Features

The Success of Frozen

It is a box office phenomenon and Disney's most successful film ever in the UK. To date, Frozen has taken $1,143,737,000 worldwide and shows no sign of slowing in ancillary markets such as DVD and soundtrack sales. It has garnered praise from critics, parents and, importantly, children all over the world. But just why has Frozen become the animated film of the year, or, perhaps, the decade?

In many ways, the answer to this question is rather simple: it is impassioned storytelling underpinned by dynamic and charming characters. From Olaf, the summer-loving snowman (some people are worth melting for, y'know) to the headstrong and yet somewhat naïve Anna, Frozen's ability to create characters which appeal to all ages is one of its central strengths. Perhaps more significantly, the film signifies a new era for Disney. It's two protagonists are female: sisters whose love for one another drives the narrative and becomes an important plot point. Elsa and Anna are a new breed of Disney princess, characterised by a fervent independence and whilst love interests do exist in the form of Prince Hans and the ice seller, Kristoff, the film certainly passes the Bechdel Test. A refreshing change.

Another of Frozen's attributes which has contributed to its successes are the songs which are distinctly Broadway-leaning but which seem totally at home in a film context (no doubt anchored by Idina Menzel's inimitable voice). Not in a very long time has a Disney film produced tunes which are so memorable and engaging to listen to (indeed, you may have to go back as far as The Lion King to find similar). 

Take a trip to any supermarket and you'll probably hear at least one person humming the tune to “Let It Go” – the film's defining song. A power ballad boosted by its musical and lyrical similarities to “Defying Gravity” from the stage musical Wicked (which, incidentally, Menzel is most famous for singing), “Let It Go” is a song of defiance, passion and acceptance: everything that would appeal to a mass-audience of teenagers, children and adults. It also signifies why the film works on a structural level. Just as “Defying Gravity” closes the first act of Wicked, “Let It Go” comes around half way through the film, setting up the Queen Elsa's empowerment whilst hinting at the impending narrative disequilibrium. Indeed, it is written superbly, performed perfectly and pitched at just the right level.

Aside from its musical genius, Frozen's technological credentials shine through. Its design is captivating, the animation striking and its beautiful snowy landscapes, populated by good-looking princes, princesses, trolls and snowmen, are some of Disney's best work in years. The design of Olaf, the wise-cracking (yet always loveable) snowman is a masterful stroke of character design (and not just for Disney's merchandising department). Olaf's comic fascination with summer and his endearing dialogue make him the perfect counterpoint to some of the darker sides of the film's themes. In many ways, this is what makes Frozen appeal to such a broad audience: it addresses subjects which are important to everyone – family, love, loss and determination – and does so in a way which does not alienate or preach to its audience.

Frozen is not just a “kid's film”. Indeed, it's not even a Christmas film. Disney has produced a film which, to quote my original review, you'd have to have a heart of ice not to enjoy.