When Frozen was released in 2013, Disney had no idea what they had. What seemed to be planned as simply the “two princesses” Disney movie – with most of the marketing focusing on the comic relief – ended up being a worldwide phenomenon the likes of which Disney Animation hadn’t seen before. Disney found themselves unable to keep up with the demand for the merchandise surrounding the film, its songs instantly became iconic, and fans – adults and children alike – would dress up as the characters. It was a pop culture landmark whose impact was more akin to the likes of Star Wars than a Disney animated film.
It was an earned reputation as well. Frozen was a terrific movie that gained its popularity organically. Audiences fell in love with it, and through word of mouth, it continued to grow. Frozen became the highest-grossing animated film of all time, its characters quickly became some of the most beloved in cinema history, and it connected with audiences around the world (being particularly popular in Japan).The world couldn’t get enough of it.
Making a sequel seemed to be an inevitability on Disney’s part, but thankfully, the studio didn’t simply churn one out as quickly as possible. While other animation studios these days green light multiple sequels immediately after a decent opening weekend, Disney didn’t pull the trigger on a sequel to its biggest homegrown hit for well over a year, and even then, it didn’t officially begin production until a few years thereafter.
After over six years with only two short films to tide audiences over, Frozen II has finally become a reality. Thankfully, it’s a sequel that’s well worth the wait. Frozen II brings back the iconic characters and provides musical numbers as beautifully infectious as those of the original, while simultaneously setting itself apart from its predecessor in some incredibly bold ways.
Frozen II is set three years after the original, though its opening moments take us back to Anna and Elsa’s childhood, where their father, King Agnarr (Alfred Molina) tells the princesses how he became the king of Arendelle. When he was a young boy, Agnarr travelled with his father to an enchanted forest found far north of Arendelle. The forest was home to the spirits of nature: earth, fire, wind and water. This forest also served as the home of the Northuldra people, who lived in harmony with the magic of the forest. Under orders of the king, Arendelle constructed a mighty dam in the forest as a gift of peace for the Northuldra people. But the celebration was short-lived. During the festivities, something went wrong, and a battle broke out between the people of Arendelle and the Northuldra. During the fighting, the former king of Arendelle was sent plummeting off a cliff, while Agnarr was knocked unconscious.
The spirits, angered by the fighting, sealed off the forest with an impenetrable fog, and went into a deep slumber, thus trapping everyone already inside the forest, and preventing anyone else from entering. Luckily for Agnarr, a “mysterious voice” rescued him from the forest before the fog fell. He then returned to Arendelle as its new king. Agnarr ends his tale by warning Anna and Elsa that the spirits of the forest could reawaken, and should that happen, to expect the unexpected.
Fast-forward to the present (three years after the first film, and six years after Anna and Elsa’s parents died at sea). Elsa (Idea Menzel) is now the beloved queen of Arendelle, while her sister Anna (Kristen Bell) is its equally-beloved princess. One day, out of the blue, Elsa begins hearing a mysterious voice calling out to her. The same mysterious voice that rescued her father all those years ago. The voice seems to have a connection to Elsa’s magical ice powers, as she is the only soul in the kingdom who can hear it.
As the voice persists to haunt Elsa, it eventually draws out an inner power within her, and Elsa ends up reawakening the spirits of the enchanted forest. This results in a bit of chaos in Arendelle, with all traces of fire and water vanishing from the kingdom, while the movement of the earth and a powerful wind force all of Arendelle’s residents out of the kingdom. The citizens of Arendelle (or “Arendellians” as we learn) take refuge with the magical trolls, whom inform Elsa that she must travel to the enchanted forest, calm the spirits of nature and uncover the secrets of the past in order to restore peace to her kingdom.
Anna, ever the adventurer and always willing to stand by her sister, accompanies Elsa on her journey, as does Anna’s boyfriend Kristoff (Jonathan Groff) and lovable snowman Olaf (Josh Gad), who now has a permafrost body to prevent him from melting. Lead by Kristoff’s reindeer-drawn sled (good ol’ Sven has to be involved as well), the group make their way to the enchanted forest, where Elsa’s magic allows them to penetrate the fog to enter the woods. But the group quickly realize they can’t get back out unless Elsa accomplishes her mission and permanently frees the forest.
While the characters are as endlessly likable as ever, and the film remains a musical, Frozen II is a very different movie from its predecessor. Not only does it meld into action-adventure territory, but it also takes on a darker, more mature tone (while younger children can still very much enjoy it, Frozen II seems to acknowledge that the kids who watched the original are now six years older, and the narrative has fittingly grown up alongside them). While the first film may have been a fairy tale, Frozen II doubles down on fantasy logic in both its narrative and world-building.
At first glance, these elements may make Frozen II seem alienating to fans of the original. But by being so radically different from its predecessor (while still, of course, retaining the characters we all grew to love), Frozen II is not only following the path of all the best sequels, but is actually the perfect kind of follow-up the original Frozen could have asked for.
Frozen has become so popular and so engrained in pop culture over the years, that we might actually forget why it gained that status in the first place. Frozen was all about bucking trends. It celebrated the things we love about Disney movies, while dismantling the cliches and outdated elements. It turned Disney archetypes into fleshed-out characters, who dictated the direction of the story, instead of being directed by it.
Disney could have gone the easy route with this sequel, and simply repeated the same beats as the original. It would have been easy money, to be sure. But by going in a very different direction narratively and tonally, it’s not only a brave, intelligent sequel, but it’s also – in a roundabout way – keeping in spirit with its predecessor by being different than it.
Sequels so often get derided for being “more of the same,” but Frozen II should be viewed as one of those rare sequels that justifies the artistic merits of franchises. Just because we’re revisiting a familiar world and characters doesn’t mean we can’t be given new stories. And Frozen II very much provides us with a different story.
Admittedly, this sequel is a bit more plot-focused than the original’s character-driven narrative, with the opening moments delivering the necessary exposition, but this isn’t an inherently negative thing. The only issue is that after we get the backstory with Agnarr retelling the events of the enchanted forest to Anna and Elsa, we immediately enter the brunt of the plot with Elsa beginning to hear ‘the voice’ as soon as we’re reintroduced to her. It’s not a big deal, and the film definitely delivers more than a few great character moments, but the story may have benefitted further if we got a few such moments before jumping into the plot. But that may be my love of the original film and its structure talking.
The characters are as likable as ever. Anna and Elsa remain Disney’s strongest lead characters, and Frozen II still wisely puts them and their sisterhood at the heart of the story, albeit in a very different way than the first film. While the original had Anna in the protagonist’s role trying to connect with Elsa – who more or less filled the role of antagonist – here both sisters are on the adventure together. This allows the film to showcase their interactions more, which brings more out of both characters.
Olaf still serves as the film’s primary comic foil, but again, in a different way than what the first film did with the character. In the original, Olaf was determined to experience Summer, being gleefully naive to how the hot Summer weather would affect a snowman such as himself. Here, Olaf’s character arc is all about growing up. Being the de facto ‘kid’ character of the lot, Olaf is – in his own words – dealing with “the increasing complexity of thought that comes with maturity.” While Olaf’s newfound inquisitiveness is mostly played for laughs, it does echo the film’s overall themes of maturity.
Kristoff does admittedly get something of the short-end of the stick in the storyline, but I suppose not everyone can get the same time in the spotlight. Kristoff’s story arc this time around is his attempt to work up the courage to propose to Anna, with every such attempt falling apart in one way or another. It’s a fun sub-plot, and it does get to showcase Kristoff’s character (including giving him a proper musical number all to himself, after Jonathan Groff got shortchanged in that area in the first film), but he is left out of most of the film’s third act.
Another great thing about Frozen II is how it handles its returning characters. It’s often easy for sequels to turn their characters into exaggerations or parodies of themselves, or to seemingly hit a reset button and undo the developments their characters went through in their first go-around. But Frozen II instead enriches the key players of its franchise. The film acknowledges how the the characters have grown from the events of the first film, while also staying true to their personalities.
Elsa, for example, may no longer be ruled by the fear of her powers, and is now willing to embrace the world and people around her. But Elsa still has a solemn and melancholic aspect to her, and still showcases a vulnerability and social awkwardness that is unique in movies, Disney or otherwise. Anna, meanwhile, is more worldly after everything she went through in the first film, but she’s still a bit naive when it comes to personal interactions (which humorously plays into Kristoff’s fumbling proposal attempts). This character growth goes back to what makes Frozen II such a special sequel: it doesn’t try to simply replicate the original, but instead builds upon it.
There are a few new characters introduced once the story enters the enchanted forest, the most prominent of which being Lieutenant Mattias (Sterling K. Brown), a Lieutenant who served Arendelle under Anna and Elsa’s grandfather who has been trapped in the forest ever since that fateful day. Another commendable aspect of Frozen II is how it so easily avoids the pitfall of so many animated sequels of overemphasizing new characters at the expense of the returning ones. The new characters who are present in Frozen II help enrich the world and story of the film, but they all play the roles they need to without overstaying their welcome, as opposed to needlessly playing roles that are already covered by the established characters (no talking sporks or swashbuckling cats in this sequel).
Frozen II is a visual wonder. While the first Frozen showcased snowy landscapes, Frozen II’s setting of the Northuldra forest is drenched in an Autumn pallete. There are a lot more Earthy-colored environments this time around, while Elsa’s ice powers, as well as the purple flames that emanate from the Fire Spirit, keep the hues of the original film intact. Between its gorgeous environments and many magical happenings, Frozen II is an astonishingly beautiful film. And much like the story itself, the art direction and settings distinguish this sequel from its predecessor. There’s not a moment in Frozen II that doesn’t look like a work of art.
The voice cast is every bit as enjoyable as they were in the first film, and remains among the best vocal cast of any animated feature. Josh Gad provides charm and warmth to Olaf without making him too cutesy. Jonathan Groff gives Kristoff heart and humor. And most notably, Kristen Bell and Idena Menzel are perfect in the roles of Anna and Elsa. Bell has a unique combination of heroism and innocents to her performance that brings Anna to life, while Idena Menzel’s unrivaled ability to capture both vulnerability and raw power in her voice make her the one and only person who could’ve voiced a character as unique as Elsa.
Also new to the cast is Evan Rachel Wood as Anna and Elsa’s mother, Queen Iduna. Though her role is primarily in the film’s opening flashback, she proves to be another stellar addition to the Frozen cast.
That brings us to Frozen II’s songwork. Frozen II is the first musical sequel in the entire Disney canon (those straight-to-video cash-grabs of the 90s and early-naughts were created by third-rate subsidiaries of Disney). As such, Frozen II had a unique uphill battle. Making a sequel to a beloved film is a difficult enough endeavor in itself, but how do you follow-up something like Let It Go?
I’m happy to say that, somehow, songwriters Robert Lopez and Kristen Anderson-Lopez have done the impossible and created a selection of songs that match those of the original film. The songs of Frozen II vary wildly, from its opening lullaby sung by Queen Iduna (“All is Found”) to an 80s power ballad (Kristoff’s aforementioned musical number, “Lost in the Woods”). Every major character gets a new song, all of them catchy and infectious in the best way. We even get an ensemble (“Some Things Never Change”). And perhaps knowing that recreating Let It Go simply wouldn’t be possible, Frozen II avoids having to deal with said comparison by giving Elsa two musical numbers, thus making them more likely to be compared to each other, as opposed to their indelible predecessor. While all of the songs of Frozen II are great, it’s no surprise that Idena Menzel’s vocals make both of Elsa’s songs (“Into the Unknown” and “Show Yourself“) the biggest highlights.
As a fan of the original film, I was excited for Frozen II, but admittedly a little cautious. How exactly could Disney (or anyone) make a worthy follow-up to a film that was such a pleasant surprise to begin with? It turns out any such cautions were misplaced. Frozen II retains the spirit of the beloved original, and much like said original differentiated itself from Disney traditions, Frozen II differentiates itself from its predecessor. The beloved characters and terrific songwork return, but the story, its structure and its tone are unique to itself.
Frozen II is an ideal sequel, then. One that creates a wonderful continuation to the stories of the characters audiences have grown to love, while telling a story of its own. Frozen II is the best sequel of recent years, and is such a strong and unique film of its own that I find this to be a rare instance of me wanting to see where Anna, Elsa and company can go next with a third chapter in their story.
Frozen II could have been an easy sequel that road the coattails of the original. Instead, Frozen II follows its own advice, venturing into the unknown to create the best animated sequel since Toy Story 2. Frozen has become so endearing that we can’t – ironically enough – let it go.