It’s not evil, in the fashion of a wicked witch, that she unleashes, merely calamity that dooms her small Nordic kingdom of Arendelle to a bleak fate of eternal winter. But when, during her coronation, she removes the gloves that keep them in check, her capacity for sorcery becomes evident to all. Long aware that she possesses the sort of “dark powers” ever-popular in this sort of thing, Elsa has always heeded the warning not to let them show. Raised in the splendid isolation of an enormous castle, they lose their parents to a shipwreck, forcing Elsa to take the throne in her late teens. Frozen may not have the inexhaustible potential of Beauty and the Beast, but the reasonably agreeable score and, especially, the possibility of spectacular visual effects for the ever-changing ice world setting, indicate strong theatrical prospects.Īs drastically refashioned from the Andersen yarn, this is the tale of two sisters, the older and brooding blond Elsa and younger and dizzier redhead Anna. No question about it, this is also a full-fledged musical, with eight original songs (augmented by some reprises), which make it ready-made for the stage when the time comes. Directors Chris Buck (co-director of Tarzan and Surf’s Up) and Jennifer Lee (co-screenwriter of Wreck-It-Ralph, who also wrote this script and here becomes the first female director on an in-house Disney animated feature) do a pretty decent job of hitting the required cues for youngsters’ dream-come-true expectations while also introducing darker tones by way of a mentally tortured youthful queen and a two-faced royal suitor. But one can feel that extra effort was expended to try to get the formula right this time. As even reasonably successful recent girl-aimed films, such as Pixar’s Brave and Disney’s own Tangled, have shown, it’s not all that easy to recycle the well-worn princess format without being hopelessly retrograde on the one hand or knee-jerk revisionist on the other. It’s a total winner.įrozen, which will use the Andersen tale’s original title in many foreign territories, was in development with numerous different writers, directors and songsmiths for more than a decade, as Disney hoped to strike gold with another Andersen story after the great success of The Little Mermaid. and Woody Allen‘s The Purple Rose of Cairo. Energetic, humorous and not too cloying, as well as the first Hollywood film in many years to warn of global cooling rather than warming, this tuneful toon upgrades what has been a lackluster year for big studio animated fare and, beginning with its Thanksgiving opening, should live up to box-office expectations as one of the studio’s hoped-for holiday-spanning blockbusters.Īs an added bonus, Frozen is fronted by one of the wittiest and most inventive animated shorts in a long time, Lauren MacMullan‘s Get A Horse! debuted to rave responses at the Telluride Film Festival over Labor Day weekend preceding the screenings of Gravity, Horse begins as an early black-and-white Mickey Mouse cartoon but then bursts its boundaries into color and 3D in marvelously antic ways that call to mind the stepping-off-the-screen techniques of Buster Keaton‘s Sherlock Jr. Shrewdly calculated down the the smallest detail in terms of its appeal factor, this smartly dressed package injects a traditional fairy tale, Hans Christian Andersen‘s The Snow Queen, with enough contemporary attitudes and female empowerment touches to please both little girls and their moms. You can practically see the Broadway musical Frozen is destined to become while watching Disney’s 3D animated princess tale.
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