Just why or how she came by this power is unclear, though both their parents are aware of it, and only caution Elsa to be careful. These form the bulk of the first third of Frozen, which lays out the following: as young children, Elsa and her younger sister Anna (Kristen Bell) share a secret, namely, that Elsa has the power to make snow and ice. She doesn’t mean to destroy her kingdom’s economy, exactly, but she has her reasons. That endless winter comes courtesy of Elsa (Idina Menzel), queen of Arendelle. From there, the plot weaves together a romance triangle, political treachery and themes of self-acceptance – nothing we haven’t seen before – but when Frozen presents its ideals of ‘true love’, it becomes a work that holds significantly more value to growing girls than the Walt Disney classics of yore.
Loosely based on the fantasy fable The Snow Queen, the story opens with a years-gone-by childhood prologue of Anna and her magical sibling Elsa, expressing their shared joy, sudden isolation and eventual misery through song – a Les Mis for kids. It’s a comparison wholeheartedly earned with its loveable characters, gorgeous artistry and superb show tunes, but it’s the infusion of contemporary life lessons that ultimately make Frozen a family-friendly triumph. Opening with a superb working-class musical number that echoes the seven dwarfs’ Heigh Ho, Frozen outlines its desire to spellbind its audience in that ol’ “Disney magic” from scene one. In other words, there are good reasons for Kristoff to need a best friend, even if he does need to project at least a little of that that best-friendness. Rather, he has his lines read for him, or imagined for him, by his best friend, Kristoff (Jonathan Groff), a strapping Nordic sort of young man who sells ice for a living and has been raised by a community of trolls who disguise themselves as rocks. Introduced at the start of Frozen, he’s pretty much the perfect anti-Disney star: he doesn’t sing or dance, though he does mug some.
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