Frozen
Here ’s howFrozen ’s Prince Hans broke one of the fundamental rules of being a Disney scoundrel . Despite being a re - tattle of Hans Christian Andersen’sThe Snow Queen , Frozenhas almost nothing in commonwith its source material , including the creation of Hans as the antagonist alongside Anna and Elsa . Despite departure from the original source , Frozenis a hugely successful fancy musical phenomenon . As well as give way box office records and selling innumerable man of merchandise , the cinema joinedThe Princess and The FrogandTangledas another critically clap addition to the Disney princess canyon for the twenty - first century .
Crucial to its winner isFrozen’swillingness to resist traditional Disney storytelling construction in several surprising means . The film maker subvert the interview ’s expectations at every bit , control that the unbeloved Princess Anna did n’t end up with the first prince charming she come across and reverse theSnow Queen into the heroine . InFrozenthe prince turn out to be the villain in a twisting that bundle a surprising punch . So how didFrozenuse Disney ’s formula against its audience ?
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Prince Hans may have a song outlining his character but , in a gap with traditional Disney storytelling , it ’s not a villain song in which he takes the chance to excuse his villainous plan and expound on his motif . FromThe Lion King ’s Scar waxing lyric in ' Be prepare ' toThe Hunchback of Notre Dame ’s surprisingly fledged ode to murderous arousal ' Hellfire ' , the villain strain is an age - previous custom in the Disney animated canyon . fresh additions to the dealership have shown no augury of break with this trend , as turn up byThe Princess and The Frog ’s haunting ' Friends on the Other Side ' andTangled ’s chilling ' Mother Knows in force ' . ButFrozenand Hans are unlike .
Perhaps partially because Elsa ’s ' Let It Go ' was originally intend to beFrozen ’s baddie Song dynasty , the vocal which introduces the audience to Prince Hans is the peppy , cheerful duet ' Love Is An Open Door ' . A genuinely sweet and memorably catchy track , the birdsong does n’t even hint at the villain ’s black dead on target intentions . Traditionally , even when a scoundrel is shroud their motives from the hero , their feature birdcall tends to reveal their true nature to the interview . It ’s an interesting misdirect for the filmmakers to keep any tip of villainy out of the strain , meaning the twist is keep a mystery not just from new viewers but even from savvy accompanying adults .
It ’s also a longstanding tradition for many Disney villain to ab initio seem harmlessly aloof and arrogant , then show their true vividness later on in the story ( as wasalmost the display case with Elsa ) , but this revelation typically is n’t a surprise to the grown - ups in the consultation , who can instantly approximate from the first visual aspect ofAladdin ’s Jafar , The Little Mermaid ’s Ursula , andBeauty and the Beast ’s Gaston that their obvious ego - interest would eventually spill over into full - on antagonism . In direct contrast , Prince Hans ' really affable introduction makes for an interesting subversion asFrozenopts to keep the audience in the dark about his intentions , with him instead springing the surprise reveal of his evil programme on watcher at a late , polar breaker point of the secret plan .
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