Thawing My Frozen Heart: How I Fell in Love with Disney's Frozen (2013)
- Benjamin Wiebe
- May 14, 2021
- 8 min read
Recently, I have been on an animation binge, watching various animated movies that I missed in the theatres or hadn't watched in a long while, and my roommates convinced me to watch Frozen... a movie that I did not love. Actually, Frozen was a movie that I despised. I hated it with a burning... or in this case... icy... passion. To put it simply, my heart had been frozen.
What a Chilling shot. I truly was frozen to the core.
Frozen was released in 2013 by Disney Animation Studios, to box office success and critical acclaim. The film follows two sisters, forced apart due to childhood trauma and secrets, as they journey towards reconciliation and finding acceptance in each other. It's an action-adventure film for all ages, full of far-off places, daring swordfights, magic spells, and a prince in disguise... and it also has infectious music numbers.
When this film released, I was in my seventh year of primary school, and Frozen took over the entire school population. It was as if I was in glee, walking down corridors hearing the chorus of teenage girls singing Let it Go on repeat. This behaviour was annoying, and I began to see the film as over-hyped, with over-played songs, and no good reason for it. I watched the film wanting to dismantle it and would get in arguments asserting that “Tangled was a better Frozen,” as if that invalidated its worth. And that was my opinion for 6 years.
The power of this sequence radiates off the screen. It's no wonder this became a hit.
This cynical way of engaging with the film was my life. I became a living embodiment of CinemaSins and Mauler, approaching each scene with the intent to destroy it and show why it was stupid. And though it sucked the joy out of me after, the anger and pretentiousness fueled me with the energy to fight this movie tooth and nail for 6 years. It became a toxic relationship, where poking holes in Frozen became an addiction, that pushed others who disagreed with me away. A quick glance below shows some of my favourite nit-picks of this movie.
The opening two minutes are irrelevant.
Agnarr and Idunn are horrible parents.
Anna falling in love is stupid.
The music numbers are irritating and don't make sequential sense.
All this prelude brings us back to three weeks ago, when I convinced my roommates the best way to end the school year was to watch Disney Animated Movies... and they decided that Frozen was the movie to watch. And I was prepared to turn my brain off for the next hour and a half. But then the movie started... and I got swept off my feet, as I was sucked into the movie with my roommates as we crowded around the 30-inch TV with its built-in speakers. Maybe it was the party talking, but there was something here that resonated with me more than ever before. Between the unapologetic usage of leitmotif in each song, its meta-critique of the Disney tropes, and the themes of self-isolation that have become so relatable through the pandemic, there was so much here that could thaw my frozen heart. But I am certain that it was only possible when I decided to lay down the icy exterior, I had put up for so many years, and Let it all go.
And in that moment, I felt the magic of this movie for the first time.
Look at how beautiful this is. There is so much joy in this movie.
Some would say it was like understanding how to play a Souls-Borne game for the first time. Others would say it was like the plot twist in the Prestige, changing your perception of it forevermore. I would say it was transformative, akin to throwing away an old tiara that never fit me and creating my own royal gown. That willingness to be vulnerable, to sit down and listen, transformed this movie for me. It went from being one of my least favourite films of all time to a top three film in 110 minutes. And that reindeer drawn sleigh journey is what I want to talk about today.
I think it all starts with the opening credits and songs of the film. Where I once saw irrelevant and contrived sequences, I now saw foundational storytelling elements of atmosphere and thrilling exposition. The opening title is illuminated with an epic choral song, that prepares you for the musical journey. And the first song, Beware the Frozen Heart, may just be one of the great tonal establishments in any story. The terrifying opening shot, followed by individuals seeking to control the ice, while singing about its primal properties, sets the stage for the world of Arendelle. It's a world dominated by fear, and the powerful desire to use fear to dominate the world.
It perfectly sets the stage for the film.
This opening title is stunningly animated. The colour palette truly pops in Frozen.
And is immediately juxtaposed with some of the most heart-warming interactions between sisters. That fear is no where to be found with the childlike innocence that Anna and Elsa have at the start. There is no responsibility, and instead, we see the joy of being together, for five minutes... before all is lost.
Perhaps the most impactful part of this watch for me was how emotionally charged each image and line of dialogue was. That moment, when Pabbie highlights the delights and terrors found within Elsa's growing powers, isn't subtle, but it is powerful. That defining moment that changes everything, where innocence is lost for Elsa, but not for Anna, is perfectly communicated in the visuals, and through the following musical number, Do You Want To Build a Snowman. I was surprised to find myself crying by the end of the song, due to the lost closeness of these sisters. It's powerful and Magical. And that required myself to Let Go of my presuppositions and to listen.
And this pattern of seeing with the heart continued throughout the entire length of the film. Where I once saw Olaf as an irritating side character, I now see him as a beating core of the films childlike wonder. I began to see the surreal as the real, and it changed my perspective of this wonderful film. I noticed the magic of the leitmotifs found within each song. And I saw the wonder in the core relationship between Elsa and Anna, how it depicts the need for both boundaries and vulnerability, and the tension found between these extremes. As I saw the thought, the craft, the Love, that went into this movie, my frozen heart began to thaw, and I fell in love with it.
Look at the craftsmanship on display, creating a vibrant moment that sticks with you.
And while this journey required me to let go of my presuppositions, this film wouldn’t be a masterpiece without those elements mentioned above. Without the surreal animation of the musical sequences, one wouldn’t feel each song as powerfully. Without the usage of leitmotifs, one wouldn’t feel the changing character dynamics through the music alone. Without the realistic sibling banter, one wouldn’t buy into the relationship at the core of the film. Without the masterclass in depicting polar opposite characters through dialogue, costume, performances and gestures, one would miss the core themes at play depicted between these siblings. And without the comedic songs, the reflective and emotionally charged songs wouldn’t connect as well. Each of these elements relies on each other to create the feeling captured through this film.
The first element worth discussing is the vibrant musical numbers seen throughout Frozen, as they all do contribute much more to the film than it would appear. While numbers like In Summer and Fixer Upper clearly are comedic numbers, they also pave the way for the finale of the film to be full of emotion. When Olaf is willing to melt for Anna, it shows the growth the character has undergone, being willing to give up on the dream of living in summer to provide for someone else in such a vulnerable and tangible way.
Likewise, Do You Want to Build a Snowman is full of the themes found in For the First Time in Forever and Let It Go, as we see the core needs and fears of both Anna and Else reflected in the song musically. And when we reach For the First Time in Forever (Reprise), we see these desires clash as both Anna and Elsa finally confront each other. The way phrases are lengthened as the climax builds, as we see both Anna and Elsa go from being protected to vulnerable and, in Elsa’s case, afraid. It’s wonderfully sung, as Idina Menzel sings the chilling melody that climax’s so painfully in the performances and animation.
This battle between Sisters in For the First Time in Forever (Reprise) is elevated with the wonderful animation that creates an isolating snowstorm as the backdrop.
That magic leaves each song etched in the back of your mind after watching the film, and that’s just from analyzing the musical phrases before looking at how gorgeously animated these numbers are. While each song moves by at a brisky tempo that keeps it all upbeat, the animation reinforces this by using montage to capture the feelings being expressed vocally. When looking at something like In Summer, it’s clear that it is all surreal, as we watch Olaf imagine what summer would be like for a snowman. It uses quick transitions to move from sandy beaches to beautiful gazeboes with dancing seagulls and even a picnic in the grass. But this extreme example is not the only time surrealism is used throughout the film. Both For the First Time in Forever and Love is an Open Door use the surreal imagery to express the feelings of finally being free. While we follow Anna in these songs, we clearly don’t see her move from place to place, but rather only see her when she feels free, as shown through the vibrant backdrops of the kingdom’s skyline, of a sailboat’s sail, and a lighthouse. It all works to communicate an emotion visually, and it’s truly wonderful, albeit not truly real.
What a gorgeous silhouette, capturing the all-consuming power of a first-love effortlessly.
And even more fascinating is the structure used for this story. Like one of my other favourite movies, The Girl with the Dragon Tattoo, this movie is not really about a singular antagonist, instead being focused on the relationship between Elsa and Anna. In Frozen, there are some clear human “Bad Guys”, like (Spoilers) Hans or the Duke of Weasel town. But they never become the core antagonist of the film. They are instead obstacles that add to the strains in the relationship, cranking the tension up to eleven before it all snaps in the climax. That decision, to focus solely on these sisters, as Anna works to break down Elsa’s frozen walls, and as Elsa shows Anna the importance of barriers, is so potent, and is communicated to the audience subconsciously due to the realism of their conversations. It’s a masterful way to redefine what true love is, moving from the idea of “falling in love” to choosing to love via self-sacrifice. It’s so well executed that I find it impossible to not love.
This final moment, when Sisters are reunited for the first time, brings me to tears.
And ultimately, that’s how I would describe this film. While it is undeniably fun and (occasionally) cheesy, I also see the heart behind this film, and it fills me with joy. The way one-takes are used to create the wonder of the outside world is genius. And the music is layered with purpose and heart. Ultimately, like Elsa, it took me far too long to open up. But when I opened my heart, I was embraced with a warm hug. And that’s Frozen’s crowning achievement: it makes me feel things.
“Only an act of true love can thaw a frozen heart.”
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