‘Frozen II: Into the Unknown’ Was a Masterpiece
By: Yj Jun
Tags: Disney, Film, Review, Writing, Screenwriting

Writing Analysis, Writing Craft

‘Frozen II: Into the Unknown’ Was a Masterpiece

Why is it so hard for me to write this?: I, a grown woman, love Frozen.

I love Anna. I love Elsa. I love Olaf and Kristoff and Sven and Iduna and the trolls. I love all the characters and the world they inhabit, their oft misguidedly expressed but always devout love for one another.

I saw the movie. Then the second. I saw the musical during it’s infuriatingly short-lived time on Broadway. With my Disney+ subscription I’ve rewatched Frozen Summer and all of Olaf’s goofy short films — all the fan service intended for kids.

When I visited Disneyworld last winter, I explicitly requested an Elsa FastPass card.

Photo courtesy of the author

Frozen II: Into the Unknown was polarizing, something I would have never expected as I sat in my chair looking up at the big screen in awe — twice.

SNL has a great skit on how Frozen II’s plot was “terrible.” The movie was notoriously snubbed for an Oscar.

When describing the movie, I like to use the word “ambitious.” I don’t blame people for not getting it. It was goddess origin story akin to that of Hercules, something we’ve never seen before from Disney animation — except in Hercules.

What are you talking about? you might ask. Mulan was a verifiable badass; we got to see her blossom from wily, awkward troublemaker to confident, competent warrior. Woody may have been a leader within Andy’s room, but Buzz’s arrival, and later Forky’s kidnapping, forced him to step up as a leader outside his known world.

But the distinction between god/goddess origin story and other hero origin stories is important.

God/goddess origin stories require mythical trials. It seems like no matter where in the world you grew up, we all learned about Greek and Roman mythology. Only recently have we (outside of specific circles) started paying attention to Nordic mythology, courtesy of Chris Hemsworth’s portrayal of Thor.

Elsa’s transformation into a demi-goddess draws on the same mythology that gave birth to Thor. Like Iron Man, she is restless, constantly pulled towards a higher state of the world and herself, though she may not know what that looks like. Like Captain America, she is stupidly good — sometimes to the detriment of those around her.

I have a hypothesis for why audiences couldn’t suspend disbelief when a blonde Norwegian girl followed the same trajectory as their favorite Avengers.

But let’s focus on what’s important: the movie was awesome, and a great exercise in writing.

(Spoilers ahead)

Change and Transformation in ‘Frozen II’

Frozen II billboard at Disneyworld. Photo courtesy of author.

Improving on the first movie, none of the story arcs in Frozen II rely on an objectively evil outsider. In Frozen I, the main antagonist was fear — of Elsa, including Elsa’s fear of herself. Hans and the people of Whiselton piggybacked on this fear and exploited Arrendelians while they were distracted.

In Frozen II, the main antagonist is the unknown: why is the forest enchanted? Why is it beckoning Elsa and threatening Arrendele? The brilliance of Frozen II is that the main antagonist is also the main promise and theme: how can we uncover the unknown and what will we find if we do?

By throwing herself into the unknown, Elsa not only drags Anna and everyone else along with her, but more importantly, she prompts growth and transformation for all.

(A quick word: you might think Elsa and Anna’s grandfather is an objectively evil outsider, but he’s really a part of that unknown: What exactly did he do that fateful day the enchanted forest became locked? Through his deceitful actions, he causes the unknown: Why is the forest locked, is it malicious, and what can the sisters do to save their kingdom?)

Everything in Frozen II feeds into the theme of change and transformation. For starters, the story takes place in fall, and falling leaves are a recurring motif throughout the opening sequence. As the leaves change color and winter approaches again, Elsa is no longer able to resist the voice that calls out to her: a mournful, hopeful cry that beckons her somewhere north, into the unknown.