Genre: Animation, Adventure, Music
Hans Christian Andersen
Music: Christophe Beck
A bravura and toasty comeback to the zenith of Disneyland, FROZEN, the freshly BEST ANIMATION PICTURE crowner in the Academy Awards, has already swept the globe with its colossal box-office gross and the ultra-appealing theme song LET IT GO, it also signals the first time for our beloved animation tentpole, a lovey-dovey boilerplate of a princess in the quest for her Prince Charming is preponderated by the bond between princess Anna and her sister, the Ice Queen Elsa, a more broad and wholesome act of true love.
Step into the shoes of the cutting-edge sub-brand Pixar, whose BRAVE (2012) heralds a trend whereby a female heroine can break the shackles of looking for male suitor as the one and only goal for life. FROZEN goes for a more ambitious yet crucial route to accentuate the courage of embracing yourself as who you are, no matter how different you are from the rest, shut down your heart and lock yourself up in an isolated kingdom is not a way out. Such a valuable message can be widely assimilated among viewers while the roots remain Disney-esque, tuneful and catchy musical numbers with routine delivery, prominent sidekicks fittingly align with the protagonists, like Olaf, the snowman naively thirsts for summer and sunlight, the contribution of Josh Gad’s voice cannot go unnoticed.
Veteran animator Chris Buck teams up with the first-time director Jennifer Lee, together they construe Hans Christian Andersen’s popular fairytale (The Ice Queen) into a visually variegated adventure, minimize the cliché-ridden flourishes which commonly embellish the leitmotif (no redundant sub-plots to slow down the narrative pace). The story progresses in a wonted and linear approach, yet the whole journey is never in deficiency of enchantment, while the plot is fairly more twisty than Disney’s usual fare, a key revelation against the grain can blindside audiences without a hitch.
The voice-cast are enjoyable despite that Menzel’s voice is overtly too old for Elsa, it is also a plucky move to cast an openly out actor (Groff) to dub the valiant reindeer rider as Anna’s genuine soulmate and love-interest, along with the connotation for a more nondiscriminatory society extracted from the pith of its tale, FROZEN is a cinematic hero of our times, a film reaches a much broader demography and transcends its general raison d’ être, it may indeed positively refine our world into a more civilized tier and it is no end of virtuous achievements!