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Animated Watch Frozen Online Disney Movie 2013 While there’s lots of talk about true love and melting hearts, the emotions never quite ignite. It’s hard to generate a sense of warmth when the plot points all feel so coldly calculated, and it doesn’t help that the musical numbers are so pedestrian. The Little Mermaid may have been embarrassingly retrograde in terms of its gender politics, but try getting Under the Sea out of your head. Broadway veteran Menzel – she starred in Wicked – sells the heck out of the songs.




FROZEN Anna might not join the ranks of classic Disney animated princesses, but she is a strong-willed heroine who teaches modest lessons of acceptance and self-esteem. Yet the film tries too hard to evoke past studio successes, even drumming up a scenario in which she must be saved by “true love’s kiss.”

It’s as ‘Frozen’ unfolds that the film kicks up a notch. The standout song, ‘Let It Go’, feels like Disney’s most inspired coming-out anthem yet (‘Conceal, don’t feel, don’t let them know. Well, now they know’). It’s also in the second act that we meet the irresistible comic relief, Olaf the Snowman (Josh Gad, familiar to musical fans as Elder Cunningham in ‘The Book Of Mormon’), and encounter the danger essential to a satisfying Disney experience. So ‘Frozen’ has both tunes and darkness. But most satisfying is a formula-defying finale that successfully subverts fairytale status quo. More of this sort of thing please, Disney.

That feel of familiarity might be intended as an homage, but it decreases the charm of an otherwise amusing effort that — unlike the harsh wintry chill outside — is warmer than its setting would suggest.

To wit: even though Princess Anna (Kristen Bell) begins the movie a little bit boy-crazy, her main concern is connecting with her introverted older sister Elsa (Idina Menzel). Elsa was born with magical powers that allow her to conjure up ice and snow, which she believes makes her a danger to those around her. As a result, she’s retreated from everyone, including her sister. There’s an obvious metaphor here for the way that insecurities can cause people to (in this case, literally) freeze out their loved ones, and Bell and Menzel evince a believably strained sense of mutual affection in their vocal performances.

It’s a promising set-up, but Frozen quickly degenerates from a dual character study into a romp – the sort of typical galumphing adventure narrative that runs through every animated movie. After Elsa accidentally plunges her kingdom into perpetual winter and runs off into the woods, Anna goes after her, which leads to her meeting – please have your checklists ready – a handsome mountain man (Jonathan Groff); his adorably anthropomorphic reindeer sidekick; and another, even more adorable non-human sidekick (a sentient snowman voiced by Broadway star Josh Gad). Meanwhile, back at home, Anna’s ostensibly princely love interest (Santino Fontana) keeps saying and doing things that make him seem too good to be true – which should make even the smallest members of the audience very suspicious.

The last time a Disney movie was adapted from the work of Hans Christian Andersen, it rejuvenated the studio’s entire animation brand. And don’t the makers of Frozen know it. There’s more than a hint of The Little Mermaid to Chris Buck and Jennifer Lee’s new animated comedy, which is similarly focused on the plucky, redheaded heir to a fabulous kingdom and her quest to find true love – a timeless fairy-tale scenario tricked out with a few putatively progressive 21st century twists.

Scripted by Jennifer Lee (Wreck-It Ralph) and directed by Lee and Chris Buck (Tangled), Frozen dangles a lot of fairy tale clichés and familiar plot lines in front of us, but primarily as distraction from what the filmmakers are really up to. While it is technically a “princess movie” in the vein of Cinderella (1950) and The Little Mermaid, the story’s fixation on love and its role as the ultimate redeemer is not limited to romantic affection. Quite the contrary, if anything Frozen plays as a none-too-subtle cautionary tale about amour of the first sight variety, emphasizing instead the idea that true love grows out of time and interaction.

As it turns out, romantic love is not the engine that drives the story; rather, it is Anna’s love for her sister and Elsa’s tortured need to protect those around her by walling herself off, literally and figuratively. The story is, at heart, about filial love, as the bond between sisters—once all powerful, then broken, then slowly reassembled—gives the film its heart and its mind. While not quite a feminist wrecking of antiquated Disney gender roles, Frozen does offer a pliable middle ground in which its female characters are given voice and agency and something to do other than swoon over a man, but without completely discounting the power of and desire for romantic attraction.