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Frozen is a 2013 American 3D computer-animated musical fantasy–comedy film produced by Walt Disney Animation Studios and released by Walt Disney Pictures. It is the 53rd animated feature in the Walt Disney Animated Classics series.
Frozen is “a bit of a feminist movie for Disney. I’m really proud of that. It has everything, but it’s essentially about sisterhood. I think that these two women are competitive with one another, but always trying to protect each other – sisters are just so complicated. It’s such a great relationship to have in movies, especially for young kids.”
— Idina Menzel, on her impression of Frozen
“In Arendelle‘s fair kingdom, a ruler did appear.
Born with a secret power so great, alone, she stayed in fear.
Although the force was hidden, one day she let it go.
And all the land was covered in eternal ice and snow.”―Frozen
Queen Elsa of Arendelle, also known as The Snow Queen, is the deuteragonist of Disney’s Academy Award-winning 2013 animated feature film Frozen. She is the older sister of Princess Anna and was next in line for Arendelle‘s throne, until her powers over ice and snow led her to become the famous Snow Queen, ruler of winter. Along with Anna, Elsa is set to become the 13th official member of the Disney Princess line-up.
Frozen finished its first week at No. 1 in unit sales in the United States, selling more than three times as many units as other 19 titles in the charts combined, according to the Nielsen’s sales chart.
The film sold 3,969,270 Blu-ray units (the equivalent of $79,266,322) during its first week, which accounted for 50 percent of its opening home media sales.
It topped the U.S. home video sales charts for six non-consecutive weeks out of seven weeks of release, as of May 4, 2014.
In the United Kingdom, Frozen debuted at No. 1 in Blu-ray and DVD sales on the Official Video Chart.
According to Official Charts Company, more than 500,000 copies of the film were sold in its two-day opening (March 31 – April 1, 2014).
During its three first weeks of release in the United Kingdom, Frozen sold more than 1.45 million units, becoming the biggest selling video title of 2014 so far in the country.
Inspired by Hans Christian Andersen‘s fairy tale The Snow Queen, the film tells the story of a fearless princess who sets off on an epic journey alongside a rugged iceman, his loyal pet reindeer, and a hapless snowman to find her estranged sister, whose icy powers have inadvertently trapped the kingdom in eternal winter.
Frozen underwent several story treatments for years, before being commissioned in 2011, with a screenplay written by Jennifer Lee, and both Chris Buck and Lee serving as directors.
It features the voices of Kristen Bell, Idina Menzel, Jonathan Groff, Josh Gad, and Santino Fontana. Christophe Beck, who had worked on Disney’s award-winning short Paperman, was hired to compose the film’s orchestral score, while husband-and-wife song writing team Robert Lopez and Kristen Anderson-Lopez penned the songs.
Frozen premiered at the El Capitan Theatre on November 19, 2013, and went into general theatrical release on November 27. It was met with widespread acclaim from critics and audiences, and some film critics considered Frozen to be the best Disney animated feature film and musical since the studio’s renaissance era.
The film was also a commercial success; it accumulated over $1.2 billion in worldwide box office revenue, $400 million of which was earned in the United States and Canada. It ranks as the highest-grossing animated film of all time, the fifth highest-grossing film of all time, the highest-grossing film of 2013, and the third highest-grossing film in Japan.
Frozen won two Academy Awards for Best Animated Feature and Best Original Song (“Let It Go“), the Golden Globe Award for Best Animated Feature Film, the BAFTA Award for Best Animated Film, five Annie Awards (including Best Animated Feature), and two Critics’ Choice Awards for Best Animated Feature and Best Original Song (“Let It Go”).
Plot
Elsa, princess of Arendelle, possesses cryokinetic powers, with which she is able to produce ice, frost, and snow at will. One night while playing, she accidentally injures her younger sister, Anna.
The king and queen seek help from the troll king, who heals Anna and removes her memories of Elsa’s magic. The royal couple isolates the children in their castle until Elsa learns to control her powers.
Afraid of hurting Anna again, Elsa spends most of her time alone in her room, causing a rift between the girls as they grow up. When the girls are teenagers, their parents die at sea during a storm.
When Elsa comes of age, the kingdom prepares for her coronation. Among the guests is the Duke of Weselton, who seeks to exploit Arendelle for profit.
Excited to be allowed out of the castle again, Anna explores the town and meets Prince Hans of the Southern Isles, and the two quickly develop a mutual attraction. Despite Elsa’s fear, her coronation goes off without incident.
During the reception, Hans proposes and Anna hastily accepts. However, Elsa refuses to grant her blessing and forbids their sudden marriage. The sisters argue, culminating in the exposure of Elsa’s abilities during an emotional outburst.
Panicking, Elsa flees the castle, while inadvertently unleashing an eternal winter on the kingdom. High in the nearby mountains, she casts off restraint, building herself a solitary ice palace, and unknowingly brings her and Anna’s childhood snowman, Olaf, to life.
Meanwhile, Anna sets out in search of her sister, determined to return her to Arendelle, end the winter, and mend their relationship. When obtaining supplies, she meets an iceman named Kristoff and his reindeer, Sven, and convinces Kristoff to guide her up the North Mountain. On their journey, the group encounter Olaf, who leads them to Elsa’s hideaway.
Anna and Elsa reunite, but Elsa still fears hurting her sister. When Anna persists in persuading her sister to return, Elsa becomes agitated and her powers lash out, accidentally striking Anna in the heart. Horrified, Elsa creates a giant snow creature to drive Anna, Kristoff, and Olaf away from her palace.
As they flee, Kristoff notices Anna’s hair turning white, and deduces that something is very wrong. He seeks help from the trolls, his adoptive family, who explain that Anna’s heart has been frozen by Elsa. Unless it is thawed by an “act of true love,” she will become frozen solid forever believing that only Hans can save her with a true love’s kiss, Kristoff races back with her to Arendelle.
Meanwhile, Hans, leading a search for Anna, reaches Elsa’s palace. In the ensuing battle against the Duke’s men, Elsa is knocked unconscious and imprisoned in Arendelle. There, Hans pleads with her to undo the winter, but Elsa confesses that she does not know how.
When Anna reunites with Hans and begs him to kiss her to break the curse, Hans refuses and reveals that his true intention in marrying her is to seize control of Arendelle’s throne. Leaving Anna to die, he charges Elsa with treason for her younger sister’s apparent death.
Elsa escapes and heads out into the blizzard on the fjord. Olaf finds Anna and reveals Kristoff is in love with her; they then escape onto the fjord to find him. Hans confronts Elsa, telling her Anna is dead because of her. In Elsa’s despair, the storm suddenly ceases, giving Kristoff and Anna the chance to find each other. However, Anna, seeing that Hans is about to kill Elsa, throws herself between the two just as she freezes solid, blocking Hans’ attack.
As Elsa grieves for her sister, Anna begins to thaw, since her decision to sacrifice herself to save her sister constitutes an “act of true love.”
Realizing love is the key to controlling her powers, Elsa thaws the kingdom and helps Olaf survive in summer. Hans is sent back to the Southern Isles to face punishment for his crimes against the royal family of Arendelle, while Elsa cuts off trade with Weselton. Anna and Kristoff share a kiss, and the two sisters reconcile. Elsa promises never to shut the castle gates again.
Voice cast
| Top row (l-r): Kristen Bell, Idina Menzel Bottom row (l-r): Jonathan Groff, Josh Gad and Santino Fontana |
Development
Concept art from Disney’s shelvedhand-drawn film The Snow Queen.
In 1943, Walt Disney and Samuel Goldwyn had considered the possibility of collaborating to produce a biography film of author and poet Hans Christian Andersen, where Goldwyn’s studio would shoot the live-action sequences of Andersen’s life and Disney would create the animated sequences.
The animated sequences were to include stories of Andersen’s works, such as The Little Mermaid, The Little Match Girl, The Steadfast Tin Soldier, The Snow Queen, Thumbelina, The Ugly Duckling, The Red Shoes, and The Emperor’s New Clothes. Disney and his animators encountered difficulty with The Snow Queen, as they could not find a way to adapt and relate the Snow Queen character to modern audiences.
Even as far back as the 1940s, Disney’s animation department saw great cinematic possibilities with the source material, but the Snow Queen character proved to be too problematic. This, among other things, led to the cancellation of the Disney-Goldwyn project. Goldwyn went on to produce his own live-action film version in 1952, entitled Hans Christian Andersen, with Danny Kaye as Andersen, Charles Vidor directing, Moss Hart writing, and Frank Loesser penning the songs.
All of Andersen’s fairy tales were, instead, told in song and ballet in live-action, like the rest of the film. It went on to receive six Academy Award nominations the following year. Back at Disney, The Snow Queen, along with other Andersen fairy tales (including The Little Mermaid), were shelved.
Later efforts
“Hans Christian Andersen‘s original version of The Snow Queen is a pretty dark tale and it doesn’t translate easily into a film. For us the breakthrough came when we tried to give really human qualities to the Snow Queen. When we decided to make the Snow Queen Elsa and our protagonist Anna sisters that gave a way to relate to the characters in a way that conveyed what each was going through and that would relate for today’s audiences.
This film has a lot of complicated characters and complicated relationships in it. There are times when Elsa does villainous things but because you understand where it comes from, from this desire to defend herself, you can always relate to her. ‘Inspired by’ means exactly that. There is snow and there is ice and there is a Queen, but other than that, we depart from it quite a bit.
We do try to bring scope and the scale that you would expect but do it in a way that we can understand the characters and relate to them.”
— Producer Peter Del Vecho, on the difficulties adapting The Snow Queen.
In the late 1990s, Walt Disney Feature Animation started developing a new adaptation of The Snow Queen after the tremendous success of their recent films during the Disney Renaissance era, but the project was scrapped completely in late 2002, when Glen Keane quit the project. Even before then, Harvey Fierstein pitched his version of the story to Disney’s executives, but was turned down. Paul and Gaëtan Brizzi, Dick Zondag and Dave Goetz reportedly all had their try on it, but failed.
After a number of unsuccessful attempts, Disney shelved the project again. At one point, Michael Eisner, then-CEO and chairman of The Walt Disney Company, offered his support to the project and suggested doing it with John Lasseter at Pixar Animation Studios after the then-expected renewal of Pixar’s contract with Disney.
But negotiations between Pixar and Disney collapsed in January 2004 and that contract was not renewed.
Instead, Eisner’s successor Bob Iger negotiated Disney’s purchase of Pixar in January 2006 for $7.4 billion, and Lasseter was promoted to chief creative officer of both Pixar and Disney Animation.
The next attempt started in 2008 when Lasseter was able to convince Chris Buck (who had co-directed Tarzan (1999) for the studio) to return to Disney Animation from Sony Pictures Animation, and that September, Buck pitched several ideas to Lasseter, one of which was The Snow Queen.
Buck later revealed that his initial inspiration for The Snow Queen was not the Andersen fairytale itself, but that he wanted “to do something different on the definition of true love.” “Disney had already done the ‘kissed by a prince’ thing, so [I] thought it was time for something new,” he recalled.
It turned out Lasseter had been interested in The Snow Queen for a long time; back when Pixar was working with Disney on Toy Story in the 1990s, he saw and was “blown away” by some of the pre-production art from Disney’s prior attempts.
Development began under the title Anna and the Snow Queen, which was planned to be traditionally animated.
By early 2010, the project entered development hell once again, when the studio failed to find a way to make the story and the Snow Queen character work.
Revitalization
On December 22, 2011, following the success of Tangled, Disney announced a new title for the film, Frozen, and a release date of November 27, 2013.
A month later, it was confirmed that the film would be a computer-animated feature in stereoscopic 3D, instead of the originally intended hand-drawn animation.
On March 5, 2012, it was announced that Buck would be directing, with Lasseter and Peter Del Vecho producing.
After Disney decided to advance The Snow Queen into development again, one of the main challenges Buck and Del Vecho faced was the character of the Snow Queen, who was then a villain in their drafts.
The studio has a tradition of screening animated films in development every twelve weeks, then holding lengthy “notes sessions” in which its directors and screenwriters from different projects provide extensive “notes” on each other’s work.
Buck and Del Vecho presented their storyboards to Lasseter, and the entire production team adjourned to a conference to hear his thoughts on the project.
Art director Michael Giaimo later acknowledged Lasseter as the “game changer” of the film: “I remember John saying that the latest version of The Snow Queen story that Chris Buck and his team had come up with was fun, very light-hearted. But the characters didn’t resonate. They aren’t multi-faceted which is why John felt that audiences wouldn’t really be able to connect with them.
The production team then addressed the film’s problems, drafting several different variations on The Snow Queen story until the characters and story felt relevant.
At that stage, the first major breakthrough was the decision to rewrite the film’s protagonist, Anna (who was based on the Gerda character from The Snow Queen), as the younger sibling of Elsa, thereby effectively establishing a family dynamic between the characters.
To fully explore the unique dynamics of the kind of relationship that would now become the core of the film’s plot, Disney Animation convened a “Sister Summit,” at which women from all over the studio who grew up with sisters were asked to discuss their relationships with their sisters.
Writing
In March 2012, Jennifer Lee, one of the screenwriters of Wreck-It Ralph, was brought in as the film’s screenwriter by Del Vecho. Lee later explained that as Wreck-It Ralph was wrapping up, she was giving notes on other projects, and “we kind of really connected with what we were thinking.
According to Lee, several core concepts were already in place from Buck and Del Vecho’s early work, such as the film’s “frozen heart” hook: “That was a concept and the phrase … an act of true love will thaw a frozen heart.”
They already knew the ending involved true love in the sense of the emotional bond between siblings, not romance, in that “Anna was going to save Elsa. We didn’t know how or why.”
Lee said Edwin Catmull, president of Disney Animation, told her early on about the film’s ending: “First and foremost, no matter what you have to do to the story, do it. But you have to earn that ending. If you do it will be great. If you don’t, it will suck.
Lee revealed how the original plot differed sharply from the final version: in the first act, Elsa, the villainous Snow Queen, deliberately struck Anna in the heart with her freezing powers; then “the whole second act was about Anna trying to get to Hans and to kiss him and then Elsa trying to stop her.”
Buck revealed that the original plot attempted to make Anna sympathetic by focusing on her frustration as being perceived as the “spare” in relation to the “heir,” Elsa. The original plot also had different pacing, in that it was “much more of an action adventure” than a musical or a comedy.
One major breakthrough was the composition of the song “Let It Go” by songwriters Lopez and Anderson-Lopez, which forced the production team to reconceptualise and rewrite Elsa as a far more complex, vulnerable, and sympathetic character.
In The Daily Telegraph‘s words, instead of the villain envisioned by the producers, the songwriters saw Elsa as “a scared girl struggling to control and come to terms with her gift.” Lee recalled: “Bobby and Kristen said they were walking in Prospect Park and they just started talking about what would it feel like [to be Elsa and this concept of letting out who she is, that she’s kept to herself for so long and she’s alone and free, but then the sadness of the fact that the last moment is she’s alone. It’s not a perfect thing, but it’s powerful.”
Del Vecho explained that “Let It Go” changed Elsa into a person “ruled by fear and Anna was ruled by her own love of other people and her own drive,” which in turn caused Lee to “rewrite the first act and then that rippled through the entire movie. So that was when we really found the movie and who these characters were.”
Another major breakthrough was developing the plot twist that Prince Hans would be revealed as the film’s true villain only near the end.
Hans was not even in the earliest drafts, then at first was not a villain, and after becoming one, was revealed to be evil much earlier in the plot.
Del Vecho said, “We realized [what] was most important [was] if we were going to make the ending so surprising you had to believe at one point that Hans was the answer … [when] he’s not the answer, it’s Kristoff …. [I]f you can get the audience to leap ahead and think they have figured it out [,] you can surprise them by turning it the other way.”
Lee acknowledged that Hans was written as “sociopathic” and “twisted” throughout the final version.
For example, Hans mirrors the behaviour of the other characters: “He mirrors [Anna] and he’s goofy with her … [T]he Duke [of Weselton] is a jerk, so he’s a jerk back. And with Elsa he’s a hero.”
It was difficult to lay the foundation for Anna’s belated turn to Kristoff without also making Hans’ betrayal of Anna too predictable, in that the audience had to “feel … her feeling something but not quite understanding it … Because the minute it is [understood,] it deflated.”
Lee had to work through the issue of how to write Anna’s personality, in that some of her colleagues felt Anna should be more dysfunctional and co-dependent, like Vanellope von Schweetz in Wreck-It Ralph.
Lee disagreed with that position, but it took her almost a year to figure out how to convincingly articulate “this is what Anna’s journey is. No more than that. No less than that.”
In the end, Lee successfully argued Anna’s journey should be presented as a simple coming-of-age story, “where she goes from having a naive view of life and love—because she’s lonely—to the most sophisticated and mature view of love, where she’s capable of the ultimate love, which is sacrifice.”
Lee also had to let go of some ideas that she liked, such as a scene portraying Anna and Elsa’s relationship as teenagers, which did not work because they needed to maintain the separation between Anna and Elsa.
To construct Anna and Elsa’s relationship as sisters, Lee found inspiration in her own relationship with her older sister. Lee said her older sister was “a big inspiration for Elsa,” called her “my Elsa” in an op-ed in the Los Angeles Times, and walked the red carpet with her at the 86th Academy Awards. Lee explained, “[h]having to … lose each other and then rediscover each other as adults, that was a big part of my life.”[48]
The production team also turned Olaf from Elsa’s obnoxious sidekick into Anna’s comically innocent sidekick.
Lee’s initial response to the original “mean” version of Olaf had been, “Kill the f-ing snowman,” and she found Olaf by far “the hardest character to deal with.”
Along the way, the production team went through drafts where the first act included far more detail than what ended up in the final version, such as a troll with a Brooklyn accent who would have explained the backstory behind Elsa’s magical powers, and a regent for whom Lee was hoping to cast comedian Louis C.K.
After all those details were thoroughly “over-analysed”, they were excised because they amounted to a “much more complex story than really we felt like we could fit in this 90-minute film.” As Del Vecho put it, “the more we tried to explain things at the beginning, the more complicated it got.”
Production
Actress Kristen Bell was cast as the voice of Anna on March 5, 2012.
Lee admitted that Bell’s casting selection was influenced after the filmmakers listened to a series of vocal tracks Bell had recorded when she was young, where the actress performed several songs from The Little Mermaid, including “Part of Your World“.
Bell completed her recording sessions while she was pregnant, and subsequently re-recorded some of her character’s lines after her pregnancy, as her voice had deepened.
Bell was called in to re-record dialogue for the film “probably 20 times,” which is normal for lead roles in Disney animated films whose scripts are still evolving.
As for her approach to the role of Anna, Bell enthused that she had “dreamed of being in a Disney animated film” since she was four years old, saying, “I always loved Disney animation, but there was something about the females that was unattainable to me. Their posture was too good and they were too well-spoken, and I feel like I really made this girl much more relatable and weirder and scrappier and more excitable and awkward. I’m really proud of that.”
During 2012, while Giaimo and the animators and artists conducted preparatory research and developed the film’s overall look, the production team was still struggling to develop a compelling script, as explained above.
That problem was not adequately solved until November 2012, and the script would later require even more significant revisions after that point.
As a result, the single “most daunting” challenge facing the animation team was a short schedule of less than 12 months to turn Lee’s still-evolving shooting script into an actual film. Of course, other films like Toy Story 2 had been successfully completed on even shorter schedules, but a short schedule necessarily meant “late nights, overtime, and stress.”
Lee estimated the total size of the entire team on Frozen to be around 600 to 650 people, “including around 70 lighting people[,] 70-plus animators,” and 15 to 20 storyboard artists.
In February 2013, Christophe Beck was hired to score the film, following his work on Paperman, a Disney animated short film released the year prior to Frozen.[102] It was revealed on September 14, 2013, that Sámi musician Frode Fjellheim‘s Eatnemen Vuelie would be the film’s opening song, as it contains elements of the traditional Sámi singing style joik.[103] The music producers recruited a Norwegian linguist to assist with the lyrics for an Old Norse song written for Elsa’s coronation,[104] and also travelled to Trondheim, Norway[101] to record the all-female choir Cantus, for a piece inspired by traditional Sámi music.[104]
Release
Peter Del Vecho, producer; Jennifer Lee, writer and director; and Chris Buck, director, at the film’s premiere at the El Capitan Theatre in Hollywood, California.
On January 31, 2014, a sing-along version of Frozen was released in 2,057 theatres in the United States. It featured on-screen lyrics, and viewers were invited to follow the bouncing snowflake and sing along with the songs from the film.
After its wide release in Japan on March 14, 2014, a similar sing-along version of Frozen was released in the country in select theatres on April 26. In Japanese-dubbed versions, Japanese lyrics of the songs appeared on screen for audiences to sing along with the characters.[131]
On its first day of release on Blu-ray and DVD, Frozen sold 3.2 million units, becoming one of the biggest home video sellers in the last decade, as well as Amazon‘s best-selling children’s disc of all time.
The digital download release of the film also set a record as the fastest-selling digital release of all time.
Box office
Frozen earned $400,738,009 in North America, and an estimated $867,100,000 in other countries, for a worldwide total of $1,267,838,009.
It is the fifth highest-grossing film, the highest-grossing animated film, the highest-grossing 2013 film, the highest-grossing Walt Disney Pictures release, and the second highest-grossing film distributed by Disney. The film earned $110.6 million worldwide in its opening weekend.
On March 2, 2014, its 101st day of release, it surpassed the $1 billion mark, becoming the eighteenth film in cinematic history, the seventh Disney-distributed film, the fifth non-sequel film, the second Disney-distributed film in 2013 (after Iron Man 3), and the first animated film since Toy Story 3 to do so.
Bloomberg Business week magazine reported in March 2014 that outside analysts had projected the film’s total cost at somewhere around $323 million to $350 million for production, marketing, and distribution, and had also projected that the film would generate $1.3 billion in revenue from box office ticket sales, digital downloads, discs, and television rights.
When Frozen became a tremendous and unexpected success, Bilge Ebiri of Vulture analysed the film’s elements and pointed out eight factors that led to its success. He explained that Frozen managed to capture the classic Disney spirit of the Disney Renaissance‘s films and even early classics like Snow White and the Seven Dwarfs or Cinderella.
He also wrote that the film has Olaf, a “wisecracking, irreverent” sidekick with mild humour which is “a requirement of modern animated kids’ movies,” and its “witty, catchy” songs were “pretty good.”
Furthermore, Ebiri noted that Frozen was a “revisionist” film that didn’t “have a typical villain;” Elsa, the person who should be the villain didn’t turn out to be a villain, but “a girl who’s having trouble.” She was the one who “[created] most of the challenges [for] the film’s more typical heroes — Princess Anna.”
The story of two sisters who went separated when they grew up were real-life overtones with many audiences who had siblings and the struggle of Elsa to overcome the shame and fear of her powers was also relatable.
Finally, he commented that the fact that Frozen had two strong female characters and a twist to usual romantic subplot, when the traditional “Prince Charming” — Hans — turned out to be a gold-digging villain, and “an act of true love” that Anna needed turned out to come from her sister Elsa, were among factors which attracted female audiences. Scott Davis of Forbes commented that the film’s marketing aiming at both sexes and the success of its soundtrack drove Frozen ahead in terms of commercial achievements.
The commercial success of Frozen in Japan was considered as a “phenomenon” and was reported by a number of media outlets. Released in the market as Anna and the Snow Queen, the film had increased its gross each week in three first weeks of release, and only started to drop in the fourth; while other films usually peak in the opening week and decline in the latter ones.
Frozen has received over 7 million admissions in Japan as of April 16, and nearly 18.7 million admissions as of June 23.
Many cinemagoers were reported to have watched both the original and the Japanese-dubbed version.
During spring and summer of 2014, several journalists observed that Frozen was unusually catchy in comparison to the vast majority of films, in that many children in both the U.S. and the UK were watching Frozen so many times that they now knew all the songs by heart and kept singing them again and again at every opportunity to the distress of their hapless parents, teachers, and classmates.
In a 2014 mid-year report of the top 100 commonly used baby names conducted by Babycentre.co.uk, Elsa was ranked 88; it was the first time ever that the name had appeared on their chart.
Sarah Barrett, managing director of the site, explained that while the film’s popular heroine is called Anna, “Elsa offers a more unique name and is also a strong female role model.”
Many parents revealed that their choices of name were “heavily influenced” by the siblings. Vice president of Disney UK Anna Hill later commented that “We’re delighted that Elsa is a popular name for babies and it’s lovely to hear that for many families, it is actually their siblings who have chosen it,” and that “Elsa’s fight to overcome her fears and the powerful strength of the family bond” were relatable to many families.
On May 20, 2014, it was reported that Feld Entertainment‘s Disney on Ice was planning an ice skating show based on Frozen with assistance from the film’s producers and directors, and that the show would start touring in September 2014 starting in Orlando, Florida with a cast of 39.
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