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Frozen Two: A Bold Step Into the Unknown

In case you have been living under a rock, or just do not have daughters under the age of ten, the big news this weekend, is that Frozen Two is here. So also are the dresses, toothbrushes, lunchboxes, pencil cases, pyjamas, the toilet roll (I like to think that is made up, but it is probably true). But what about the main event itself? For the first time in forever, can a sequel live up to its predecessor, or should we all have long since let it go?

To sum it up simply, it is a great effort, albeit a bit of a fixer-upper. The storyline is more ambitious than the first film, and as a result, whilst it is entertaining to watch, it does not have the same emotional resonance that made the first film a hit with the adults as well as the little ones. It delves into the secrets behind Elsa’s powers, and the shameful past of Arendelle. We find out more about Elsa and Anna’s parentage, and the film takes us to a range of backdrops which are almost as visually impressive as the amount of dresses Elsa and Anna collectively own. There are echoes of other Disney themes such as Pochahontas or Moana in the conflict between human greed and ambition and a respect for nature and the elements, themes that are even more relevant now than ever. These themes are more complex, but somehow not as emotionally satisfying as those explored in the first. The questions never feel completely answered, and some elements feel rushed and under-developed.

It may be hard to actually remember the first time you watched Frozen, if like me you seem to have been watching it on a daily basis for the past three years. However, the original film genuinely kept us guessing about how the story was going to develop. We were all shocked when Prince Hans turned out to be the villain after all, and surprised when the resolution of the story turned out to hinge on the sisters’ love, not a male love interest. It felt genuinely refreshing to have a Disney story with two great female lead characters, and Anna’s romantic pairing with Kristoff felt incidental to the story, not a vital ingredient. It was a clear subversion of the classic fairytale destination, whereas Frozen Two seems to have a slightly more muddled sense of direction.

That does not mean it is not highly entertaining to watch. The songs are not quite able to match the anthemic qualities of “Let It Go”, but they are still catchy and fun, and there is also a haunting quality to the more serious songs that matches the darker themes. Olaf’s scenes are (mostly) funny, combining some slapstick for the little ones and some humour for adults. I particularly enjoyed the metacinematic nature of his observation that if Arendelle ships could have a waterproof compartment, why on earth would the whole ship not be waterproof?

Sequels have to offer the audience a new direction, and Frozen Two definitely does this. The first film endorsed the message that true love means accepting everyone’s differences, but it is harder to say what the overall point of Frozen Two is. The main theme song talks about going “Into the Unknown”, and it feels like the ending still leaves us out in the cold a little. But there is enough of the magic and sparkle left to keep us watching, and after all, the cold never bothered us anyway.


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