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Fearless optimist Anna teams up with Kristoff in an epic journey, encountering Everest-like conditions, and a hilarious snowman named Olaf in a race to find Anna's sister Elsa, whose icy powers have trapped the kingdom in eternal winter.
A sweet, magical film filled with great music, likable characters, and striking effects, Frozen is a fairy tale about overcoming obstacles and the power of true love. Princesses Anna and Elsa are sisters and the closest friends until one day Elsa discovers that she can no longer control her power to create ice and snow. Terrified for the safety of her sister and everyone around her, Elsa isolates herself and vows to never feel any sort of passionate emotion again in hopes of suppressing her powers. But when Elsa comes of age and is set to be crowned queen, she must open the gates of the palace and let in the public, not to mention her sister Anna. Things go horribly wrong and Anna pursues her sister into the mountains in an attempt to save Elsa and reverse the deep freeze that Elsa has inadvertently released on the kingdom of Arendelle. Along the way, Anna joins forces with Kristoff (Jonathan Groff), an ice seller with a strangely close relationship with his reindeer Sven, and Olaf (Josh Gad), a goofy snowman whom she suddenly remembers from early childhood. In the end, Anna and Elsa discover that only by embracing their deepest feelings do they have a chance of saving themselves and the kingdom. Inspired by "The Snow Queen" story by Hans Christian Andersen, the film has plenty of quirky, lovable characters along with a nice blend of corny humor, serious sentiment, suspense, and peril. Kristen Bell and Idina Menzel deliver rousing performances of great music that includes original songs by Kristen Anderson-Lopez and Robert Lopez and an original score by Christophe Beck, and the visual effects are simply stunning. Frozen definitely succeeds in captivating audiences young, old, and every age in between. --Tami Horiuchi
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The movie starts with two young sisters, Princess Elsa and Princess Anna, having a bit of late night fun with Elsa's ice powers. When an accident befalls Anna at Elsa's hand, the sisters are forced apart for Anna's safety and the gates to their castle are closed off to the public--until Elsa's coronation day. There's a huge ball in honor of her coming of age, and people from all over the kingdom come to celebrate. They day goes without incident until Anna and Elsa get into an argument over Anna's quick engagement to Prince Hans. Elsa's powers are revealed to everyone in an emotional outburst then and she flees the castle, unknowingly shrouding the land in a fierce winter behind her on her way to the North Mountain. Anna goes after Elsa and meets a gruff iceman named Kristoff, who she recruits to help her get to Elsa so they can bring Elsa back and bring back Summer.
All of the characters are interesting and multi-dimensional. Anna is a particularly great character in that she's unabashedly awkward and honest. I feel like most children feel awkward at some point in their lives and Anna is a great role model for them. My nieces and brother love the movie and it's family fun for all of us.
The Trolls, Kristoff had warned Anna, are consummate "love experts"--but why then does Frozen have the stricken Anna faint rather than rally at the climax of The Trolls' big number about love ? Until then, under a shock-wedding gazebo, together with Hans before The Priest-Troll, Anna attends politely to their advice. As Anna's reserved looks and Kristoff's impatient expostulations meanwhile suggest, however, The Trolls' advice, if sound in itself, is nonethless directed to Hans and Anna in error. Anna is neither a snob nor a prude nor a slanderer's fool who needs prodding towards her "fixer-upper." Nor is she well-advised to be, as The Trolls imply she should, *less* critical. How perilously "spontaneous" Anna has already been in romantic matters ! And how ingeniously dark the parallel ironies of Anna's duet with Hans will prove to be : Hans has indeed been trawling for just such an "open [ reread : carelessly unlocked ] door" ! The Trolls are wrong furthermore to imagine that, Our Heroine rid of Hans and open to advances on Kristoff's part ( and to quote the French version ), "tout sera reglé !" The Trolls have been rushing Anna towards Kristoff, even just a kiss from whom will come only in the film's denouement, and ignoring her real and serious illness, which Kristoff can't help with yet. Finally, reflecting upon the rather odd fact that the "true love's kiss" they prescribed to Anna comes at last not from any man nor involves "true love" of the kind that phrase itself inevitably connotes, we should take The Trolls to task--and maybe ourselves--for conceiving Anna's challenge amidst a fog of assumptions--be they ethnic, "neo-Austenean," both, or something else.
Olaf, the hilarious snowman first brought to life by Elsa in childhood and, later, brought back to life by Elsa in the midst of renewing her stolen identity, leaves far less to be desired as sidekick-advisor than The Trolls. Recall that Elsa created Olaf at her little sister's ( at Anna's ) musical appeal : "Do you want to build a snowman ?" Insofar as Elsa thus created Olaf not only *for* Anna and at Anna's request yet hardly "with" her, Olaf is a proxy for older-to-younger sororal attention never directly forthcoming from Elsa. At the same time as he is a kind of ambassador of deflected sister-love, however, Olaf is--of course, but note it--a snow*man* or -boy at least. Olaf in fact provides gentle yet not-undemonstrative opposite-sex affection with his very first breath : "My name is Olaf, [ I'm a male snowman, by the way, ] and I like warm hugs !" Unsupervised at this juncture and momentarily uninhibited, Elsa does get carried away by her powers just as--let's give them their parental praise-due as well as criticism--The King and Queen of Arandel strove to prevent. Elsa accidentally injures Anna, The King and Queen are horrified, Elsa descends into an inner deep-freeze that isolates her above all from her sister, and Olaf disappears for over a decade. Correlatively, soon after he is *re*created on a mountainside by Elsa Revitalised, he meets with Anna searching for Elsa : "Did Elsa create you ?" "Yes." "Do you know where Elsa is ?" "Yes." He finds the hidden staircase to her castle for Anna and Kristoff and helps them get inside past another--but this one's Angry--snowman-proxy of Elsa's creation. It is he, not Kristoff, who rescues Anna at the brink of death by explaining love to her and by his readiness to "melt for her" in loving self-sacrifice. Though Olaf cannot himself be Anna's true love in the inevitable romantic sense of the phrase, he is the key to the meaning of Frozen in being thus the bridge ( sometimes almost comic-literally ! ) between Anna's and Elsa's hearts, between lost childhood memories and readiness for Adult Love. Minus a few pretty pointless physical danger spectacle-scenes and just a forgiveable touch of girl-power corniness, a beautiful, brilliant, and surprisingly reflective creation from Disney.