"In Arendelle's fair kingdom, a ruler did appear. Born with a secret power so great, alone she stayed in fear. Although the force was hidden, one day she let it go, and all the land was covered in eternal ice and snow..."
Actor Allusion: The Duke warns Hans that Anna might be conspiring with "her wicked sister." Idina Menzel (Elsa) has previously played another misunderstood woman who comes into magical powers, in Wicked.
Adaptational Heroism: In The Snow Queen, the Snow Queen was purely morally ambiguous due to being a literal force of nature, and thus open to either this trope or Adaptational Villainy. As it stands, Elsa is most definitely not evil and is more a victim of her own powers or rather her own fear of them.
Adaptation Induced Plot Hole: In the illustrated book "Anna's Act of Love/Elsa's Icy Magic", the chains on Elsa during her time in the dungeon are merely the standard shackles around the wrist, leaving her hands free and indicating a lack of foresight by Hans. Of course, as Elsa points out, this was ultimately a moot point.
Kristoff has moments of it as well, especially when he falls for Anna.
Hans acts just as Adorkable as Anna. He exploits this to make her fall in love with him, so that he can take the throne for his own.
Adult Fear: For starters, having one of your daughters born with ice/snow powers that could potentially harm anyone and bring about an endless winter with just her emotions. Then, finding her sobbing over your other daughter who is unconscious and freezing due to an accident while they were playing together. And finally, forcing them to isolate themselves from each other and the outside world.
The man you thought loved you, who you practically considered a soul mate, was using you the entire time and never cared about you for a moment.
Your closest friend/family member suddenly shuts you out of their life, and you don't even know exactly why they did. And try as you might, you can never get a straight answer out of them. Then you find out that it's because they hurt you and you have no memory of this.
Your own family has been lying to you for your entire life.
Airplane Arms: Anna does this pose at the end of "For the First Time in Forever", and Elsa does it in the middle of "Let it Go".
Sven the reindeer acts like a dog, and is described as a Labrador in a reindeer's body at the website.
The wolves are heard barking, something that real wolves rarely do. Or at least, adult wolves.
All There in the Manual: The Junior Novelization adds more details and information to the story. Additionally, the book A Sister More Like Me gives a few details about Elsa and Anna growing up, which was only briefly glimpsed at during "Do You Want To Build A Snowman?"
Aloof Big Brother: Hans claims three of his older brothers pretended he didn't exist. For two whole years.
Elsa is a female example since she essentially ignores Anna's existence, although the only reason she is so distant is because she is terrified of hurting her sister or someone else.
Altar the Speed: Played with and averted. Hans lies to the Queen's cabinet that he and Anna spoke their vows just before she died of a frozen heart, in order to create a false claim to the throne and arrange to have Elsa executed for treason. Note that Anna originally wants to Altar the Speed, and Elsa tells her no.
More humorously, the trolls try to wed Anna and Kristoff during their musical number. They get halfway through the vows before the accidental participants put a stop to it.
Always Save the Girl: Kristoff in general, but it's in the finale where you see him pull out all the stops. Rather uniquely subverted (like a lot of the classic tropes in this film) in that Anna denies him the rescue, for the sake of her sister.
Amazingly Embarrassing Parents: Kristoff's whole family, the trolls. Over half their song is asking Anna which of his flaws is turning her off from dating him, with each flaw lovingly detailed.
American Kirby Is Hardcore: Rare inversion. The American trailer gives more emphasis on the comedy and slapstick side of the film. Non-American ones, such as the Japanese and French trailers, meanwhile, gives more emphasis on the action and drama.
Amusing Injuries: Early in her journey, Anna falls off Hans's horse and lands in a river which covers her entire lower body in near-freezing water. She comically stumbles as her summer dress freezes solid, but in Real Life this is a very good way to freeze her legs off or die of hypothermia had she not managed to reach Oaken's shop, warm herself and change into dry clothes in time.
An Aesop: What is true love and what does it mean to love someone.
In a more darker, but realistic sense, Anna harshly finds that Hans never loved her and was just using her to get what he wanted. In other words, be very careful of who you think you might love or take it slow with relationships. After all, everyone can just be wearing a mask.
The story shows that letting people in and letting yourself 'feel' is important (i.e. love is an open door, open the gates). Elsa doesn't want the gates open, and she's used to hiding in her room. But instead of being raised to accept herself and learn to control her powers, she grows up afraid and bottles up her emotions. This is why she revels in being on her own in her ice castle. Also, ice seems to be a metaphor for detachment, at least until the end.
During their musical number, the trolls tell Anna, "We're not saying that you can change him, because people don't really change", but that loving someone for who they are will bring out the best in them.
Olaf's musical montage shows picnic and beach scenes in the style of the 1940s and 1950s.
Although sailing vessels were in wide use until at least the mid-nineteenth century; it's the type of sailing vessels shown that look more at home a century or so earlier.
During "Do You Want to Build a Snowman", Anna has a rather modern-looking bicycle.
Generally speaking, aside from the fact that the overall aesthetic of the film is "Scandinavian", there's really very little accurate that can be said. Architecture, music, characters, practices and even folklore from Norway to Finland from the early middle ages to the early 20th century combine very tightly, and in the end, the film ends up not being representative of any given place or time period.
Characters speak in modern colloquialisms, often for the sake of a joke. For example, Oaken's "big summer blowout," Kristoff complaining that he'd barely gotten his sled paid off, or Anna saying that the new sled she got him at the end of the movie was "the latest model."
After the accident when the princesses were children, the castle doors were ordered closed, and a closed door constantly divided Anna and Elsa. Anna is overjoyed that the doors to the castle will be open for Elsa's coronation, while Elsa wishes she could keep them closed to protect her secret.
Elsa's I Am Becoming Song "Let it Go" has the lyric "Turn away and slam the door" and concludes with her doing just that. The theme of slamming doors shut is brought up again in reprise of "The First Time In Forever", in which Anna begs Elsa to not shut her out from her life again.
The duet between Anna and Hans is called "Love Is an Open Door". Hans locks Anna in the drawing room once his duplicity is revealed.
Previously, when they were on the balcony discussing their trouble connecting with their siblings, Anna closes the door to separate them from the rest of the party (including her sister).
And at the end, when she learns to control her powers, Elsa promises Anna that the castle doors will remain open.
Arc Words: "Conceal, don't feel", and its many variations. While this is Elsa's mantra for controlling her powers, it also reflects her need to both emotionally and physically distance herself from her beloved sister, in order to keep her safe.
"Only an act of true love can thaw a frozen heart."
"Open up/Close the gates."
Directed at Anna in particular, variations on the question "You got engaged to a guy you just met?"
Artistic License - Biology: Hans' horse, Sitron, is a Norwegian fjord horse. However, real life fjord horses◊ are smaller and chubbier than Sitron appears to be, meaning they likely "dignified" the breed a little to make him more befitting a prince.
Audible Sharpness: Actually becomes important in the climax, as Anna hears the sword shing sound, and that lets her know to look at see Hans trying to kill Elsa.
Awesome Moment of Crowning: Elsa receiving hers is a major part of the first act. The Awesome Moment part is dampened quite a bit however, when it's clear she's absolutely terrified of accidentally revealing her powers to the crowd. Also notable is that Elsa becomes the firstDisney Princess to ascend the throne and become a Queen during her film as opposed to having it implied to happen like in most prior cases. (She's the second if you take into account the whole animated canon - the first being Kida - but amongst her fellow 'official' Princesses she's first.)
Bait and Switch: The whole movie seems to run on this trope. The love interests, the villain, and the act of pure love all lead you to believe one thing and then switch it around. The trailers making it up to be more of a comedy like Tangled (which itself wasn't quite as comedic as its trailers made it out to be) certainly didn't help.
And just in case you're wondering: You at first think that Hans is the Love Interest but it's actually Kristoff. You at first think that Elsa is the villain but it's actually Hans. You at first think that Kristoff is the one who will use true love to save Anna but she saves herself by pulling a Heroic Sacrifice for Elsa (the real act of true love).
Banister Slide: Anna gets a nice long one on a spiral staircase toward the beginning of "For the First Time in Forever".
Beast and Beauty: Both are women, as well as sisters instead of lovers, but other than that, Elsa and Anna suit the dichotomy well. Elsa is the reclusive "witch" with potentially destructive power which she has trouble controlling, and Anna is the only one who can help her come out of her shell and gain control of her powers simply through loving her.
Berserk Button: Don't call Oaken a crook. Kristoff learns this the hard way and gets thrown out of the trading post by a surprisingly tall Oaken.
Do not taunt Happy Fun Marshmallow. Do not throw a harmless snowball at Happy Fun Marshmallow.
Beyond the Impossible: Even by the standards of the picture, when Prince Hans strikes a now-frozen Anna with his sword when she got between him and Elsa, under normal circumstances the sword should shatter her, not the other way around; however, these are clearly not normal circumstances.
It's not as dramatic as this trope usually plays out, but the context of the moment makes it clear; Olaf somehow having made his way to Anna after Hans's betrayal is exactly this, coupled with telling her exactly what she needs to hear, and nearly killing himself in the process.
Kristoff and Sven mount a daring charge into the maelstrom surrounding Arendelle to rescue Anna. After nearly being crushed by ships collapsing into the frozen fjord and almost losing Sven in the icy waters, Kristoff reaches Anna...just in time to watch her die. Thankfully, she gets better.
In the Junior Novelization, however, Kristoff punches out Hans after his sword breaks on the frozen Anna.
Big Damn Kiss: Par for the course for princess-centric Disney animated film. Except... when it's subverted rather spectacularly...or mercilessly depending on how the viewer takes it in. When a proper one finally does happen, it's surprisingly downplayed somewhat on top of it all.
Big "NO!": Anna shouts this when she rushes to protect Elsa from Hans.
Big Sister Instinct: Elsa's whole reason for shutting out Anna because she wants to protect her.
Big "Shut Up!": While she never actually orders Anna to be quiet, Elsa's massive ice blast that cuts off the reprise of 'The First Time In Forever' all but screams this trope.
After Elsa refuses to bless Hans and Anna's engagement, Anna and Elsa get into an argument that ends with Elsa telling Anna to leave if she is unhappy. Anna begins to ask Elsa a series of questions which inadvertently causes Elsa to reveal her powers.
"I said ENOUGH!!"
Bilingual Bonus: The opening song "Eatnemen Vuelie" which involves the Norwegian/Danish Christmas hymn "Deilig Er Jorden". Roughly translated, the lyrics are: "The Earth is delightful, God's Heaven is magnificent, the song of the souls' pilgrim journey is glorious. Through the fair kingdoms on Earth, we head for Paradise with a song."
Hans' horse is named for its color, "Sitron" being Norwegian for "lemon".
If you can read runes, you can see on the map where (or more exactly: to who) Anna's and Elsa's parents are taking them at the beginning of the movie.
Body Horror: Anna's curse freezing her from the inside out.
Bond Villain Stupidity: Upon learning that Anna's frozen heart will kill her, Hans removes all sources of heat from the room and locks her in, then tells the other dignitaries that she's already dead without confirming it first.
It goes Up to Eleven when you realize that if Hans had resisted the urge to gloat to Anna about how clever he was, he would have gotten everything he wanted. Anna was already dying. All he had to do was say that he wanted to do True Love's Kiss right, get witnesses, marry her for real, let her die when it didn't work, tearfully say it must have been too late, and then let Elsa leave—like she was already doing—or else tell her that Anna really had died because of her, and let her willingly submit to an execution in penance, just like he actually did. Hans apparently isn't good at improvising when his plans go off-script.
Book Ends: The first time we see Elsa and Anna, they are playing in an indoor winter landscape created by Elsa, where they build a snowman named Olaf, and the three of them skate together on the ice. In the last scene of the movie, Elsa converts the courtyard outside the castle into a skating rink, and she, Anna, and Olaf skate together again.
Elsa accidentally outs her powers to the public by freezing the ornamental fountains and most of the surrounding courtyard solid, which prompts her to flee the castle. Much later on, when she returns, she celebrates her powers by turning the courtyard into the aforementioned ice-rink for them, this time using the frozen fountains as decorations.
In the beginning, the trolls show Elsa a vision of her creating a giant snowflake with her powers. When she creates the winter wonderland and skating rink at the end, she repeats those motions, causing it to snow upon the rink.
Anna's first encounter with Hans results in her causing him to fall into the fjord, entirely by accident. Their last encounter ends with her very deliberately punching him into the fjord.
Break Her Heart To Save Her: Elsa distances herself from Anna to keep her sister safe from her powers, but until after the coronation ball, Anna doesn't understand why her beloved sister had turned away from her.
Brick Joke: During "Let it Go", Elsa removes her crown and throws it out of sight somewhere in the ice castle. A stinger after the credits shows just what becomes of it.
Kristoff mentions that "all men [pick their noses]" to Anna when they are talking about Hans. Later on, Hans does pick his nose immediately after recovering from being knocked unconscious by Anna's frozen body blocking Elsa from Han's sword.
See the (Credit Gag).
The Call Knows Where You Live: A minor variation. Elsa never realized just what she triggered when she ran off to the North Mountain and believes she's doing everyone a favor. Then Anna goes and proves her wrong during "For The First Time in Forever (Reprise)"
Character Tics: Elsa tends to cross her arms when she feels stressed. Notably when she is confronted by Anna during the coronation just before she cuts loose with her powers; when she's alone on the mountain during the first lines of "Let It Go"; and twice in her ice palace when she realizes that her powers have plunged Arendelle into Endless Winter.
When Elsa laughs (once when she and Anna are kids and sneak off into the ballroom to play, and a couple of times during the coronation), she tends to place her fingers over her lips.
Anna tends to brush a lock of her hair behind her ear whenever she's feeling nervous or embarrassed.
Church of Saint Genericus: The bishop at the coronation ceremony wears Arendelle's crocus symbol on his mitre instead of a cross. Similarly, the orb used in the coronation is not topped with a cross but a crocus flower.
Colour Motif: Three examples; Anna's outfits nearly all contain the colour green (even her mostly blue winter outfit), tying her to spring. Elsa, by contrast, is associated with the colour blue, for obvious reasons. Hans is associated with white, which only drives home his status as a subversion of the Disney Nice Guy archetype. Notably, he puts on a black cloak, concealing his white coat, after The Reveal.
Comically Missing the Point: When Kristoff asks Anna if her parents ever warned her against strangers (in relation to her engagement with Hans), this only causes her to look at Kristoff suspiciously. Of course, this is justified as Anna did just meet him too.
Conspicuous Gloves: Elsa is given these as a child to keep others safe from her uncontrollable powers. During the post-coronation party, one of them is pulled off...
Conveniently an Orphan: Anna and Elsa, whose parents lost their lives in a storm on their way to visit a foreign kingdom by sea at the beginning of the film. However, it's justified, because it's what makes it necessary for Elsa to be crowned queen at a young age, which starts the plot.
Costume Porn: As in Tangled, all of the characters' costumes, especially the royals', are detailed to the stitch.
Counterpoint Duet: "For the First Time in Forever" for Elsa and Anna, towards the end of it.
Triumphant Reprise/Dark Reprise: The lyrics of the two melodies in the reprise diverge even further into dark and light emotions than in the original, to the point where the major and minor chords actually struggle for dominance.
Crash into Hello: Anna meeting Hans. They do end up becoming engaged. Subverted. Hans is only playing her so he can get married and gain power.
Creator Cameo: Anna and Elsa's mother, the Queen, is voiced by Jennifer Lee, the co-director of Frozen.
Credits Gag: Before the information pertaining to Disney holding the rights to the film appears in the end credits, we get this text:
The views and opinions expressed by Kristoff in the film that all men eat their own boogers are solely his own and do not necessarily reflect the views or opinions of The Walt Disney Company or the filmmakers. Neither The Walt Disney Company nor the filmmakers make any representation of the accuracy of any such views and opinions.
Cue the Sun: At the very end of "Let it Go", which both represents and celebrates the awakening of the 'new' Elsa.
Elsa: Here I stand in the light of day.
Cup Holders: According to Anna, Kristoff's new sled has one.
Curse Escape Clause: "Only an act of true love can thaw a frozen heart." The characters assume this means True Love's Kiss, but what breaks the curse is Anna sacrificing herself for her sister. An act of love on Anna's part.
Dagwood Sandwich: Kristoff and Anna each hold one while wearing confused expressions when Olaf imagines what summer will be like.
Damsel in Distress: Both Anna and Elsa become this at different parts of the movie. Interestingly, they both go down the Damsel out of Distress route, with Elsa using her powers to break out of the castle dungeons and Anna lifting the curse placed on her on her own, without needing a True Love's Kiss.
Olaf: And glide, and pivot, and glide, and pivot...
Dangerously Genre Savvy: Elsa uses her hands to cast the majority of her ice magic, hence why her parents make her wear gloves to hide it. When Hans holds her captive in the castle dungeons, he makes sure that her hands are completely encased in heavy metal gauntlets in order to neutralize her.
Darker and Edgier: A major, major contender for this, despite having a bodycount of only two minor characters, and the villains punished justly without death. The film features childhood trauma, dead parents, murderous noblemen, a comic relief character that spends the movie dreaming about what would kill him, and the entire cast nearly dying in a massive snowstorm near the end.
Dark Reprise: Although "For the First Time in Forever (reprise)" starts off as a Triumphant Reprise, it quickly descends to become a Dark Reprise, resulting in Elsa freezing Anna's heart.
This extends to some of the other characters as well:
Sven, while still a reindeer of near-human like intelligence, doesn't speak, not even in a heavy reindeer accent. In fact, when "he" does, it's Kristoff saying things for him in a goofy voice, the way real pet owners often do with their pets.
Anna veers back and forth between being a borderline Action Girl to a Distressed Damsel, but never in a stereotypical manner. When she's hurt, it's legitimately life-threatening because her heart and body are slowly being frozen solid. And when she's taken captive, she's very much just about on her deathbed, so one can forgive any "helpless" vibes, because... well, she's honestly helpless.
"Do You Want to Build a Snowman" and "Let it Go" are each both an "I Want" Song and as far from the conventional example of one as you can get - in the first, Anna just wants to have her sister back in her life; in the second, it's more a revelation of Elsa's that she's finally free to be herself, now that she has nothing left to lose.
Defrosting Ice Queen: To no one's surprise, Elsa. Well, sort of. She has to keep her emotions and feelings in check, because if she doesn't, she loses control of her magic, and it can do terrible things to the people. The one who attempts to defrost her is not a male love interest, like the trope usually is, but her sister.
To a lesser extent, Kristoff; being raised by Trolls did little to help his people skills, and he's also rather dismissive of people in general thanks to some bad experiences if his lullaby to Sven is any indication. The defrosting here is an inverse of the usual, with Anna serving as the catalyst.
Description Cut: As the castle prepares to open its gates, we hear a couple of townspeople discussing how beautiful and elegant the princesses must be. Cut to Anna: fast asleep, hair all over her face, snoring and drooling on the pillow.
Died in Your Arms Tonight: Hans claims that Anna died in his arms, when really he's locked her in a room and left her to freeze to death.
Did I Just Say That Out Loud?: The Duke of Weselton says this in his introduction when he openly says how he plans to exploit Arendelle's profits.
Kristoff when he gleefully tells Anna "I could kiss you!" when she gives him his new sleigh.
Also Anna briefly after running into Hans. "You're gorgeous. Wait, what?"
Did You Actually Believe?: A part of Hans telling Anna of his true intentions is, "You were so desperate for love, you were willing to marry me, just like that!"
Didn't Think This Through: When Anna goes after Elsa, she just assumes that she'll be able to make her sister get rid of the sudden winter and come back home simply by asking. She doesn't realize that Elsa has no idea how to turn the weather back to normal, or that convincing her to go back to Arendelle won't be as easy as she thinks.
Disney Acid Sequence: A mild example with Olaf's number, "In Summer." The movie has its fair share of anachronisms, but "In Summer" feels like it comes straight out of the 1950's. Its visual style, with blazing sunshine, saturated colors, and bloom, is completely unlike the rest of the movie. It's lampshaded somewhat when Anna and Kristoff seem rather surprised and confused to find themselves in it towards the end.
Disneyfication: As expected, the story bears little resemblance to The Snow Queen beyond a few elements. Unusually for this trope, minus the involvement of the devil, it's probably a darker story than the original! Sure, Gerda and Kai had problems, but nowhere on the psychologically torturous level of what Anna and Elsa face.
The deconstruction of True Love's Kiss even calls back to the original story in that Elsa's tears melt Anna's frozen heart as much as Gerda's melted Kai's.
Except Anna's Heroic Sacrifice was the action of true love that melted her frozen heart. Elsa's tears show her own heart melting, allowing herself to finally feel emotion and grieve and admit she loved her sister when she thinks its too late..
Disney Princess: This marks the first time two Princesses were introduced to the canon in the same film, ever. Yes, one gets a promotion to queen, but still.
In a way, Hans has this trope evoked to him ... although he doesn't die. Anna punches him out and he gets dropped into the water.
Double Meaning: "Let it Go" is about how Elsa can finally stop trying to hold in her powers, but also about how she is letting her past and her kingdom behind.
"Love Is An Open Door" and "Fixer Upper" are both about romantic love but also can also be applied to the familial love between Anna and Elsa. The former song can also refer to Prince Hans's plan to use Anna's infatuation with him ("Love") as a way to gain access ("Open Door") to the throne.
At the end of the movie: Anna: "I love the open gates." Elsa: "We are never closing them again." This refers to the literal castle gates, but also to Elsa and Anna's relationship.
Double Meaning Title: As revealed by co-Director Chris Buck in an interview, the title refers to not only the frozen landscape but also the relationship between the two sisters, "which is frozen in the film when they were little girls".
Dual Meaning Chorus: The first appearance of "Let It Go" begins with the chorus indicating Elsa is now free to use her powers, but ends with it being a declaration that she is leaving her past behind.
Dying Alone: This almost happens to Anna, courtesy of Hans.
Earn Your Happy Ending: Elsa and Anna; after all the tragedies both sisters have been through, they really, really deserve one.
Emotional Powers: Elsa believes that her powers go out of control when she feels even the smallest bit of emotion. In reality, it was negative emotions, fear and anger, which cause her powers to go haywire, while positive emotions allow her more control. This is demonstrated with her ice castle: she constructs it beautifully while in a self affirming mood, but when her sister tells her about the curse on the kingdom, cracks start appearing and a red light appears within. Her parents' well-meaning advice to suppress her emotions led to Elsa's inability to master her powers, because she was always terrified of hurting someone again.
Dramatic Wind: Once Elsa's powers are revealed, how hard it's snowing is usually a good indicator of how upset she is.
You can also tell whenever Elsa has hit a full-blown Heroic BSOD, which causes the Dramatic Wind to halt completely and the snow to simply freeze in the air. This only happens twice in the film - once after she learns that her parents have died, and again after Hans tells her that Anna is dead.
Endless Winter: Elsa puts a curse on the land which causes endless winter, though she didn't intend to do it and is shocked when Anna tells her that.
Even Evil Has Standards: The Duke of Weselton is among those who cheer when Anna punches out Hans for attempting to usurp the throne, even though he himself had tried to kill Elsa shortly before. Somewhat justified in that he mainly wanted Elsa to end the winter, while Hans wanted to kill Elsa and Anna to get the throne. Also, Hans has apparently not thought of killing his brothers, though this could also fall under Pragmatic Villainy (there are twelve of them, for goodness' sake!); and while no one knows what sort of a ruler he would have made if his plan succeeded, that he might have intentionally ruled well because of his desire to be a beloved King is a distinct possibility. Certainly his behavior to the people of Arendelle when Anna leaves him in charge is an indicator of this.
Every Sled Is A Pinto: Kristoff's sled falls off of a cliff. A fireball ensues. Justified in that it did have the torch on it they'd been using to fight the wolves, and it was stated mere minutes earlier to have been "freshly lacquered."
(cart bursts in to flames) (Beat) Kristoff: But I just paid it off.
Evil Prince: Prince Hans is most certainly evil, but unlike most examples of this trope, it's not his own kingdom he's trying to kill the rightful heirs to and usurp, possibly because he has twelve older brothers and there's no way he can kill all of them off without casting suspicion onto himself.
Evil Virtues: Can also be seen as Pragmatic Villainy in some cases. Both villains. Hans is nice to Anna even before she introduces herself, hands out supplies to the common folk, opens the castle to give them warmth and shelter and stops Elsa from killing two of the Duke's guards, even if these may all be part of his plan to become a beloved King. The Duke can also feel genuine sadness for others, as shown when he hears the news of Anna's death.
Also applies to the troll's warning at the beginning of the film when he says that "Fear will be your greatest enemy." The king and queen think that he's talking about how people will fear Elsa when they find out she has powers. In reality, it's Elsa's fear of her own powers and her constant repression of them that leads to them running out of control.
And her parents' fears, since they were the ones who told her to repress her powers.
A funny example is when the group first arrives at Elsa's castle. Olaf tries to go in with Anna after she told Kristoff that he shouldn't go in yet, and Anna tells Olaf to give her a minute. Cue Olaf quietly counting the seconds. Made even funnier when Olaf sits down beside Kristoff, and Kristoff joins in counting as well.
Expository Hairstyle Change: During "Let it Go", Elsa undoes her hair that was in a bun before to show how free she now feels. However, it is still bound up in a long braid, indicating a second, deeper level of emotional binding.
Anna's hair gains a white streak after she is struck in the head by Elsa's ice powers. And again later, her hair goes almost completely white after Elsa strikes her in the heart and she is slowly dying as a result.
Failsafe Failure: Elsa has no problem controlling her powers as a young toddler playing with Anna. After accidentally hitting Anna in the head, she is traumatized, and their parents lock them in the castle, where she despairs for the next decade or so. She loses control of her powers because she distances herself from her family to avoid hurting them.
Falling Chandelier of Doom: When an arrow meant for Elsa, due to the intervention of Hans, headed towards the ice chandelier of Elsa's castle, it causes the chandelier to fall and break apart. While Elsa manages to run away from it, the ice shards from the chandelier fly in all directions upon hitting the floor, hitting her. She falls and is knocked out as a result.
Family Business: Oaken and his family run their own winter shop with a sauna.
Fanservice: Just one instance, which is fewer than many other Disney films (pretty much every character in here is dressed for winter throughout), with some mild service on the part of Hans (Hans gets a bit of "adorably-awkward guy" though). The "Let it Go" muscial montage when Elsa transforms her royal dress into her slinky, absolutely skin-tight, ice dress with no shoulder straps, with its skirt slit to above the knee and doing a power walk while pumping the hell out of those hips is pretty notable. The outfit change is rather striking in how revealing and gaudy it is in comparison to the more conservative style she had before (literally only the skin of her face showed), however the outfit change is symbolic of the way she is no longer hiding herself (note how heavy and concealing her clothing is, even earlier in the movie, when it's supposed to be pretty warm judging by the way other people, especially Anna, are dressed). The imagery calls upon the idea of the sexually liberated woman to add to the notion that she's casting away all manner of shame (contributing to some interpretations that the ice powers are a metaphor for homosexuality). None of the larger significance of the outfit stops it from being fanservice though.
Fantasy Counterpart Culture: The landscape and setting of the movie is heavily based on Norway. What's more, Arendelle sounds like "Arendal", the name of a small Norwegian city, whose economy is apparently built around a port as well.
Fat and Skinny: The two servants of the Arendelle Castle: Kai (fat) and Gerda (skinny).
Feminist Fantasy: Very much so. It stars two strong, female protagonists and explores themes of Love in many unexpected ways. Love at First Sight is used by the villain to try to take advantage of Anna, while the act of True Love necessary to unfreeze Anna's heart is not a kiss... but rather her willingness to sacrifice herself to protect her sister. Elsa's fear of herself made her Power Incontinence worse, but she gains full control of them and becomes a beloved Queen once she embraces it and her love for her family. Prince Hans is sent packing after being punched into the harbor by Anna, to face punishment from his own kingdom while Kristoff and Anna slowly take the first step towards dating.
Finishing Each Other's Sentences: In "Love is an Open Door" to show how well Anna and Hans fit together. Except Anna says "sandwiches" instead of "sentences".... and Hans's reaction foreshadows how he is tailoring himself to fit Anna's hopes for a guy to manipulate her.
Also the trolls in "Fixer Upper" where almost every other line is sung by a troll other than the line before or by the group.
First Boy Wins: Subverted. The first romantic interest isn't the one who ends up getting the girl.
Though he is the first boy shown to the audience as a love interest and the first boy to properly meet Anna, this is only half right. Since the movie starts with A Minor Kidroduction of Kristoff, Sven, Elsa, and Anna, this means Kristoff was the first boy introduced to the audience and was also technically the first boy to see Anna (though he didn't know who she was at the time), so this trope can be seen as being played completely straight.
Fisher Queen: The trolls warn Elsa early on that "Fear will be your enemy". As Elsa grows more afraid during the film's climax, the blizzard around her grows more fierce and dangerous. When Hans makes Elsa believe that she killed Anna, she becomes numb, prompting the storm to suddenly stop. When Anna's curse is broken by her selfless act of love, the realization of how much Anna loves her helps Elsa conquer her fears, allowing her to control her powers and restore her kingdom.
Anna and Hans - Both have been shut out by their elder sibling(s). But, while Anna wants to reconnect with Elsa, Hans just wants to be better than his brothers, and doesn't appear to care about them.
Elsa and Hans - While Elsa does shut out Anna, she only does so because she loves her sister. And while Hans promises not to shut Anna out, his reasons are for selfish and only serve himself. Also, both wear gloves to conceal something about themselves, but for vastly different reasons: Elsa hides her powers to protect her sister, Hans only wears the gloves to conceal his true nature as a power hungry Jerkass who only cares for himself.
Kristoff and Hans - Hans is the sharp dressed, well mannered noble who appears friendly and charming, but he's really an arrogant, power-mad Jerkass, who would even murder to get what he wants. Kristoff wears tattered clothes, was raised by trolls, and is a grumpy ice harvester who claims to hate other people, but he's actually a sensitive, caring, brave man who would do anything for the ones he loves.
Olaf and Hans - Olaf represents the bond between Elsa and Anna, while Hans symbolizes the tear in that same bond. They also represent the two ends of moral spectrum in the film's characters: Olaf its most innocent and guileless, Hans its most evil and cunning.
Hans and the Duke - Both have an unshakable confidence in their own charm. Except in Hans's case, it's completely justified.
Olaf and Marshmallow - Olaf represented Elsa's childhood persona her bond with her sister. Marshmallow represented Elsa's desire to be alone, and drove a wedge between the two sisters.
Anna and Elsa - Anna is hyperactive and outgoing, constantly looking for human contact and attention. Elsa is reserved and introverted, withdrawing from everyone to protect others.
It was actually lucky that as a kid Elsa accidentally hit Anna in the head...a shot to the heart would be far more trouble.
After their parents' death, we see Elsa in her room, deep in grief, and the air is perfectly still - every snowflake is suspended in place. The same thing happens, on a much bigger scale, when she hears that Anna is dead.
Elsa and Kristoff both tell Anna not to immediately marry Hans and to get to know him better first. It turns out Hans is a Gold Digger.
During the song "Love Is An Open Door", Hans sings the line "I've been searching my whole life to find my own place." We later find out that Hans only wanted to marry Anna to seize the throne.
Also, the way the song is sung has subtle hints that Hans is playing with Anna's feelings and is just leading her on, particularly when Hans sings the line about the two of them finishing each other's - only for Anna to jump in to say "sandwiches," followed by Hans's "That's what I was gonna say!" showing that he's tailoring his acting to draw her in.
Hans mentions that he has twelve older brothers. This would make him the thirteenth child (unless there are sisters he didn't bother to mention).
"Frozen Heart", the film's opener, has a lot of lines that pertain to the rest of the film.
Beautiful, powerful, dangerous, cold! Ice has a magic can't be controlled!
Strike for love and strike for fear!
Watch your step! Let it go!
Beware the frozen heart!
Early on, Anna mentions dreaming about getting kissed by a troll. Kristoff isn't a troll, but he was raised by them.
In addition to that, in "For the First Time in Forever" Anna mentions that she wants someone tall and fair. More like an unmanly blond.
Olaf says to Anna "Some people are worth melting for" while trying to keep her warm. In human terms, what he is basically saying is "Some people are worth dying for." Anna does just that a little later on for Elsa.
Elsa sings "You'll never see me cry!" during "Let it Go". Anna's Heroic Sacrifice at the end finally makes Elsa break down.
The first part of the vision that Grand Pabbie shows young Elsa and her family is a silhouetted version of Elsa making the ice rink at the end of the movie.
Also from Grand Pabbie; he bluntly notes to the King during their first meeting that fixing damage to the head/mind is easy — the heart, on the other hand... not so much.
During the song "Fixer Upper", there's this line: "People make bad choices if they're mad or scared or stressed, but throw a little love their way and you'll bring out their best!" While it does refer to Kristoff, it also foreshadows Elsa finally gaining control of her powers after realising how much she is loved by her sister.
When Anna is day-dreaming about finding love in "For the First Time In Forever", she acts out her fantasies before various objects around the castle. The first is a statue head of a nobleman that looks evil and sinister, the next are various paintings with peasant men that look honest and friendly. Anna finds potential love with two men. The first is Hans, a nobleman. He turns out to be evil. The second is Kristoff, a peasant. He turns out to be kind, honest, and selfless.
There are wolf howls in the background shortly before Anna falls off her horse.
Fourth Date Marriage: Lampshaded, big time. Neither Elsa nor Kristoff can believe that Anna became engaged to a guy she just met. And ultimately subverted. Hans doesn't love Anna, he just wants to use her to become ruler of Arendelle. Anna's relationship with Kristoff, her actual love interest, averts it, as the film ends with their relationship only just beginning.
Forgotten First Meeting: Sort of. Kristoff and Sven were both there when Anna and Elsa were brought to the Valley of the Living Rock, with their parents, for the assistance from the trolls. However, they don't technically meet each other.
Kristoff makes it clear that he knows Grand Pabbie can fix people hurt by magic: he has seen it happen. He just had no idea it was the same person both times
The Four Loves: Played with. The "act of true love" that would save Anna is initially implied to be romantic love (Eros), but it turns out to be Anna's love for her sister (Storge) in the climax, when it is infused with unconditional, sacrificial love (Agape).
Get Out: Elsa and the giant snowman say this a lot.
Getting Crap Past the Radar: A whole lot from "Fixer-Upper". The trolls insinuate that the relationship between Kristoff and Sven is not quite within "nature's laws." At one point, a troll tells him to take his clothes off! And scolding him for covering up "the honest goods" no less! One of the trolls even said that he just passed a kidney stone. And the line Or that he only likes to tinkle in the woods —, which would almost sound alright if Anna's reaction wasn't pretty much "Too Much Information".
Likewise, "Do You Want to Build a Snowman?" has quite a few homosexual/incest undertones to it, especially since you could technically consider Olaf Elsa and Anna's "child".
This troper fails to see any sexual connotations about that song.
When bantering with Anna about her engagement to Hans, Kristoff starts asking her exactly what she knows about the Prince (considering she just met him yesterday). One of the things he asks is "foot size?" Anna quickly responds, "Foot size doesn't matter!" The old joke is "You know what they say, big feet, big ...."
The sleigh ride itself is full of Double Entendre. The first few seconds in the actually had Anna and Kristoff giggling in a very malicious manner. Then they start a conversation...
Kristoff: Hang on! We would go faster.
Anna: I love fast!
(Anna puts her feet on the sleigh)
Kristoff: Hey put your feet down!
At the post coronation party, Hans can be briefly seen with what looks like champagne, or at least some kind of alcohol.
"Oh, hey, do me a favor and grab my butt." Of course, Olaf's (detached) butt did happen to be wandering by at the time...
In has rant about how snow should be more colorful, Olaf mentions how yellow is a terrible color for snow.
The reprise of "For The First Time in Forever" has Anna: "Arendelle is in deep, deep, deep, deep... snow."
When Anna is brought back to the castle slowly dying from a curse that she thinks can be broken by true love's kiss, the first thing she says to Hans is "Kiss me." The other people leave the room very quickly, one of them even saying "We'll leave you two alone." Expecting Intimate Healing, were they?
Kristoff's and Anna's discussion about nosepicking seems to carry certain...connotations...
Gilded Cage: To shield Elsa's powers away from everyone else, her parents ordered to have the castle sealed off and took it upon themselves to help her control her growing magic. Elsa spent most of the time in her room. Consequently, Anna, as well as Elsa, had a very lonely childhood despite living under the same roof.
Girlish Pigtails: Anna wears braided pigtails in every scene except those leading up to and during the coronation ball.
Good Parents: Elsa and Anna's parents were shown to be caring and loving towards their two daughters.
Harmless Freezing: Completely inverted, then played straight. As Disney needs Elsa (and the audience) to be struck HARD by Anna's "death" by heavily implying that internal freezing is fatal, and then have their untouched reputation of no hero ever dying come out of the movie intact.
Held Gaze: Anna and Kristoff have more and more of these as they fall in love.
Heroic Sacrifice: When Anna sees Hans about to kill Elsa, she steps in front of her to stop him - just as she freezes solid, shattering Hans's sword. Making it even more of this is the fact that Anna does this instead of trying to get a kiss from Kristoff, which would save her life but cost Elsa hers.
Sven shoves Kristoff off of the cracking ice onto (more) solid ground, falling into the freezing water himself.
Hikikomori: Elsa and Anna. Unintentional on Anna's part.
Hollywood Law: Hans' entire plan, once Anna's heart is frozen, hinges around having Elsa executed for high treason. Elsa. The sole monarch of Arendelle. Executed for high treason. Which is loosely defined as betraying the monarch and thus the country. Luckily the sentence was never announced officially and was meant to be carried out in the midst of the confusion of Elsa's panicked blizzard, or else someone might have pointed out the rather obvious flaw in his reasoning.
Actually, his plan does makes sense. Copied from the Headscratchers page: Considering Anna is Elsa's younger sister, if Elsa were to die, that would make Anna queen instead. If Hans married Anna, and then successfully bumped Elsa off, he'd be Prince Consort (since the husband of a queen in her own right isn't titled "king"), which would still probably be good enough for him, because Anna's naive enough and was never prepared for leadership, so he could probably have controlled her policies through his relationship with her and the knowledge that the first child he had with her would be king/queen in their own right eventually. Titles mean less than actual power does, and leaving Anna alive would cement his. The only reason he decides to let her die is because Anna is instantly made regent when Elsa flees due to being next in line, and then Anna names Hans her regent by declaring that he's in charge while she looks for her sister. Anna's tragic death at her sister's hands would win Hans massive sympathy points (since he was Anna's fiancé, and he'd then have justification for killing Elsa in vengeance (especially since by most laws, a self-imposed exile/flight like Elsa's would count as a traitorous abdication, making Hans King thanks to Anna's own transfer of power to him).
Hope Spot: A subtle one for the audience — during the last verse of Do You Want To Build a Snowman, Anna asks "do you want to build a snowman" for the third time, as a desperate and ironic callback to the first two verses, which took place in her youth. The rhyme scheme and meter is such that for a few long moments, it's conceivable that Elsa might respond with "yes, I do". Instead, we get silence, as the sad music lingers.
Later, a Hope Spot for everyone when Anna gets a perfect opportunity for her True Love's Kiss.
I Am Becoming Song: "Let it Go", sung by Elsa as she transforms herself into the Snow Queen and creates an ice castle after running away from Arendelle. Maybe with shades of I Am What I Am as well.
I Just Want to Be Normal: Subverted. Elsa is never shown to resent her abilities and just accepts they are as much a part of who she is as is being royalty or a girl. The times she is shown to be happiest are when she is intentionally using her powers.
Ice Queen: Again, Elsa. However, her cold demeanor is all an act to try and prevent herself from accidentally freezing the people she cares about.
In Name Only: Well, not even the name is retained. The movie was originally intended to be an adaptation of Hans Christian Anderson's "The Snow Queen", but it has nothing in common with the story whatsoever except that reindeer, trolls, snow, and a queen are present. It's better viewed as an original work. Tellingly, the end credits say that it is Inspired By "The Snow Queen", not based on it.
Anna herself at the beginning of the film. Being lonely for so long seems to have led to a fixation with romance on her part.
Ink-Suit Actor: Although Elsa and Anna look more like each other in general than Idina Menzel and Kristen Bell, the shapes of their eyes and mouths and the way they form facial expressions have a close resemblance to their actresses.
Instrument of Murder: While being chased by wolves, Anna drives one off by hitting it with Kristoff's lute.
Irony: When Anna tells Elsa that "I can't live like this anymore!" Elsa responds by telling Anna she should leave. Moments later, it's Elsa herself fleeing the castle after accidentally displaying her powers in front of all the guests.
And "Let it Go" is about how after years of being forced to isolate herself, Elsa finds happiness and freedom... by isolating herself further.
Olaf's entire song about what he'll do in the summer is completely riddled with Irony.
Olaf:Just imagine how much cooler I'll be in summmerrrr!!!
Both the first and last time Hans encounters Anna, he ends up in the water.
Elsa was born during summer but has ice powers.
Kristoff bases his disparagement of Anna's Fourth Date Marriage on him having friends who are love experts. When we meet said friends, the trolls, they immediately try to get him and Anna married.
It Is Pronounced Tro PAY: The Duke of Weselton insists it is pronounced "Wessel-ton" when everyone else pronounces it "Weasel-town".
Just Between You and Me: Hans tells Anna of his plan to leave her to freeze to death while he executes Elsa in public. This way, he will be seen as the hero who saved Arendelle from the evil Snow Queen who brought eternal winter and killed her own sister. Then, he can rule the kingdom with both sisters out of commission.
It's implied Hans only pulled this because he thought that it would break Anna and the despair would speed up the freezing process.
Kick the Dog: The Duke of Weselton berating Hans that giving away supplies to the common folk during a disaster is "giving away tradeable goods."
The Kingdom: Arendelle, which is inspired by Norway/Scandinavia.
Knife Outline: Elsa does this to one of Duke Weselton's bodyguards using icicles.
Leaning on the Fourth Wall: The ending line "The cold never bothered me anyway" from "Let it Go" is aimed at the audience, who were asking themselves how she could possibly be anything but freezing in her new outfit. Elsa looks directly into the camera as she sings it.
Laser-Guided Amnesia: In the prologue, after Anna is almost accidentally killed by Elsa, the troll leader heals her by readjusting her memories of Elsa's magic; she still remembers the events, but as just normal winter days.
Laser-Guided Karma: The Duke of Weselton loses his trade treaty after his attempt to kill Queen Elsa. Also, Hans is sent home to be judged by his brothers, the very people he was hoping to prove himself superior to by usurping Arendelle.
Leitmotif: The five-note theme representing Elsa's magic is first heard in a major key when Elsa and Anna play as children. After the accident, the motif is transposed into minor keys for the rest of the movie until Elsa thaws the ice at the end, where it returns to a major key.
Letting Her Hair Down: Elsa unravels her bun into a French braid and changes her outfit when she sings "Let it Go"; this signifies how she finally feels free to do what she wants with her ice powers and doesn't have to hide her emotions anymore.
Little "No": Elsa utters a barely audible "no" when Hans tells her Anna is dead because of her.
Lonely Piano Piece: "Let it Go" starts off as this, reflective of Elsa's self-imposed sorrow from isolation. (The tune is the same one that plays when the King and Queen die.) More instruments, however, join in as she realizes that this isolation is liberating for her and that she doesn't mind it.
Love at First Sight: Anna falls in love with Hans immediately and agrees to marry him within less than a day. The pros and cons of the trope itself are explored, and as it turns out, placing love and trust in someone you really don't know at all can have some pretty bad consequences. Ultimately, the movie ends up partiallyreconstructing the trope in the end. Anna and Kristoff end up kicking off a relationship despite not knowing each other that much longer than Anna knew Hans. The key difference, though, is that Anna and Kristoff are not marrying yet and are going to spend some time bonding and getting to know one another. The idea here is that while chemistry will definitely exist, it cannot be forced or rushed for a real relationship to bloom.
Love Epiphany: With Olaf's help, Anna realizes that her true love is not Hans, but rather Kristoff.
Kristoff is utterly in denial about his developing crush on Anna...until he sees the huge snowstorm gathering in the area where just he dropped her off, and his Always Save the Girl instincts kick in, hard.
A non-romantic example comes when Elsa realizes that love is the key to controlling her powers.
Love Theme: "Love Is An Open Door" is set up as one, but it's subverted when it turns out that Hans is a bad guy and was just using that time to get Anna to fall for him.
Love Triangle: Between Anna, Hans, and Kristoff. It's downplayed (the fandom placed a lot more emphasis on it than it actually receives), but it's there. At least until Hans is revealed as the Big Bad, and Anna and Kristoff become an Official Couple.
Love Revelation Epiphany: Olaf tells Anna that Kristoff is in love with her. This coupled with Hans's betrayal makes her realize it's mutual.
Lyrical Dissonance: "Let It Go" has gained a reputation of being an Empowerment Anthem. While it technically is about Elsa finally growing to become accepting of her powers, it's also about her choosing to live a life of isolation away from everyone else.
He still seems quite placid... even while he starts melting at the end.
Olaf: Hands down, this is the best day of my life! And quite possibly the last...!
Manipulative Bastard: Hans. He uses his nice guy act to woo Anna and try to rule the kingdom, manages to capture Elsa while still seeming like a good guy as he calmly asks her to stop the winter, and only reveals his true nature when Anna desperately needs the love she thinks he can provide.
Manly Man And Sensitive Guy: Kristoff is the Manly Man to Hans' Sensitive Guy. It turns out that Hans is actually the Big Bad, and Kristoff is actually a sensitive guy beneath his rugged exterior.
Manly Tears: Kristoff's reaction to seeing Elsa's ice castle:
Kristoff: Now that's ice. I may cry. Anna: Go ahead, I won't judge.
A Minor Kidroduction: The film starts with Anna, Elsa, Kristoff, and Sven as children, followed by a small montage which shows Anna and Elsa growing up.
Missing Trailer Scene: The scene of Kristoff shouting "Now we just have to survive this blizzard!" and Anna replying "That's no blizzard; that's my sister!" with Elsa then conjuring up a blast of snow on top of the mountain is completely absent from the film.
There's also a plush Elsa doll with a voice box; one of her given lines is "But I am still your queen," implying that there might have been a cut scene where she had to pull rank on someone.
Given the context, it most likely was when Anna was trying to get Elsa's blessing to marry Hans, with the ensuing argument and Anna saying something along the lines of "You're (supposed to be) my sister!"
The shot of Sven dragging his butt along the ice with his front legs scrabbling frantically, but making very slow progress, also doesn't appear in the film itself.
Moment Killer: Anna and Elsa were doing some much needed bonding during the coronation party when the Duke of Weselton, looking for a dance, interrupts. Notable in that he interrupts right when Anna has opened her mouth to speak.
Later in the party, it seems like Elsa is ready to reveal her secret to Anna. Anna is seeking Elsa's blessing for her planned marriage to Hans, and Elsa nervously asks if they could speak alone after Anna asks to know why she won't give it. Anna kills it by insisting that anything Elsa has to say can be said in front of Hans too. Elsa's expression goes from concerned to blank, and she goes from trying to reason with Anna to flatly rejecting her plan to marry Hans.
Muggle Born of Mages: Inverted. Elsa was born with ice and snow magic, while her parents and little sister didn't have any kind of magical power.
Murder By Inaction: Hans attempts this, depriving Anna of a supposedly life-saving kiss. Instead, he just leaves her to let her freeze to death.
Nature Is Not Nice: The storm at sea that kills the princesses' parents. Then the finale, with hero and villain alike all on the verge of dying from a massive cold front thanks to Elsa's powers growing out of control, is a stunning reminder of the impersonal, terrifying power of ice echoed in "Frozen Heart".
Olaf: Some people are worth melting for but just maybe not this second.
Early previews gave the impression that the film would be pure comedy (teasers usually focused on the wacky antics of Olaf the Snowman and Sven the reindeer, neither of whom had a great deal of screen time), but the story itself is more a mixture of drama as well as comedy.
Also, the first full trailer gave the impression that Elsa created the Endless Winteron purpose — all of her shots showed her using her powers aggressively, with an angry look on her face. The winter is purely an accident, and the scene where she is angrily using her powers, it's to defend herself from the Duke of Weselton's men who are trying to kill her.
The movie's nature as a musical was also mostly-hidden, with only a single song in the preview.
Nice Job Breaking It, Hero: After Elsa accidentally injures Anna, the trolls warn that she needs to learn to control her gift, lest her fear of it control her (though notably he doesn't actually tell her how to control it). While this certainly did not help Elsa cope with what she did, her father proceeds to make it worse by doing pretty much exactly what the trolls said not to do. Instead of teaching her to control her gift, he tells her to hide it from everyone, not only increasing her fear of her gift but undoing the progress she had already made in controlling it before the accident. However well-meaning, his failure to heed their advice is pretty much directly responsible for everything that happens after that.
Aside from healing Anna, the trolls also remove her memories of Elsa's magic. It's not essential to the cure — they just do it "to be safe." This not only raises a whole host of ethical problems, but leaves Anna completely clueless as to why her beloved sister is suddenly ignoring her, effectively driving a wedge between the two.
The fact that this problem was entirely caused by Anna's impulsiveness from childhood, Elsa's fate and Anna's own isolation and naivety can be laid directly at her feet.
Elsa only learns she can create living snow golems because Olaf burst in on her and Anna after 60 seconds.
Nice Job Fixing It, Villain: Hans tries to kill Elsa, meaning that Anna saving her would be an act of true love, thus saving Anna herself from the curse. In turn, said act also gives Elsa the inspiration she needs to realize that The Power of Love is the key to controlling her powers.
Nice People: The trolls may be overbearing and inappropriate, but they mean well and love Kristoff a lot.
Nice to the Waiter: Hans is kind and polite to a random girl that just crashed into him, even before he knows she's Princess Anna, and doesn't hesitate to offer supplies to the common people when the sudden winter starts. Of course, this only shows how good he plays his role, as it's part of his plan to look like a hero to Arendelle.
Nightmare Fetishist: An unusual example, in Olaf the snowman's obsession with and eagerness for summer. Somewhat justified, in that he apparently hasn't put together that it's lethal to snowmen.
Noble Male, Roguish Male: The gentle nobleman Hans in contrast to rugged mountain man Kristoff. Subverted, as Hans' true character is Machiavellian and uses the noble ruse as a tool to usurp the throne, while Kristoff's persona was implied by the trolls to have been created to protect himself and hide his inner kindness and goodness.
No Flow in CGI: Averted as much as possible, with plenty of flowing hair and skirts. It becomes really noticeable in contrast, when Anna's green dress is frozen stiff at the skirt and moves almost like a Stop Motion cartoon.
No Ontological Inertia: Attempted — the Duke of Weselton operates under the assumption that killing Elsa will automatically undo her winter. Hans, on the other hand, saves her specifically because he thinks they need her alive to stop the winter. Once she makes it clear she doesn't know how to reverse it, Hans concludes killing her is the best way to try to fix everything. Fortunately, we never get the chance to find out if this would have worked or not.
Overprotective Parents: Deconstructed. The King and Queen's desire to protect their children only served to keep them from developing the skills they ended up having to learn during the course of the film. Elsa became an Ineffectual Loner who shut out her emotions from everyone, including her sister. Anna grew up very naive as to how love works, or the world or even her own kingdom, resulting in her getting engaged to a man she barely knows who turns out to be the real Big Bad and is just using Anna's naivete to marry his way into ruling Arendelle.
Painful Transformation: Anna undergoes this as she slowly turns into solid ice after being accidentally hit in the heart by Elsa's magic.
The introduction shows Kristoff with a group of Ice Harvesters. But by time the King and Queen of Arendelle run through the woods to seek the trolls, he and Sven are on their own, and are adopted by the same trolls not long after... without any actual parents nor even other ice Harvesters anywhere to be seen.
Parental Marriage Veto: More accurately, Older Sister Marriage Veto in this case. Elsa doesn't approve of Anna and Hans marrying when they've only known each other for a few hours.
"You can't marry a man you just met."
Personal Raincloud: Olaf gets his own personal snow cloud at the end of the movie, although it's not for grief; it's meant to keep him alive in summer.
Pimped Out Cape: Elsa's coronation cape has lots of subtle trimmings. Anna gets a green cape decorated with rose-mailing, when she goes after Elsa. After she loses that, she gets a pink cape lined with white fur. When Elsa becomes the Snow Queen, she makes a lovely lace cape with snowflake patterns.
Poor Communication Kills: A lot of the film's conflict (especially regarding the glove and major argument between the two sisters) might have been avoided if Elsa or the King and Queen had just told Anna about Elsa's powers when they felt she was old enough. Also, the trolls apparently also have no idea how to help Elsa gain control of her powers — only that she shouldn't let fear control her.
This is also what allows Elsa to finally control her powers.
Pragmatic Villainy: Hans embodies it to the extent there's a possibility he might not make a bad ruler had he succeeded (save for anyone he felt he could throw away). He just wants that throne.
Princesses Rule: Surprisingly averted in a Disney film. Although Anna and Elsa would both make great Disney Princess, early on in the film, Princess Elsa becomes Queen Elsa, and she is not a villain.
Psychoactive Powers: When Elsa feels agitated or fearful, her power tends to manifest as an untamed explosion of ice and snow. But when she feels good about herself, it becomes much more controlled and even artistic, such as when she creates her own castle out of ice.
Rebellious Princess: The theme behind the cut song "We Know Better". Elsa is also a rebellious queen.
Recognition Failure: The trolls instantly identify the King in the beginning, but don't recognize Princess Anna, not even as the same girl they healed before.
Red Herring: The Duke of Weselton is made to appear to be the main villain when it is actually Hans, with the Duke being a secondary villain. Probably helps that Alan Tudyk (King Candy) is voicing him.
Another red herring (within a red herring) is that "only an act of true love can thaw a frozen heart." Well, Hans is Anna's true love, right? So all we need is a kiss from him and she'll be saved. Or so you would think. Hans never loved Anna in the first place, and is only using her status as Princess to get into the Arendelle royal family. Anna realizes that it's Kristoff who is her true love, so Anna tries to find him for his kiss. Unfortunately, her curse freezes her solid just as Hans is about to kill Elsa, which saves Elsa from Hans's sword. This counts as "an act of true love", thus reversing the curse. Hey, nobody ever said it had to be a romantic act of true love, or even from someone else.
The even number of human main characters is something of a meta one. A lot of fans were convinced that whichever man lost the Love Triangle and didn't end up with Anna would get a shot at happiness with Elsa instead. Not quite...
Right for the Wrong Reasons: Elsa at her coronation, when she forbids and disparages Anna's decision to marry someone she's known for less than a day. While she's presented as brusque, temperamental and disapproving in this instance, she makes a good point. And it turns out that she was right all along.
Royals Who Actually Do Something: The late King and Queen of Arendelle, their daughters, and Prince Hans of the Southern Isles - they're all royalty and do something to help others. Of course, in Hans's case, he only does the action stuff to help himself.
This is also the first Disney movie that shows, however tangentially, a monarch having to deal with issues of diplomacy and international trade.
Savage Wolves: Anna and Kristoff are attacked by wolves at one point in their journey.
Say My Name: All over the place, but it's justified when Anna and Kristoff are shouting each other's names on the fjord because there's a blizzard blocking their vision. They need to find each other so that Kristoff can save the dying Anna with true love's kiss.
Scenery Porn: The ice and snow effects are particularly stunning, in a film already loaded with stunning visuals.
Self-Deprecation: During the scene in the shack by Oaken's, Kristoff observes that reindeer are better friends than people, but people smell better than reindeer - with himself being the human exception in both cases.
"Fixer Upper" is pretty much Disney mocking the hell out of their own previous portrayals of romance.
Shared Family Quirks: Both Anna and Elsa have a fondness for chocolate and even did the "sniff in the air" motion when they smelled it at the coronation banquet. At the same time.
On a more serious note, when Anna and Elsa are grieving for their parents' death, they hug their legs close to their chest in the same way.
She Is Not My Girlfriend: Kristoff repeatedly tells the trolls that he's not in a relationship with Anna. He even managed to briefly cut off the song number when he told them she was engaged, but the trolls decide that a fiance is not a fixed thing - and besides, there's no ring on her finger.
She's Got Legs: During "Let it go", tellingly in the line when Elsa sings about not being a good girl any more, the camera pans up her newly created dress which parts all the way up one leg.
Shipper on Deck: The trolls heartily support Kristoff and Anna together, to the point they try to marry them on the spot.
Ship Tease: Kristoff says "Ice is my life," and is awestruck by Elsa's ice castle. You may think he'll get a chance to bond with Elsa, but no, they don't interact with each other at all.
Shoo Out the Clowns: While Olaf manages to help give some well-needed points to Anna, during the climax he is quickly blown away. Sven nearly drowns in the cracking ocean, but manages to resurface and climb onto a floating ice chunk. Both return once the danger is past, however.
To Arrested Development, of all things, with the Duke of Weselton doing Lindsay Fünke's "chicken dance" during the ball room scene.
There was also the example of Hans saying, to Anna, "We finish each other's..." and Anna replying, "Sandwiches!"
Kristoff using his lantern to show the glowing eyes of the wolves is very similar to a scene in The Grey.
A special mention to the names of Anna and Elsa's servants, Kai and Gerda, the names from the original story that the film is based upon.
In the original story, Kai was jabbed by two shards of an evil magic mirror: one in his eye (making him see only ugliness in the world) and one in his heart (turning him cold and cruel). Anna is struck twice by Elsa's power — once in the head, once in the heart.
On Oaken the Shopkeeper's counter, there are several wooden figures. This could be one to Brave.
While talking with Hans, the Duke of Weselton calls Elsa, voiced by Idina Menzel (aka Elphaba), "the wicked sorceress."
In the finale, when Hans tells Elsa her sister is dead, Elsa is so distraught that she freezes even the snow in place. Comparisons to Katara's confrontation of her mother's killer are inevitable.
Hans' own name is a Shout-Out to The Snow Queen's author, while him having twelve brothers may be a Shout-Out to The Wild Swans, another fairytale by Hans Christian Andersen which involves twelve siblings.
During 'For The First Time in Forever,' Anna sees a ship's sails peeking over the castle gate's walls, similar to how Pocahontas sees the sails of John Smith's ship coming in over the tree lining before their first meeting. Both Anna and Pocahontas express excitement towards a change that they know and feel is coming (though this might be more a general trait shared with other Disney Princesses as well).
Skunk Stripe: Anna has a single platinum blonde streak in her strawberry-blonde hair. It's the lingering trace of Elsa's magic accidentally hitting her head when they were very young, though to judge by what she tells Hans, she believes she was born with it. Later, her hair turns completely white as she succumbs to Elsa's accidental curse, which hit her in her heart. It disappears after the curse breaks.
The Smurfette Principle: The film only has two female characters but the bonus is that they are both the protagonists. Aside from Anna and Elsa, the only other females in the film are in the trolls (who are one-scene characters) and the girls' mother who dies within the first twenty minutes.
Snow Means Cold: Played straight — when Elsa loses control of her powers in the middle of the summer, the countryside quickly turns cold and snow begins to fall.
Snow Means Death: When the film reaches its climax, as Elsa is imprisoned, Anna is dying, and Hans reveals he was evil, the landscape turns from a relatively benign winter wonderland to wracked by a harsh snowstorm.
Snowball Fight: Anna lobs a snowball at the monster conjured by Elsa to drive her and Kristoff away from her ice castle. This only makes him mad.
In this bumper ad, Anna hits Elsa with a snowball when her back is turned, only to find herself severely outmatched.
Snowlem: Olaf, a friendly snowlem. He was the first snowman unknowingly created by Elsa. Marshmallow is a large, decidedly unfriendly version.
Anna appears to be left-handed as well, as shown by when she throws the snowball at Marshmallow.
Spanner in the Works: Olaf. With Kristoff having left the castle town at the critical point where Anna was just about dying, Hans's plan may very well had worked leaving him with technically clean hands. However, there was no way he could have planned for Olaf making his way to the castle - and helping Anna hang on.
Elsa as well, when she denys Anna's marriage to Hans. This wound up saving Anna as it delayed his plans and gave Anna a lesson in trusting people so quickly while at the same time showing her The Power of Love.
Spiritual Successor: To Tangled, from title to character design to setting. This led many to believe it was just going to be TangledIN SNOW before the film proved them very wrong.
The title is even worse in Chinese: only one character from the four-character title is changed, from literally (and roughly) "Tale of magical hair" to "Tale of magical snow" (or, slightly less obviously, "Tale of ice and snow" in some regions). Doesn't help that Tangled's Chinese name was originally a pun on the translation for another Disney film and it's lost on Frozen.
Stealth Pun: From the lyric "A kingdom of isolation / and it looks like I'm the Queen" from the song "Let it Go", Elsa stresses the first syllable in "isolation" a little longer so that for a while it sounds like "A kingdom of ice".
A great Woolseyism in the Finnish translation: "Let it go" is translated as "Taakse jää", meaning something like "It stays behind". "Jää" here is a form of the verb 'to stay'…but there's also a noun "jää", which means ice.
The Stinger: Marshmallow finds the tiara that Elsa threw away and tries it on.
Winter's a good time to stay in and cuddle But put me in summer and I'll be a... happy snowman!
Taking the Bullet: When Anna sees Hans about to kill Elsa, she tries to intercept his sword. Her body turns to ice just before the sword touches her, causing the sword to shatter.
Tempting Fate: Hans, after having tried to kill Anna and Elsa, stays behind after Elsa thaws the kingdom out to exclaim his surprise to Anna that she is still alive rather than running away. That he gets rewarded with a punch to face is letting him off way too easy.
In a much milder case, this happens to Anna when she bumps into Hans while finishing her "I Want" Song. Though it's a bit more foreboding on a rewatch.
Anna: For the first time in forever, nothing's in my waaaaay—oof!
Anna: I need you to take me to the North Mountain. Kristoff: I don't take people places. Anna: Let me rephrase that. (tosses bag of supplies at him) Take me to the North Mountain... please.
That Man Is Dead: In "Let it Go", it's clear Elsa feels this way regarding the persona she adopted while in the castle. Her complete visual transformation from 'Queen of Arendelle' to 'Ice Sorceress' really hammers this point home.
Kristoff:(upon seeing Elsa's Ice Palace) Now that's ice...
They Died Because of You: During the climax, Hans tells Elsa that she killed Anna. He's lying in that Anna's not dead at that point (though possibly he believes she is), but she does freeze into solid ice a few moments later.
Third Act Stupidity: Hans brings Elsa back to the castle so she can reverse what she's done, only to learn that she can't. Then he decides to go ahead with killing her anyway, despite having no guarantee that this will fix things. Also, not choosing to run away from two people you've just attempted to kill and instead making a stupid remark like "But she froze your heart!" is practically begging for punishment.
Thirteen Is Unlucky: Elsa is the thirteenth Disney Princess and gets a much rawer deal than any of them. In addition, Hans is the youngest of thirteen brothers and turns out to be the main villain. Partially subverted as Elsa is the first Disney queen while Anna is the princess. This means that Hans and Anna are both thirteens and perfect for each other just as Hans planned.
Title Drop: The word frozen is actually uttered numerous times in both the dialogues and the lyrics of the songs. In fact, the film is a strong contender for most title drops in a single Disney film.
Tongue on the Flagpole: In the teaser trailer, Sven gets his tongue stuck on a frozen lake during a quarrel with Olaf over a carrot.
In the film proper, Sven gets his tongue stuck to the rail of a staircase made of ice while Anna and Kristoff are inside talking to Elsa.
Trademark Favorite Food: Anna and Elsa have a sweet bonding moment when they both simultaneously smell out their favorite sweet, chocolate, complete with synchronized motions. It shows that the two still do have a bond in spite of the isolation from each other.
Sven loves carrots, to the point where he tries at least three times to steal Olaf's nose, and tries to steal Kristoff's half of the carrot once.
Tragic Dream: Subverted. Being's a snowman, Olaf's dream of being out in the sun would count as this. Fortunately, Elsa gives him a miniature snow flurry cloud to enable him to survive outside winter.
Although you could be forgiven for thinking it's when she creates him.
In the merchandise, notice how Hans is left out of the merchandise unless it's a set of the full cast, but Kristoff isn't, marking him as the male lead. Notably, Kristoff has a Mattel and Disney Store fashion doll, but Hans only has a Disney Store one. The Disney Store makes dolls of the villains, so the fact that they have a Hans doll isn't all that strange after you learn the twist.
A Tragedy of Impulsiveness: After Marshmallow throws everyone out of Elsa's castle, Marshmallow was going to just leave them alone, until Anna throws a snowball at him.
The film as a whole is this too. Anna's recklessness as a child, while Elsa pleaded with her to slow down when using her powers is what led to the accident; this in turn causes Elsa to have to hide herself and her magic. Anna does it again when pressuring Elsa into giving her an answer about why she's been cut out of her life, in public, acknowledging afterwards that she could have waited for a better time or not been so forceful about it. Hans being in a prime position to usurp the throne is also the result of her trusting a complete stranger just because they had a nice evening at the ball.
Trauma Conga Line: For both sisters, but Elsa in particular. At a young age, Elsa inadvertently almost kills Anna, which forces her to become a recluse who's afraid to show any emotion at all. She won't even let her parents give her a hug anymore, for fear of hurting them. Meanwhile, Anna is left to wonder why her sister and best friend in the world doesn't want anything to do with her anymore. Then their parents die, leaving both of them utterly alone in the world. After the coronation, Elsa's secret is revealed and she is forced to flee the only home she's ever known. Just when she thinks she can live in peace and quiet, she's informed she has just doomed everyone in Arendelle, and she is powerless to stop it. Anna's one hope to save her, after she is left to slowly freeze to death when her sister once again accidentally hits her with ice magic, turns out to be a heartless manipulator who's only after the throne and leaves her to die. Elsa survives an assassination attempt, only to be imprisoned instead. She gives up the will to live when she thinks her sister died because of her, only to be saved by Anna freezing to death.And this is supposed to be a kid's movie!
Another Triumphant Reprise is the "Epilogue" track, which is a reprise of "For The First Time in Forever" and "Do You Wanna Build a Snowman". For the first time in forever, Anna finally has the bond with her sister she had been seeking for years. Note that they're skating together with Olaf, just like in their introduction.
True Blue Femininity: Anna and Elsa both wear dresses that are mainly blue, although Anna's other outfits incorporate a lot of green.
True Love's Kiss: Dramatically subverted multiple times. Anna thinks that a kiss from Hans will break the spell, but she's wrong; Hans doesn't love her. Kristoff and Anna realize that they're in love with each other, but we never get to see if their kiss will work. The act of true love that breaks Anna's curse is not a kiss, but rather her ownHeroic Sacrifice to protect Elsa. Interestingly enough, the idea of the cure even being a kiss at all was purely thanks in part to the trolls interpreting it as such in the heat of the moment (see Wrong Genre Savvy below). Still was played straight at the end between Anna and Kristoff when all was said and done.
Hans has a blink-and-miss shot where he argues with the Duke of Weselton that he will protect Arendelle from treason. He looks much angrier than he should be in that scene, hinting at the rage and cruelty boiling under the calm surface.
Villainous Valour: Despite Elsa's vast powers, the Duke of Weselton's two guards are willing to attack her armed only with crossbows. Also, Prince Hans qualifies when he defeats Marshmallow and goes to rescue the soldiers.
Villain Song: Averted; while Elsa's song "Let it Go" certainly has the beat and feel of a villain song, it doesn't fully qualify. Hans, the true villain, does have a song, but it's a duet with Anna about Love at First Sight.
"Let it Go" is still the closest thing to one, all this considered, especially since it was written as one, but ironically was the cause of Elsa's change from the actual Big Bad of the story to an Anti-Hero / VillainDeuteragonist. The writers realized the song was too positive for a villain, and Elsa was entirely justified in how she felt to that point; she also had not actually hurt anyone, and was deliberately isolating herself to prevent harm.
"Love is an Open Door" can be seen as a Villain Song when you view it as Hans trying to manipulate Anna's feelings for him so as to become de facto leader of Arendelle. Anna's love is an "open door" for Hans to get what he wants.
The Frozen OST contains an outtake called "You're You", which implies more of Hans's ulterior motives than the above song.
Villains Never Lie: After his reveal as the Big Bad, Hans is generally honest with Elsa and Anna, although he lies plenty to other people (like telling the councilors that he and Anna exchanged marriage vows "before she died in my arms"). He's speaking truthfully when he tells Elsa that Anna returned from North Mountain suffering from an icy curse which Elsa inflicted, and even when he tells her that Anna is dead, he probably doesn't realize that it's a lie because she was on the brink when he last saw her.
Justified too, because at the point when Hans tells her of Anna's death, Elsa has no reason to think that Hans is anything but sincere in his desire to help both Anna and Arendelle, since only Anna knows the truth about his plans.
Walk on Water: Elsa can achieve this by using her powers to freeze the water on which she steps completely solid. She makes good use of this ability during her getaway from the royal castle, when she flees across the surrounding fjords. And the ice she leaves in her wake quickly spreads to freeze the entire fjord, heralding the arrival of Endless Winter.
Hans: Oh, Anna...if only there was someone out there who loved you.
What the Hell, Hero?: Both Elsa and Kristoff call Anna out for getting engaged to someone she literally just met for, at most, an hour. And indeed they're right, the guy turns out to be a creep. Even Hans mocks Anna for this when he reveals his true colors.
What Happened to the Mouse?: Since Hans is being sent back to the Southern Isles for his crimes against Arendelle, the audience has no clarity over what becomes of his pet horse, Sitron.
What's Up, King Dude?: This is actually a plot point. The Arendelle royal family traditionally has an open door policy for its citizens, but they suspended it due to Elsa's problems. The main conflict is set in motion when the doors are reopened to celebrate Elsa's coronation. At the end, Elsa, able to control her powers, permanently reinstates the policy.
When She Smiles: While not ugly or plain, Elsa can be seen as absolutely adorable when she is smiling with childlike glee during the "Let it Go" sequence.
Why Couldn't You Be Different?: Parodied briefly; while going after Elsa in the snow, Anna briefly mutters to herself how things wouldn't be so bad if Elsa had tropical-related powers as opposed to ice-related ones.
You Are Better Than You Think You Are: Hans' statement to Anna that she is "no match for Elsa" sounds like he's sadistically disparaging her as she dies, but he is right. Elsa's love for Anna is so strong that simply hearing her sister is dead by her own hand devastates her to such an extent that she wouldn't have minded Hans killing her and ending her misery.