- What's with the African-influenced rhythms in a movie set in a lily-white Scandinavian Europe? In retrospect, I would have loved to see Frozen set in Equatorial Africa with an Ororo Munroe-like princess as Elsa, who is the area's *only* source of ice and cold and snow. We still don't have an African Disney princess!
Still, the "Fathoms below"-style opening works well, and then transitions into the sisters' story (and Kristen Bell does all her own singing!), and the death of the parents at sea. I'm drawn in to the story now. - Who else knows about Elsa's "condition"? Surely the servants must know, and probably the Regent? Who are the equivalent of Cogsworth, Lumiere, and Mrs. Potts? We never get any sense of who these people are. There are a few servants in drab clothing, but nothing more.
- Why can't Anna and Elsa talk to one another through the door? There is no answer for this.
- Why does Anna never go outside? I understand their parents turning Elsa into a shut-in, but why Anna? This is a missed opportunity to deepen the rift between the sisters -- Anna is known and beloved by the town, while Elsa is perceived as aloof. When the coronation time comes, many of the townsfolk are muttering that Anna, not Elsa, should become queen. Elsa could accidentally freeze Anna's heart during an argument at the coronation; if the freezing process is made more gradual, Anna still has time to go on her adventure. It also gives time for Anna to begin acting more aloof herself; she doesn't recognize that Sven (I mean Kristof) is in love with her because she has begun to shut people out.
Okay, so after the coronation, Elsa runs off, and is beautifully animated like a budding Disney villain, purple cape and all. It's a great scene, followed up by "Let it go". This is where hiring Idina Menzel really pays off -- coupled with the animation, this is an amazing sequence.
- Why does Anna not find the purple cape? Elsa lets it go into the wind, and it's never seen again. Missed opportunity for an emotional moment when Anna finds it, especially if it causes Anna grief and concern, while "letting it go" was an act of freedom for Elsa.
- Why are the wolves introduced and then never shown again? Another job for Chekov's gun. Missed opportunity for the wolves to be the "villains"; with the bay frozen over, they come across and attack the town. And what about Hans, you ask? See #8 below.
- Why does Olaf have a musical number that absolutely murders the forward progress of the story? We fast forwarded through this on a first viewing of the movie. It astounds me that professionals watched this and didn't cut it.
- Why doesn't Prince Hans allow Elsa to show herself to be a monster? If he's really the villain, we need to be given a better hint before the final act. But he *can't* really be the villain, because if he's the villain, it makes absolutely no sense for him to talk Elsa down from murder. This is a missed opportunity to make him a simple gold digger. Show us Hans flirting with Elsa at the coronation before he moves on to Anna; it's easy enough to explain away in the moment that he's the 13th son, so his father pushes him at every available princess, and then he appears truly to fall for Anna. Then, when Anna needs Love's True Kiss(tm), it doesn't work, and he laughs a little ruefully and apologetically that he's in love with the town, not her. And that's fine, because we've made the wolves the "villains".
- Why is it okay for Anna to fall in love with the second guy she's known for a day, but not the first one? Is it because Anna doesn't marry Sven, I mean Kristof, right away? Missed opportunity to put him in the Friend Zone.
- As filmed, Elsa is clearly the one with a metaphorical frozen heart that's the real problem; shouldn't she be the one to commit an act of love to cure Anna's literal frozen heart? Something isn't quite right here.
#ThereIFixedIt
No comments:
Post a Comment