Actually, the more I’ve thought about this movie, the deeper it seems.
What’s so great about it, is that this something I don’t see very often. It’s a deconstruction which doesn’t stop at being a deconstruction. Or maybe it’s post-modernist to the point of being premodernist. I can’t tell. While they clearly advertise that it’s a sibling story, it also breaks-but-not-quite the mold of the classic Princess Tale. It breaks the classic story while still fulfilling it.
*The first element I liked is that Else fits the villainous archetype to a tee. Think about it: she’s a Queen with wild magical powers. She gives herself a friggin Ice Fortress. And the whole time she’s bringing destruction to the land. Yet she’s not actually a villain, but gives them some room to play with the idea. (I mean, really - are any Disney Queens are good unless they’re the princess character’s mother… in which case they’re usually dead off-screen? I’m drawing a blank here…)
*Let It Go, in addition to being an awesome song, also uses some subtle juxtaposition to communicate a deeper message. While we see Elsa letting go of the emotional barriers, she hasn’t actually overcome her fears. This Step 1 on her journey. Her song is actually about her trying to hide away from everyone - just in an even more remote location. Which is why the storm is still present; it’s still there inside her (she literally says as much). And at the end, she slams her doors shut. When she says the cold doesn’t bother her, she’s actually lying. Not about the physical cold, but about being coldly cut off and isolated.
*Her counterpart Hans, (Yes, Hans is Elsa’s foil, not actually Anna’s) is, obviously, the handsome, heroic Prince. Of course, he’s also a scheming bastard, which is really not quite expected. However, the movie hints in subtle ways - possible too subtle - that Hans isn’t what he appears. I realized that he was wearing gloves. And gloves in the movie symbolize cutting ones’ self off emotionally. Likewise, during the “falling in love” song there are some silly bits (i.e., “We finish each other’s- Sandwiches!”). You’re meant to see it as being cute, but it’s actually him manipulating Anna the whole time. Likewise, Hans appears perfect. He’s charming, generous, humorous, warm-hearted, noble, perceptive and honorable in addition to being handsome, strong and skilled. However, later on the “Fixer-Upper” song tells us that everyone needs a certain amount of acceptance to love and be loved. Everyone except Hans… who was depicted as being without flaws at all… hence his flaws must be very carefully hidden…
*Anna may not have any superpowers, but she’s also clearly meant to be a metaphor for fire. She has red hair and passion, prone to action and confrontation to the same degree that Elsa is retiring and aloof. And of course, no one ever said that an Act of True Love had to be between two lovers…
*Kristoff is an interesting character in that, while he’s not precisely the hero or main protagonist, he’s also capable and intelligent. Disney avoided making this a “Girlz Rule!” flick, and I expect this will be part of its appeal. (Actually, Hans, too - he may be evil but he’s extremely dangerous and skilled.) We see that Kristoff brings out the best parts of everyone he meets… albeit sometimes by accident For all that he’s a bit standoffish, he has all the qualities that Hans has - but he also has true humility.
*The “Fixxer-Upper” song is possibly the single most mature love song I’ve ever heard, without being depressing. It’s optimistic, but not blind about it. And its core message is realistic but hopeful as well.
*Alan Tudyk as the Duke of Weselton is awesomely funny.