Frozen

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Tangled may have started Disney's wave of 3D-animated fairy tale films, but it took three years for it to solidify with Frozen.

There are many reasons why Frozen became a hit: universal themes, memorable songs, and, most importantly, a subversion of the "true love" trope by applying it to sisterhood rather than romance. The studio wanted to adapt Hans Christian Andersen's The Snow Queen for several decades, but they struggled until co-director Jennifer Lee resolved it by making the snow queen and female protagonist sisters. 

Frozen has, not one, but two protagonists dealing with internal conflicts; Elsa struggles to control her ice powers and Anna with her desire for true love. Before their journeys even begin, Elsa teaches Anna not to marry a man she just met (Prince Hans); she initially gets defensive over him, but she learns better before the climax and falls in love with Kristoff instead. 

Prince Hans of the Southern Isles is, in my opinion, one of Disney animation's best villains. With handsome princes serving as flawless spouses for the three oldest Disney princesses, turning one into a villain is quite clever. As with Gaston in Beauty and the Beast, a handsome prince villain teaches viewers, especially kids, that evil doesn't always have a look. Some have criticized Hans for his "twist villainy," but I think it's well-written; as the youngest in a large family, he is motivated to take over the throne. 

The songs are well-done with "Love is an Open Door" (which Anna sings with Prince Hans-a villain song disguised as a love song) being one of my favorites. I also love the trolls' emphasis on not changing people, but showing love to bring out their best in "Fixer Upper." If I can make a critique, it would be the need for more songs after that; that way, Frozen would feel more like a complete musical. 

Among the animated musicals from the Disney Revival era, Frozen is the most iconic. Listeners can get the story from the songs: Anna and Elsa's growing apart and growing up ("Do You Want to Build a Snowman?"), the opening gates ("For the First Time in Forever"), and Elsa forming her majestic ice palace during the show-stopping "Let it Go." No wonder it was adapted as a Broadway musical in 2018, which has even more catchy songs.

Alongside the music, Olaf is another standout. Not only does he create laughs, but his dreams of summer inspire sympathy for such a snowman. He, like the trolls, also serves as a love expert.  

Frozen's massive success turns some away from it; it has resulted in excessive merchandise, little girls in Elsa and Anna dresses, etc. Other points of criticism are Elsa and Anna's large eyes and Anna's adorkable personality, which has repeated (sometimes for no reason other than sameness) in later films. 

As a film, though, Frozen is near-perfect. The animation is stunning (especially during "Let it Go"), there are lots of emotional moments and thrills, and its message of sacrificial love applies to everyone.  

For musical, fairy tale, or Disney fans, or anyone who can look past its market over-saturation, Frozen is a must-watch. Not only does it have strong female protagonists, but unlike most Disney fairy tales, it is adapted from a fairy tale that has a strong female protagonist all its own (a positive step in feminism).

Have you seen Frozen? What do you think about it?

Frozen can be streamed on Disney+.

Bridge to Terabithia

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Classic movies based on children's novels, such as The Wizard of Oz and Alice in Wonderland, have the ingredients to count as fairy tales. The same even applies to modern works such as Bridge to Terabithia.

Bridge to Terabithia, based on Katherine Paterson's novel, follows preteen boy Jess (Josh Hutcherson) as he befriends new girl Leslie (AnnaSophia Robb) at school in the midst of family drama. The more Jess engages in fighting the imaginary "dark master" and other creatures with Leslie, the more he imagines. He eventually passes that gift onto his younger sister May Belle (Bailee Madison). 

The sibling drama and school bullying made me reminisce about the arguments I had with my own siblings and peers as a child. Besides, the scenes in which school bully Janice Avery (Lauren Clinton) makes girls pay to use the bathroom reminds me of the musical Urinetown (which is about a town in which urination is not free). However, I also appreciate the mention of Janice's abusive home life as well as her eventual willingness to sit next to Jess on the bus. 

I also enjoyed watching Mrs. Edmonds (Zooey Deschanel) bring joyful music lessons into the classroom as well as her growing relationship with Jess. Even Mrs. Myers (Jen Wolfe), who appears as a strict teacher, experiences a touching redemption regarding Leslie's impression on her. Jess's father (Robert Patrick), who discourages Jess's growing imagination, also undergoes a redemption. 

In some ways, Bridge to Terabithia mixes drama and fantasy. It has songs scattered throughout, as do many faith-based movies like Miracles from Heaven. At the same time, Jess and Leslie, as previously mentioned, fight imaginary creatures and rule the imaginary kingdom of Terabithia, qualifying this as a fairy tale movie. 

The score and lighting were also quite touching; all scenes were easy to look at, which does not apply to many modern live-action films.

There is even a reference to Christianity after the midpoint; after Jess takes Leslie to church with him and his family, they talk about believing in Jesus. Leslie's universalist view, though, can be concerning for Christian viewers. A few swear words are also present, justifying the film's PG (rather than G) rating. 

Regardless, Bridge to Terabithia has an important lesson about overcoming loss; a kid dies in the movie as in the book (which was controversial because of it). The lesson coming from the kid's death is to honor the person through actions, which can apply to viewers from all faith backgrounds.

Overall, Bridge to Terabithia is a touching story about the power of imagination and overcoming loss. I recommend it for anyone, but older kids and young teens will especially identify with it. 

Have you seen Bridge to Terabithia? What do you think about it?

Bridge to Terabithia can be streamed on Disney Plus. 

Dragonlore

Image citation: Amazon. (n.d.). [Dragonlore: From the Archives of the Grey School of Wizardry]. Retrieved November 12, 2024, from https://www.amazon.com/Dragonlore-Archives-Grey-School-Wizardry/dp/1564148688/ref=sr_1_2?crid=G2JBW3110ZGW&dib=eyJ2IjoiMSJ9.P5Oq_NkTwqH8Mw9ZwRSKIgJBJ5KJYeW5GKUVNYVQNDzFpOxYGXwZcirwdwDbRlcuLteV9UiqH_U3mM_Bh5EozBpDsdUr-K2548ylVI4a192A1nGOcdaLahqnU82zsRHnYWrQtcjfEGHGel8jjRmhqCrXVumHpuZSH5kUbEalU7Olgn-8gsi-wq26nE_b8-RfYXLC299HlFObCFuOg6GiVx8i9QyJDzwOYFYAhAQlnkk.EUBAOIoOd2oFj2IfOkFvccfwufUt5ZfTp36gKXEx2mc&dib_tag=se&keywords=%22Dragonlore%22&qid=1731457575&s=books&sprefix=dragonlore+%2Cstripbooks%2C73&sr=1-2. 

Dragons appear in several myths and fairy tales; Ash "LeopardDancer" DeKirk of the Grey School of Wizardry wrote an entire book about them. 

Dragonlore starts with descriptions of different dragons in worldwide folklore. Since DeKirk mentions so many dragons, it might be hard for those new to dragonlore to memorize their names. The next section feature tales about dragon, including the famous "St. George and the Dragon." DeKirk then describes modern dragon stories (including video games, film, and literature), features a few original dragon stories, and explains dragons in the natural world. 

DeKirk succeeds at challenging the common image of a dragon: a flying creature with bat-like wings that breathes fire. She even mentions a dragon with cat-like heads in the first section. Plus, many of the dragons DeKirk features are serpent dragons that, instead of flying, move in the sea. The frequent illustrations throughout the book help to instill various images of dragons in readers' minds. 

Another thing DeKirk succeeds at was explaining dragons' symbolism and significance in several cultures. For instance, she explained how European Christians used the dragon to represent sin while, in some Eastern cultures, dragons served as gods and benevolent creatures. 

While Dragonlore teaches readers about the world of dragons, Christians might struggle to get through the last section on real-world dragons because of the several references to evolution. Since the book comes from the Grey School of Wizardry, though, its anti-Christian references are not surprising. 

Nevertheless, the last section challenges the idea that dragons are fully make-believe by bringing up real-world creatures that can count as dragons; one of them even has the name, "flying dragon."

Dragonlore will not please everyone, but it successfully challenges common assumptions about dragons alongside explaining why they matter around the world. I recommend it for fans of mythology, fairy tales, or fantastical creatures. 

Have you read Dragonlore? What do you think about it?

How Disney's "Beauty and the Beast" Addresses Sexism

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Beauty and the Beast is one of Disney's most iconic animated musicals. It was revolutionary for its time, receiving praise for its Broadway-style songs, memorable characters, and, of course, its inner beauty message. As screenwriter Linda Woolverton once said, "The lessons of Beauty and the Beast story are truly timeless: you can't judge a book by its cover, and beauty is only skin deep" (qtd. Fanning 77). However, there are serious undertones behind that seemingly simple message. 

Assumptions about Disney

Most of Disney's animated fairy-tale films are sanitized versions of their literary counterparts. However, Beauty and the Beast, besides the household object servants, is an exception; its themes of sexism and toxic masculinity are not present in the original story by Jeanne-Marie Leprince de Beaumont.

Because Beauty and the Beast is a Disney movie, though, people might scorn when noticing its mature elements. However, others might find charm through its darkness. I believe it is essential to introduce kids to prevalent issues, including sexism, through fiction so they can grow up knowing predators are out there and, hence, prepare to fight. It improves rewatch value for adults as well. 

Besides, some of Disney's most memorable scenes are dark; think Bambi's mother's death. Such dark scenes are famous for their emotional impact on viewers. Beauty and the Beast partly became a hit because of its strong emotional impact, largely coming from dark moments, at the time of release. Hence, even with Disney's "sanitized" films, the assumptions that they are "lighthearted" is not fully accurate. 

The Beast's Punishment

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At the beginning of the film, an enchantress offers a rose to the young prince, who rejects it because of the woman's appearance. The enchantress then reminds the prince that "beauty is found within" and turns into the beautiful woman inside the ugly exterior. Since the prince disregards the enchantress's kind act and, instead, rejects her based on appearance, his core problem is his own sexist treatment of women. 

The enchantress turns the prince into a beast and sets the rose as a timer for his curse, which will break only when he learns to love a woman, and she learns to love him in return. Near the end of the rose's life, a woman in a nearby village faced mistreatment for her own appearance. 

Belle's Sexist Village

As Belle walks around the village reading a book, the townspeople mock her. Why? She prefers books to her provincial life. The villagers prefer handsome Gaston, even if he holds sexist ideas.

Gaston stops Belle on her way home to steal her book. He throws Belle's book in the mud and shames her intelligence, telling her that women shouldn't read or think. Since Gaston does all that without Belle's permission, he must really believe women shouldn't have opinions.

As Vera Sonja-Maas explains in The Cinderella Test, women have been silenced in many classic fairy tales due to patriarchal influences. In Charles Perrault's Cinderella, for example, Cinderella silently endures her abusive treatment from her stepfamily instead of speaking out against it. Gaston represents that patriarchal standard, attempting to silence Belle into serving and marrying him. 

Belle's only friend is her single inventor father, who promises a new life once his invention wins first prize. When her father leaves, Belle must've believed she will be safe at home instead of risk running into Gaston in the village. Yet, it turns out she is wrong. 

Home is Not Safe

Belle's father clearly has no understanding of how dangerous the village was; the next day, Gaston hosts a wedding next to Belle's house and shows up uninvited. He tells Belle about her dreams coming true (even though Belle already rejected him). Gaston also, multiple times, takes up her personal space and even rests his feet on Belle's table.

Such a scene would be romanticized during the 1950s; June Cleaver would most likely be okay with rubbing Ward's feet. However, Belle is clearly offended by Gaston's smelly feet as she holds her nose. Hence, Beauty and the Beast gives a gross portrayal of the "Leave it to Beaver" lifestyle, driven by masculine entitlement and offending women. 

Belle tries to be nice under the influence of Gaston's treatment of her, but she rejects the proposal and sends him flying out the door (the strongest thing a Disney princess did at that point). 

After doing so, Belle feeds the chickens and expresses her anger at Gaston in the stable. Putting on the handkerchief, Belle acts out the life she could've had if she married Gaston. Belle takes off her handkerchief to declare her disapproval of the lifestyle. 

Belle then leaves home and sings about her desire to be treated as more than an object, a human with desires beyond the home where she was just abused. The home has traditionally been viewed as a safe place for women, but Gaston's abuse of Belle proves otherwise; Belle needs a safe haven beyond her home and village. Little does she know she is about to get all she wanted.

Women are People

After Belle offers to take her father's place at the Beast's castle (her only escape from her sexist village), the Beast becomes envious of her beauty. Hence, he gives her a room and attempts to invite her to dinner a few times. Belle's refusals frustrate him, but the Beast does not realize it is his fault; he has objectified and attempted to abuse her. 

The Beast takes his first turn around when he saves Belle from the wolves. While Belle nurses him in return, she tells him to "control his temper." The Beast does so, allowing his attitude towards Belle  to change.

The Beast falls in love with Belle's generosity and gives her a library to respond to her love of reading. At this instant, Belle grows fond of the Beast because he treated her, not as a beautiful object, but as a person with desires and dreams. 

Castle of Freedom

After their ballroom dance, the Beast lets Belle go home to help her ailing father, even if it means never breaking his own curse. 

Belle stands up for the Beast (and for her father) in front of the villagers by proving his existence and calling him "my friend." Gaston threatens Belle with another marriage request, but, after being treated fairly by the Beast, she responded with a bold "Never!" She even told him, "He's no monster, Gaston. You are!" That's because Gaston never learned to treat Belle like a human; the Beast has.

Belle succeeds at saving her father, but they get locked in their basement. Once Chip rescues them, Belle returns to the castle to save the Beast from his fight with Gaston. Since Belle has fallen in love with the Beast, which has resulted from his improved treatment of her, the curse is broken.

Resolving or Promoting Sexism?

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Some critics have argued that Beauty and the Beast promotes sexism because Belle got a domestic life instead of "adventure in the great wide somewhere" (read more here). A common piece of evidence regards Belle having Stockholm Syndrome because she is initially the Beast's prisoner. However, Belle never condones the Beast's imprisonment; she does not even fall in love with him until the film's end.

Other critiques regard Belle trying to change the Beast, promoting an "I can fix my beloved" attitude among young girls. Such beliefs have prevented women from leaving toxic relationships. Belle does not try to change the Beast; she does not even interact with him until after he started to change. Yet, girls in their early childhood years (under six) probably cannot distinguish between changing others and changing oneself. Hence, it appears to them that Belle is changing the Beast.

The problem, then, lies with the viewers; they need to be at an age when they can separate fantasy and reality (around six or seven). An opposing couple becoming lovers in the same castle is not a situation that translates to real life. While recognizing the film as pure fantasy, viewers can easily take positive messages away from the film.

Regarding the adventure, whether Belle's dreams are fulfilled depends on the definition. If adventure regards worldly travel, then no. However, if we define adventure as non-ordinary, then yes; the castle gives Belle a more exciting (and fair) life than her village. Besides, Belle describes her favorite book in the opening song as having "far off places, sword fights, magic spells, a prince in disguise." Thanks to the Beast's change of heart towards women, Belle gets it all. 

Conclusion

After Belle faces abuse as an object of beauty, the Beast views Belle as a woman with a generous soul. Because of it, Belle leaves behind her provincial life for a more adventurous one, where she is treated, as she wanted, as a human with desires. As stated above, some might scorn sexism in a Disney movie; others even argue that the film promotes, rather than resolves, sexism. Yet, when kids are developmentally ready, they will understand the themes on a basic level. The themes only deepen for adults, making Beauty and the Beast one of Disney's most memorable and rewatchable animated films. 

Works Cited:

Fanning, Jim and Miller-Zarneke, Tracey. The Disney Book: A Celebration of the Worlds of Disney. Dorling Kindersley Limited, 2023, pg. 77.

Frozen II

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Walt Disney opposed sequels, but his company now embraces them; sequels came, one-by-one, on home video and eventually moved to theatres. 

Frozen II is one of the few theatrical sequels from Walt Disney Animation Studios, and it deserved to play in theatres; it nearly matches the original film's charm and thrills. Perhaps Elsa and Anna's character arcs are continuations from the original movie. After having controlled her powers, Elsa continues to struggle with them and, hence, feel out of place. Anna, no longer alone, clings to Elsa (and Olaf and Sven and Kristoff) as they enter the enchanted forest to save Arendelle. 

A common criticism for Frozen II is that Kristoff's subplot regarding proposing to Anna is unnecessary. I understand why, but Kristoff already fell in love with Anna at the end of the first Frozen; he follows her out of his fear of loss (as expressed in "Lost in the Woods," my favorite song from the film).

Other criticisms regard the plot making "no sense," but I think otherwise. Like the original Frozen, Frozen II has a clear three-act structure and characters with clear desires, fears, and misbeliefs. Besides, as previously mentioned, Elsa, Anna, and Kristoff's journeys serve as continuations from the first film. 

Frozen II's songs improved from those in the first film; they are more spaced out while the original film's songs clumped in the first two acts. The songs are also more reflective and philosophical, including "Older" (sung by Olaf about growing up) and "The Next Right Thing" (which Anna sings right before the climax, presenting a crucial mental health message for our age). 

I also enjoy the backstory regarding Elsa and Anna's parents (King Agnarr and Queen Iduna); their death from a shipwreck is further explained. Agnarr and Iduna went on the ship to discover the source of Elsa's powers, which Elsa herself visits while singing "Show Yourself." 

Frozen II also reveals Iduna to be of Northuldra ethnicity (based on the Sámi tribe in Finland); Agnarr married her after escaping war in the enchanted forest. Some people have noticed Iduna's lack of native looks; yet, she was assimilated into the civilized Arendellian culture through her clothing, only having her Northuldra scarf left. Iduna did not even tell Elsa and Anna about her heritage. 

If I can point out a problem with Frozen II, it would be the spiritism; yet, if viewed as fantasy, Christian viewers can look past it and focus on the positive messages.

For fans of the first Frozen, I recommend Frozen II; even if viewers aren't familiar with the first film, Olaf acts it out in the forest. 

Have you seen Frozen II? What do you think about it?

Frozen II can be streamed on Disney Plus. 

My Neighbor Totoro

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In the United States, Disney dominates the realm of fairytale/folktale movies. Studio Ghibli is Disney's Japanese equivalent as many of their films draw heavy inspiration from Japanese folklore. 

My Neighbor Totoro, released right before Disney's Renaissance, is an example. On the surface, it promotes spiritism through the benevolence of Totoro and other spirits. Animism is also present as the characters pray to nature. However, Christian viewers can simply watch this as a fantasy tale and even notice some positive family values. 

Sisters Satsuki and Mei are inseparable, so much that Mei even joins her older sister at school. Their relationship with each other, as well as with Totoro, the other forest spirits, and their family and friends, comprises the film's heart. Satsuki and Mei's adventures also give off nostalgia for older viewers who remember their own playful childhoods. 

As protagonists, Satsuki and Mei lack internal conflict. However, that doesn't hinder the film's enjoyment level; the character relationships, breathtaking animation, cute character designs (especially of the small spirits), and video game-inspired score make up for it. 

My Neighbor Totoro doesn't have much of a goal, either; the plot centers around the girls' adjustment to their new home and much of the tension arises from their mother's illness. Mei, despite being four years old, even runs off on her own a few times; one of these trips start the climax.

The movie's positive family values include sacrifice and kindness. For example, Satsuki and Mei wait in the rain for a long time for their father to arrive at the bus stop. Satsuki also attempts to find Mei when she gets lost. Finally, if Christian viewers look past the spiritism and animism, Totoro's kindness towards the girls is another trait to aspire to. 

Overall, My Neighbor Totoro makes for an enjoyable watch for fans of anime or those simply seeking something nostalgic and lighthearted. 

Have you seen My Neighbor Totoro?

The Lost Princess

Image source: Amazon. (2023). [The Lost Princess: Women Writers and the History of Classic Fairy Tales]. Retrieved September 3, 2024, from https://www.amazon.com/Lost-Princess-Writers-History-Classic/dp/1789147697/ref=sr_1_5?s=books&sr=1-5.

When one thinks of fairy tale writers, Charles Perrault, the Brothers Grimm, and Hans Christian Andersen come to mind alongside, of course, Walt Disney. However, there were also several women writers from history who, along with their stories, have been forgotten over the past century. 

In The Lost Princess, Anne E. Duggan traces the history of women writers and the notion of "classic fairy tales." The first chapter describes the empowering variants of "Cinderella," including those written by women. The second chapter is about two variants of "Beauty and the Beast" and their legacy. Duggan's last two chapters describe maiden in the tower/cat tales and maiden warrior tales. 

Duggan mainly touches on tales by Marie-Catherine D'Aulnoy (1650-1705), including "Finette Cendron" (her version of "Cinderella"), "The Ram," "The Green Serpent," "The White Cat," and "Belle-Belle." She also brings up work by other forgotten female writers, such as "Persinette" (from which "Rapunzel" was adapted) by Charlotte-Rose de Caumont de la Force (1654-1724). Duggan describes ther' histories and adaptations, including British pantomimes (Disney movies' Victorian equivalent). 

While reading The Lost Princess, I wondered why D'Aulnoy's tales aren't popular anymore. Duggan describes how these tales had more empowered female protagonists than many of the stories Disney adapted. In an age when the demand for strong female role models for young girls is high, it's time we find a way to resurrect the tales of D'Aulnoy and other female writers. 

There are some illustrations from the fairy tales and adaptations Duggan discussed throughout the book. The middle of the book even has a few pages of colored illustrations. 

One problem I have with The Lost Princess is how it perceives Disney; Duggan leans into the stereotype that Disney princesses are merely damsels in distress waiting for princes, ignoring the progress Disney has already made in giving their female characters more agency. Duggan also wrote about "Rapunzel" without even mentioning Tangled (which portrays Rapunzel as an active character).

Duggan clearly wrote from a liberal feminist worldview; she considers a desire for romance or reliance on a husband as a limitation on agency, for example. Christians will find such information hard to read.

Despite this, anyone working at Disney needs to read The Lost Princess for insight into their notion of "classic fairy tales" and how they can change it. This book is also a must-read for fairy tale fans because it challenges many of our common assumptions about the fairy tale genre. 

Have you read The Lost Princess? What do you think about it?