Thursday, October 5, 2017

frozen

This afternoon, a comment by a friend got me to watching "Frozen" in its entirety for only the second time. I'm sitting here undone by a superbly-told story. Once again, Disney, when they're on their game, taps into the mythos like no one can.

Again and again, they get it right: the way people can deceive and be deceived; the relationship of law (the parents' solution to Elsa) to love (Anna's solution), the use of gloves as metaphor for covering the true person. As Dennis Whittaker points out, aside from Elsa's gloved or bare hands, it's also how you know that the gloved prince is not to be believed. Only the touch of skin is truth.

The most arresting song, Elsa's stunning Byronic paean to Milton's Satan, is exposed in retrospect for the selfish ode that it is by a sister whose other-directedness winds up in a spectacular sacrifice.

The theme of fear is woven masterfully into the story from its first moments until the climax, when the visionary John's words "perfect love casteth out fear" become visual and musical and dramatic reality. What follows is an indelible image of the world being made over, a Northern New Jerusalem where brotherhood and sisterhood are finally possible, all our curses now tamed into powers.

The final musical motif, sounding as the camera retreats into the sky — should I spoil it by telling you? no! — is an affirmation of the film's highest principle.

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