Liked frozen? (hot considerations)

Finally, with a little delay but not much, I saw Frozen - The Kingdom of Ice. I'm not saying I've waited for this film with impatience, but with the right curiosity, trying to understand what path Disney intended to go after Rapunzel and Ralph Spaccatutto (interspersed with the last chapter of Winnie The Pooh, which however being a sequel makes history in itself).

First of all, I can say that I was pleasantly satisfied: those who know me know that I am not a great lover of CGI applied to classic fairy tales, a technique that, paradoxically, in my opinion, makes everything much less "credible" (pass me the term) and magical. Here, as in Rapunzel and Ralph Spaccatutto, it is however used with the right dose of spectacularity, without stealing space from the plot and with peaks that leave really open-mouthed for wonder.

Songs section: there are many songs sung, mostly concentrated in the first half of the film, and, both in the original version and in the Italian adaptation are of high quality, canticchiabili and difficult to remove from the head. Inch up also for the characterization of characters, following a scheme consolidated in recent era by Disney, with a triple protagonist (here Anna, Elsa and Kristoff) and a duo of helpers composed of animals/creatures with a good heart and that also act as a comic vein of the film, or Sven la Renna and Olaf the snowman (characterized in Italy masterfully by Enrico Brignano).

But, because there must be the "but", even if not necessarily negative, I have not spoken of the antagonist. Perhaps because it is not memorable, or even recognizable: Hans would play that role, but in reality his evil emerges only in a final phase, held at bay by a good double-jokkey, in a time all too short to allow us to sculpt it into memory as an unforgettable villain. The Duke of Weselton is a stained, but manages to be more antagonistic him than Hans in my opinion. We try to retrace what Ralph Spaccatutto has done, with an antagonist who unexpectedly reveals himself in the closing bars, but without the solid narrative foundations of the classic videogame.

If we think about the fairy tale from which he draws some elements, Andersen's The Snow Queen, we can consider Elsa an atypical antagonist, because most of the misfortunes narrated in the film are involuntarily consequent to the uncontrollability of her powers. And this is definitely an innovative character for a Disney Classic, with the love story revolving around the bond between sisters more than on the classic fictional Prince and Princess.

Innovative also because we talk about marriage, it's true, but with a strangely critical point of view: the classic fairy-tale lightning strike is discouraged, and it will prove to be a very bad way. And, if you've noticed it, it's one of the few classic Disney fairy tales based with love stories not to close with a wedding. It is clearly understood that Kristoff and Anna are attending, but there are no elements that lead back to their wedding.

In short, there are many positive elements and a few flaws, especially on the antagonist side. In my opinion it is an excellent film, able to combine a markedly classic style in the construction of the fairy tale with one more linked to the modern canons of animation. He tears a laugh, a smile, but maybe not a tear: he's fun but he doesn't move. It's not a bad thing, I know it's a film for boys (mainly girls, indeed), but that's why I put it a step under Rapunzel and Ralph Spaccatutto's predecessors.