Respond to these rapid questions in our Frozen quiz and we will tell you which Frozen character you are. Play it now.
Although “Frozen,” the most recent Disney musical extravaganza, preaches the importance of embracing one’s true nature, the film appears to be at odds with its own message.
The animated, 3-D adventure aspires to enliven and subvert the conventions of traditional Disney princess movies while remaining true to their aesthetic trappings in order to maximize merchandising opportunities. As long as there are some hunky potential suitors and adorable, wise-cracking creatures to round out the cast, it encourages young women to support and remain loyal to one another—a crucial message in an era when mean girls seem to be on the rise.
The whole endeavor to shake things up without shaking them up too much appears to be cynical in its nature. The release of “Frozen” in theaters coincides with the start of Thanksgiving and the beginning of the holiday shopping season. The marketing opportunities are mind-boggling in their scope. As a result, “Frozen: The Musical” will almost certainly make its way to the Broadway stage in the same vein as the superior “Beauty and the Beast” and “The Little Mermaid,” among other classics. There are already songs recorded, which are upbeat and amusing, if not quite instant hits, in preparation for the show.
Little girls, on the other hand, will go crazy for it. That much is unassailably true. And the film, which was co-directed by Chris Buck (“Surf’s Up”) and Jennifer Lee, is never anything but a pleasure to watch from start to finish. Especially when rendered in 3-D, a majestic mountaintop ice castle is breathtakingly beautiful—glittery, detailed, and tactile, to say the least.
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But first, we must witness the torturous backstory of the film’s princesses – not one, but two of them – as told by the characters themselves. With lots of cheeky, contemporary touches, the script from “Wreck-It Ralph” co-writer Lee, which was inspired by the Hans Christian Andersen story “The Snow Queen,” is both firmly and safely rooted in Scandinavian fairy tale traditions while also being firmly and safely rooted in contemporary American culture.
They were inseparable friends as children when their sisters, Anna and Elsa, played together as joyful playmates. The special power she possesses, however, is that of being able to turn anything into ice and snow in a flash with the touch of her fingertips. This power comes back to haunt her when she accidentally zaps her sister. As in “Carrie,” Elsa accidentally unleashes her telekinetic abilities when she is experiencing a high level of emotional intensity.) Anna is healed and the event is erased from her memory by a magical troll king, but the damage has already been done to the sisters’ relationship by this point.
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It breaks the heart of the younger Anna when Elsa’s parents take her away and shut down the castle altogether. (Of the many songs written by Robert Lopez and his wife, Kristen Anderson-Lopez, who wrote the songs for “Avenue Q” and “The Book of Mormon,” the wistful “Do You Want to Build a Snowman?” is by far the most moving.) However, when they reach adolescence and it is Elsa’s turn to ascend to the throne at the age of 18, the two are forced to come face to face in an awkward reunion.
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Upon seeing her sister, the perky, quirky Anna (now voiced by a likable Kristen Bell) is a little nervous, but she is also ecstatic. In contrast, Elsa (Broadway veteran Idina Menzel) maintains a detached demeanor and hopes that her gloved hands will not freeze anything and that she will be able to reveal her true self on coronation day. In the meantime, Elsa’s ire is aroused by a run-in with an amorous, visiting prince (Santino Fontana) who has his sights set on Anna, and she unwittingly plunges the sunny, idyllic kingdom into perpetual winter.
Elsa flees from the castle in a fit of self-imposed exile, which significantly detracts from the overall impact of “Frozen,” as she is the film’s most complex and compelling character. Elsa belts out the power ballad “Let It Go,” a cover of the song “I Am Woman,” as she makes her way to the summit of the highest mountain she can find. Because of this rousing declaration of independence, a performer of Menzel’s caliber should play the role, and it is the film’s musical high point. (Her dramatic physical transformation from prim princess to ice queen does, on the other hand, give her the appearance of a real housewife of some sort.)
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After that, however, the story focuses on Anna’s efforts to locate her sister and restore order to the kingdom, which takes the form of a novel. Her journey is aided by an ice salesman named Kristoff (Jonathan Groff) and his loyal reindeer sidekick, Sven, who provide valuable assistance along the way. After meeting a singing snowman named Olaf (played by the endearingly goofy Josh Gad, who previously appeared on Broadway in “The Book of Mormon”), they all set out to find the warmth of the summer sun. This “Wizard of Oz”-style quartet embarks on the perilous journey to the imposing fortress that awaits them at the end of the rainbow. (At the very least, “Frozen” has the decency to draw inspiration from some truly excellent source material.)
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While the journey may appear to be overly familiar, the destination holds some surprises in store for the traveler. Some appear out of nowhere and aren’t particularly effective. Nonetheless, the biggie—the one that represents a true paradigm shift in terms of the kinds of messages that Disney animated classics have been sending for decades—is the one that is important not only for the little girls in the audience, but for all viewers as a whole. It’s so inventive that it makes you wish that the rest of the film was up to the same high level of ingenuity.
For more personality quizzes check this: Bohemian Rhapsody Quiz.
