new level,” but really it’s not a whole new level at all. It is a level that has been done many times before, and done much better. In fact, I kept thinking as I watched that I remembered Tangled’s animation being more detailed and consistent. I was expecting the same level of quality in Frozen because it looked like the same sort of CGI as Tangled. It seemed to me that Frozen would focus heavily on making some scenes and/or objects astoundingly realistic, but then brush aside others. The party scene was one place I noticed this; whilst Anna and Elsa’s dresses were highly textured and detailed with embroidery and depth, the party-goers’ gowns appeared flat, the CGI calling attention to itself. Obviously, the focus should be on Anna and Elsa, and not as much work is necessary on background characters, but it is necessary to make them all look like they’re in a film — not just the main characters and the others looking like they’re out of a video game; and even Anna’s movements looked a bit stiff and odd in some places. And when you begin the movie with a gorgeous ice and snow scene, you have to make the rest of the film live up to it, otherwise it just looks doubly bad.
The characterization exceeded my expectations immensely the first time I saw the film, but after a second watch I found that it fell short of what I remembered. The concept of the characters still seemed every bit as brilliant, however they also seemed underdeveloped and in need of much more work before they hit the big screen.
My main issue with Disney movies is their tendency to write characters for convenience. I was expecting Frozen to be a lot like that from the trailers I’d seen: the classic bubbly cute heroine, friendly and talkative; the charming prince designed to sweep you, as well as Anna, off your feet; and the Flynn Rider-esque companion that has become such a beloved personality. I didn’t really see the standard characteristics in Elsa, which is what made me most excited about this movie, and when I got to the theater, I didn’t see the standard characteristics in any of the other characters, either.
Sure, Anna was bubbly and ditzy at times, but it was so wonderfully genuine and was partnered with so many other traits. She had a strong side and she was always looking out for the people around her — one characteristic was not all that defined her. She wasn’t just set aside for comic relief, they addressed the moment in which she had to start taking life more seriously — and they made the choice to be strong up to her, which I appreciated, since in the past it has (not always, but frequently) been handed over to princes and animal friends.
Hans, on the other hand, was so disappointingly flat. Disney has set the bar so high for villains, especially after Tangled’s Mother Gothel, that Hans was able to walk right under it. He was so unfailingly sweet and considerate up until the “big twist” that he wasn’t at all believable. One little crack would have fixed this — one momentary slip up. The opportune moment would have been the end of the scene directly following “For The First Time In Forever,” when Anna runs back to the palace and Hans’ horse takes its hoof off the boat, causing Hans to fall in the water. There was no one around, yet he surfaces and smiles sweetly and forgivingly at his horse, as if this is how they always interact. One little smirk, one tiny furrow of the eyebrows, something to negate his charming act was all that was needed. There was no physical foreshadowing whatsoever and when it got to the twist, things just got cliché. It felt like being a five-year-old and having to listen to someone tell you a story in such a condescending manner that you lose interest in the story altogether. Hans’ transformation was incredibly abrupt and exaggerated, as if Disney was making sure everything was perfectly clear, and that just made him terribly unbelievable, which was disappointingly lazy writing.
I have few to no complaints about Kristoff. He has definitely become one of my all-time favorite Disney characters. His personality and character traits were unique and fresh, and whenever he brought humor to the scene, it seemed real, and was therefore actually funny. The only thing I would have liked to have seen was a bit more of his backstory. Things like who his parents were, if they were there for the early portion of Kristoff’s life or not, if Kristoff chose to be alone or was left alone, etc. Towards the end of the movie, when he was sure he was going to stay in Anna’s life, the softer, less boyish side let itself out of him and I desperately wanted to know how it would grow and/or develop over time. I’d love to see more of him and of Elsa in a sequel.
As I said, I was really looking forward to seeing into Elsa’s mind and getting the full depth of her character, but it never happened. It felt as if they just brushed over her because they liked starring Anna better. True, it was Anna’s story and not Elsa’s, but it was advertised more as a 50/50 sisters story. And that’s still no reason to let a character slide onto the screen underdeveloped. Elsa’s body language was spot on, from the way she began with just clasping her hands together as a child to how that action grew into curling completely into herself whenever she came into contact with anyone as an adult; however, the only thoughts we really ever got to see clearly with Elsa were scared, free, relapsed into scared, free again. Everything else I had to either deduce or make up about her. To clarify, I do not mind doing that at all — in fact, I love it. I do it with every movie, TV show, book, whatever, even if I don’t need to. But if I do need to, it lowers my respect for the movie, as it was perfectly within their capability to take just a bit more time and make the character more multidimensional without the watcher having to do it on their own. There were plenty of opportunities to give us just a little more to go on with Elsa, and every one of them was missed. Just a couple clips of her in “Do You Want to Build A Snowman?” would have helped immensely, or a short sequence of her as an adult in her ice palace. Sure, Anna was bored and lonely, but she wasn’t by herself in that. In fact, I’d think Elsa would probably get even more bored and lonely, since she doesn’t even have the palace to roam or the servants to talk to — it’s just her and her room. She’s been locked up for close to ten years, and nobody can spend all that time staring at their hands and having panic attacks, there are times when you would be forced to let go and entertain yourself somehow since there are no other options. I mean, what does she do all day every day? We don’t know, and because of that we don’t know who she is as a character. She turned into a character whose job was merely to move the plot along, and that was so disappointing to me. Instead of taking just a bit more time to fully flesh her out, Disney decided to go with the shallow surface version of Elsa, making her defining characteristic fear to anyone who hasn’t sat down and analyzed her as much as I have (because I love her and she’s my favorite, yay).
Elsa gets a second paragraph, because I have oh, so much more to say about her.
Though it’s true we never got to see many of her thoughts, we saw enough to know that Elsa is one of if not the most important character in Disney history. Elsa is so incredibly different from any Disney heroine we have ever seen before. Many suspected it throughout the movie, and writer/director Jennifer Lee confirmed speculations: “[With Elsa, it] definitely was intentional to show anxiety and depression.” Elsa has mental illnesses. And she’s one of the “good guys.” Many people dealing with mental illnesses, commonly anxiety and depression, have come to believe they are the “bad guys,” or even crazy, because they have never seen elements of what they’re dealing with reflected in anyone but the villain. Elsa was immediately embraced by the fan base because she breaks that rule. She cuts herself off from everyone to keep them safe and free from everything that is crippling her; she can’t control and doesn’t understand all these things that are brewing inside her; she doesn’t have an unwaveringly optimistic outlook on life, and she allows it to get the better of her; she keeps everything imprisoned inside of her, and it must remain in only her after the death of her parents (which is enough to prompt insanity in and of itself), and it ends up coming out in explosions she can’t contain; she hurts people — it is always accidental or because she thinks it will ultimately help them, but she hurts people; she froze her sister’s heart because she wasn’t able to master herself . . . and it’s still okay. She’s still not a villain. Because even though she can’t see it and she’s not often told it, she’s still a good person and capable of overcoming all that she thinks she can’t. And people love her, because she chooses their safety and happiness over loving herself. She is a beacon of hope for those who are all too familiar with her circumstance, and a ticket to illumination and understanding for those who are not.
Although this movie was rushed into theaters prematurely and the holes in it were still gaping open, I did love the concept immensely; and aside from Elsa, the second main reason I liked this movie was the un-classically Disney ending. The act of true love that Anna was told would save her was not a kiss from her Prince Charming, though he was just feet away from her when she was about to turn to ice. In fact, it had nothing to do with him, nor anyone else’s show of love towards Anna: it was Anna’s courage in choosing her sister over herself. Sometimes we forget what true love is and get it stuck in our heads it must be something that makes our hearts race and spirits soar; but though true love may include those things, it can just as easily be pain and despair, and will always consist of sacrifice, suffering, and selflessness. I think the main thing we forget, though, is that true love is not explicitly romantic. Even when Anna has shown the ultimate act of love for her sister by saving her instead of herself, some of us still (unintentionally, because it has been so ingrained into our subconsciouses) had that little voice pop up in our heads urging Kristoff to kiss her. Disney’s reminder in Frozen was not only highly anticipated after their many films helping us to forget what true true love is, but highly needed and heartwarming. We don’t need to go looking for true love, waiting for it to magically happen when “the right one” comes along, we can make the choice to be brave and bring true love to our lives every day, and while we’re at it melt all the slivers of ice that settle in our own hearts.