Why Frozen Is A Pathetic Mess

The song 'Let It Go' is described as 'painfully mediocre' due to its overplay and its role in forcing Disney to rewrite Elsa as a sympathetic character, leading to plot holes. Elsa's apparent happiness in her ice palace while her kingdom suffers from eternal winter is seen as selfish and poorly communicated, undermining her character and indicating a lack of concern for her people. This further supports the argument that her original villainous arc would have been more coherent.

Anna's encounter with Kristoff at Oaken's is deemed a better introduction, but Kristoff still lacks depth beyond being an ice seller. Their interactions, though charming, fail to establish a believable romantic connection, especially when compared to Rapunzel and Eugene's relationship in Tangled. The introduction of Olaf, while providing a connection to Elsa and Anna's past, further clutters the narrative, taking focus away from Kristoff's essential development as a love interest.

Hans's actions back in Arendelle, where he appears heroic and compassionate, make his eventual twist villain status even more illogical. This 'singular twist' infuriates the speaker, who feels it prevents genuine enjoyment of the story. The constant shifts between Elsa as a potential villain and Hans's unconvincing villainy are highlighted. Elsa's accidental injury to Anna further reinforces the idea that Elsa's original role as antagonist was more fitting.

The journey to the trolls results in the 'most painful song in the entire film,' 'Fixer-Upper.' This song is criticized for contradicting Kristoff's earlier skepticism about marrying quickly and for forcing a relationship between Anna and Kristoff while Anna is literally freezing. The trolls' past actions of adopting Kristoff without regard for his biological family also make them unlikeable and questionable. The vague advice from Grand Pabbie about 'true love' is also seen as a flimsy plot device.

The video starts by acknowledging Frozen's initial success and popularity but immediately asserts its current status as an 'overrated and mediocre mess.' The speaker, a former fan, now finds many aspects of the film and even Elsa herself problematic. While not hating the film entirely, the critique focuses on the poorly written plot and character arcs for Elsa, Hans, and Kristoff, praising only Anna's comparatively well-developed journey. Olaf is also deemed acceptable in the first film, unlike the sequel, which is described as 'worse.'

The speaker identifies Hans as the biggest detractor, calling him the 'progenitor of Disney's terrible twist villains.' The production history of Frozen reveals that Elsa was originally intended to be the villain, a choice that would have made the family dynamic more emotionally impactful. The decision to change Elsa's character, partly due to the popularity of 'Let It Go,' forced a clumsy twist on Anna's love story and introduced Kristoff without sufficient character development.

The initial 'Vuelie' sequence is lauded for capturing the film's spirit. However, the 'Frozen Heart' sequence, meant to introduce Kristoff and Sven, is criticized for its lack of depth regarding Kristoff's background and relationship with the ice cutters. The speaker questions the absence of Kristoff's parents and the abrupt adoption by trolls, arguing that this early introduction offers nothing substantial to his character.

The narrative shifts to Elsa and Anna's childhood, highlighting the accident that triggers the plot. The trolls are deemed useless and annoying; their advice to wipe Anna's memories and instill fear in Elsa is heavily criticized. The parents, Agnar and Iduna, are labeled 'idiotic' for isolating Elsa and Anna, contributing to their problems without providing a realistic solution. This parental mismanagement is seen as a missed opportunity to justify Elsa's original villainous role.

'Do You Want to Build a Snowman' is poorly executed due to the parents' actions, which question Anna's extroverted nature despite her isolation. The parents' death without acknowledging their detrimental choices further exacerbates the issue. The speaker argues that if the film had committed to Elsa as the villain, these narrative inconsistencies would have been avoided, showcasing how the rushed production impacted character consistency.

Kristoff's second brief appearance is again noted for its lack of character detail. Hans is introduced as 'the worst Disney character ever,' affecting the film negatively. The instant connection between Anna and Hans at the coronation, fueled by their shared feeling of being ostracized, is presented as convincing until the twist. The video highlights how Hans's initial support and compassionate actions make his eventual villainy unbelievable, ruining rewatches.

Hans's actions in rescuing Elsa are inconsistent with his later revealed villainous intentions. The twist where Hans reveals his true motivations is heavily scrutinized for its illogic, particularly his claim that killing Elsa will bring back summer, a consequence he couldn't possibly know. His entire plan is deemed nonsensical, making him a 'comical villain.' The resolution, while emotionally powerful for Elsa and Anna's bond, is still marred by the poorly executed twist and minor visual inconsistencies.

The speaker concludes that Frozen is a 'pathetic mess' primarily due to the decision to change Elsa from a villain, forcing in the 'rushed decisions' like Hans's twist. While acknowledging the film's initial fun and Disney's ability to capture hearts, the speaker now sees it as demonstrating a 'clear lack of overall planning.' Despite its flaws, he finds enjoyment in dissecting its incompetence, reiterating that Frozen 2 is 'way worse' and will be a topic for future discussion.