We finally watched Disney’s Frozen on Black Friday. Going into the film, we had no idea what to expect. Here’s why: by midsummer, we could only find two trailers. First, the international trailer–available in an assortment of languages, none of which being English. I’m linking the Japanese because Japanese voice actors and actresses are the world’s most badass. Prove me wrong.
Totally flippin’ sweet! If you can read Japanese, you’ll note it’s titled Anna and the Snow Queen. What about an English language trailer though? Well, it would be a while before one of those came out. We could find only this:
So, I’m thinking, this is the same movie, right? It would be a while before the full English trailer arrived, but even then, we went into the movie cold (so to speak).
So which trailer came closest? Well, both and neither. Adding a hearty dose of Broadway comes a little closer to the true picture. Wikipedia classifies Frozen as a “computer animated epic musical fantasy comedy film.” I’m not even sure what that means. To paraphrase Douglas Adams, it was clear from the beginning the movie would be almost, but not quite, entirely unlike anything Hans Christian Anderson would have ever written. But really, what is it?
And that’s my big quibble with the film, which isn’t really a quibble at all. It’s hard to pigeon-hole Frozen: beautiful, thrilling, and goofy, but surprising. Yes, there’s a largely-unnecessary comic-relief side-kick. Yes, there’s an unevenness of tone that’s typical Disney. At the same time, it breaks the mold in a lot of ways a spoiler-free review can’t describe. Hans Christian Anderson’s Snow Queen is a two-dimensional villainess–a Luciferian temptress in the tradition of Milton. Frozen‘s “Snow Queen,” Elsa, is easily one of Disney’s most complex characters. If you’ve seen enough Disney films, you kind of know the basic plot. That holds true here as well, but even then a few moments had me earnestly wondering where they were going with this thing.
Frozen is one of the most nuanced and subversive films Disney has ever created. This is the film for anyone who’s ever wondered why Disney heroines can be princesses, but never queens. For anyone who’s wondered, “Hey, where are the siblings?” Or why, in 2013, is the Bechdel test still so hard for a company that markets its films to girls and young women? Or why do Disney couples shop for the wedding ring on their second dates?
I’m being vague because I really don’t want to give anything away. It’s that unique. See it or yourself.