ACADEMY AWARD NOMINATIONS:
- Best Animated Feature Film (Chris Buck, Jennifer Lee, and Peter Del Vecho)
- Best Song (“Let It Go” – Music and Lyric by Kristen Anderson-Lopez and Robert Lopez)
Frozen was okay, I think the best part about it was the climax. It was probably just the mood I was in but I couldn’t stop making fun of it, especially the music, to Elizabeth. I would definitely recommend this to children but the film up for best animation that I’m most excited to watch is Ernest & Celestine. The snowman was not as annoying as I thought he was going to be which was nice. I think there was just too much of the story that was vague; it was difficult for me to become invested.
I hate to say it, but it’s hard to go from watching something like The Wolf of Wall Street or Her and then watch Frozen and not be too critical of it. I know I’m not the target audience, either, so I tried not to be super critical.
So, that being said, while Frozen did suffer from plot holes and songs that didn’t always do anything to help advance the plot, it definitely does have positive things going for it, especially at the end. Toward the beginning of the movie, Princess Anna (Kristen Bell), meets a prince for the first time, Prince Hans (Santino Fontana), and in the span of one day they meet, fall in love, and get engaged, much to the dismay of Anna’s sister, Queen Elsa (Idina Menzel). Then, toward the end of the movie, we find out that Hans is evil. This was annoying to me because we’re given no indication that Hans would be a bad guy before this, so this reveal just seems to conveniently be there for the plot. But at the same time, I like how against the norm that is for most Disney princesses and princes. The message being: maybe don’t get engaged to the first guy you meet? Considering that is the message that a lot of other Disney movies seem to give, this is a nice change.
But the biggest thing that Frozen has going for it is how it treats its ending. Anna ends up with ice in her heart (I’m not going to bother with much plot explanation), which a rock troll (again, the plot is too much) tells her can only be cured with an act of true love, which Anna interprets as a kiss from her true love. When Anna realizes Hans is evil, she then realizes her true love wasn’t Hans, but Kristoff (Jonathan Groff), a man she met along the way. At the film’s climax, Anna and Kristoff are struggling to make it to each other in time for Kristoff to kiss Anna and save her life before she turns to ice. Meanwhile, Elsa and Hans face off, with Hans wanting to kill Elsa. Just as Anna finally sees Kristoff, she also sees Hans raise his sword to a kneeling Elsa (sort of looked like he was going to decapitate her?), so she runs to them and puts herself in front of Hans, just as she turns completely frozen, preventing Hans from killing Elsa. Everyone is immediately distraught that Anna turned to ice, until she slowly starts to melt again. So it wasn’t the same Disney trope of “a true love’s kiss” that saved Anna, but it was Anna’s love for her sister that saved her. So not only did Anna not need a man to save her, she really didn’t need anyone; it wasn’t Elsa’s love for Anna that saved her, but Anna’s love for Elsa. I have to say, the previous 80+ minutes of boredom and eye-rolling I had felt leading up to that was almost immediately replaced with relief to see a Disney princess save the day, all on her own, without needing a man.
So, yeah, Frozen isn’t exactly made for the same audience as The Wolf of Wall Street. But you really have to give the filmmakers credit for the messages the movie gives. Considering the main message behind Beauty and the Beast is basically “Stick around that abusive man long enough and he’ll turn into a prince!,” the message of “You don’t need a man, or anyone else for that matter, to save the day,” is much appreciated and much needed.