Disney / Frozen

"The cold never bothered me anyway."

"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..."
The second North American trailer

Frozen is Disney's 53rd entry in its animated canon line-up, an original story that's inspired by Hans Christian Andersen's longest Fairy Tale, The Snow Queen, using 3D computer-generated imagery. It is directed by Chris Buck (Tarzan, Surf's Up) and Jennifer Lee, features songs penned by Robert Lopez and Kristen Andersen-Lopez and an orchestral score by Christophe Beck.

Queen Elsa (Idina Menzel) and Princess Anna (Kristen Bell) are the royal sisters of the pseudo-Scandinavian kingdom of Arendelle, but on the day of Elsa's coronation as queen, her Dark Secret is revealed to the world: she uncontrollably conjures up snow and ice from thin air. As Elsa flees to the North Mountain to start a new life alone, she unknowingly unleashes a potentially Endless Winter on the kingdom. Now Princess Anna teams up with rugged mountain man Kristoff (Jonathan Groff), his pet reindeer Sven (who acts like a dog), and singing snowman Olaf (Josh Gad), to track down Elsa, hoping she will return the summer to Arendelle.

A product of extended Development Hell that can be traced all the way back to Walt Disney himself. It is only the second time they tapped Hans Christian Andersen for a full-length feature (not counting shorts and sequences used for Fantasia), following up The Little Mermaid.

A new Mickey Mouse short entitled Get a Horse! played in front of the main feature.

A young adult novelization called A Frozen Heart was released in October 2015, told from the alternating perspectives of Anna and Hans, showing two different perspectives on having 12 brothers and the attitudes of a sociopath to love and his own large family. He is shown thinking of other people as objects and tools throughout and does not consider himself at fault for his mistakes. While the novel is not confirmed canon, it has been well-received by many fans.

The story continues in the new Anna & Elsa series of children's chapter books; the first two have been released in January 2015. The same year, a theatrical short titled Frozen Fever was released alongside Cinderella, telling a story of Anna's friends throwing her a birthday party; the short features the original cast and crew and a new original song. The fourth season of the ABC series Once Upon a Time also features a continuation of the story, and additional backstory linking it to the original Snow Queen story, though this is all non-canon with the film. A stage musical is slated to appear on Broadway in 2018. A feature-length sequel was also announced in March 2015 and will be released on November 27, 2019. A small singalong show was added to Disney California Adventure in 2015, and was replaced by a full stage version, Frozen - Live at the Hyperion, itself replacing Aladdin: A Musical Spectacular.

Not to be confused with the 2010 Drama/Thriller film of the same name about skiers trying to survive after being stuck on a chairlift.

Character tropes go on to the Characters Sheet.

"Let it trope, let it trope, can't hold them back any more":

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    Tropes A to E 
  • Accidental Misnaming:
  • Action Insurance Gag: When Kristoff's sled is destroyed as it goes off the cliff and bursts into flames, his first reaction is, "No! But I just paid it off!"
  • Act of True Love: The only thing that can save a frozen heart is an act of true love. It doesn't come from whom you'd expect, nor in the way you'd imagine. There are at least two Acts Of True Love in the film — Olaf's determination to get Anna cured, even if it means he melts ("some people are worth melting for") and Anna's Heroic Sacrifice, neglecting a possible cure to save her sister from being killed.
  • 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. Elsa is most definitely not evil and is more a victim of her own powers.
    • The trolls are good now too. In the original story, they were Always Chaotic Evil.
  • 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. As Elsa points out, this is ultimately a moot point.
  • Added Alliterative Appeal:
    This icy force both foul and fair
    Has a frozen heart worth mining.
  • Adult Fear:
    • For starters, having one of your children born different in a way that will most likely cause her to be misunderstood, feared, and judged by the people around her — and worse, in a way that means she can quite easily maim, cripple, or even kill anyone, including your other child.
    • Though the catchiness of "Frozen Heart" might mean you don't notice it right away, the ice harvesters are so engrossed in their work that they completely forget about the young apprentice who is struggling to keep up with them. Either that, or they don't care at all about Kristoff...
    • Someone you believed loved you, and considered a "soul-mate", was just using you the entire time and leaves you to die when you outlive your usefulness.
    • Your closest friend/family member suddenly shuts you out of their life, and you don't even know why. 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.
    • From the other side, not being able (more to the point, not even allowed) to explain what's wrong, and more so, not in any way they'd be able to understand.
    • Your own family has been lying to you for your entire life.
    • Even though you're doing your best to raise your children and protect them, you might still be causing them deep psychological damage.
    • Similarly, accidentally harming your loved one in spite of doing everything you could to protect them from yourself.
    • Hiding parts of one's self away, not being allowed to use/learn to manage your skills.
    • Kristoff's "adoptive" mother, the troll, decides she's going to keep Kristoff and Sven without even considering he might have a family (although to be fair, the ice harvesters had already effectively abandoned Kristoff by then).
  • An Aesop:
    • What is true love and what does it mean to love someone?
    • In Hindsight, the twist gives children the Aesop, "Don't base your opinions on appearances."
  • Afraid of Their Own Strength: Elsa freaking out about her ice powers and obsessively trying to suppress them is what causes her running away (which is what jump starts the main conflict).
  • Age Progression Song: "Do You Want to Build a Snowman?"
  • 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".
  • Alertness Blink: Several times the trolls blink with tones associated.
  • All Animals Are Dogs:
    • Sven acts like a dog, and is described as a Labrador in a reindeer's body at the website.
    • The wolves that chase Anna and Kristoff in the forest are heard barking. While this is something that real adult wolves are capable of (being a member of the canine species), they really don't do it all too much.
    • Averted with Hans's horse, who generally acts like a horse.
  • 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?"
    • You'd only know that Kristoff's last name is Bjorgman if you read the supplementary material. Unless you have a working knowledge of Scandinavian and Saami culture, you might have to read the supplementary material to find that Kristoff is also a Saami.
  • All There in the Script: The chief servants are never explicitly called Kai and Gerda onscreen.
  • All Trolls Are Different: They have rock-shaped bodies, are very kind, and even use magic to help humans in need.
  • Almost Kiss: An incredibly cruel example; dying from a curse, Anna believes True Love's Kiss will save her, and tries to initiate one with Hans... only for him to pause and say "Oh Anna... if only there was someone out there who loved you".
  • 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, in "Fixer Upper", the trolls think Anna is Kristoff's girlfriend, and hence try to wed them during their musical number. They get halfway through the vows before the accidental participants catch on to what they're doing and cut them off.
  • Always Save the Girl: Kristoff in general, but it's in the finale where you see him pull out all the stops.
  • Amazingly Embarrassing Parents: Kristoff's whole family, the trolls. Over half of "Fixer Upper" is them asking Anna which of his flaws is turning her off from dating him, with each flaw lovingly detailed (even tinkling in the woods).
  • 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, give more emphasis on the action and drama.
  • Amusing Injuries:
    • Early in her journey, Anna falls down a hill 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 she herself does not find it at all comical. There's a brief look of sheer panic on her face before she gets to Wandering Oaken's Trading Post and Sauna.
    • Olaf is constantly getting impaled on ice, falling apart, losing bits of himself, etc., with only a lighthearted joke to show any discomfort on the matter. Then again, he's not human and the regular rules of injury don't apply to him. Makes for a really Wham when he lights the fire at the end and starts to melt.
  • Anachronism Stew: Word of God is the movie takes place around the 1840s, but Rule of Cool and Rule of Funny fudges things a lot.
    • Olaf's musical montage in "In Summer" shows picnic and beach scenes in the style of the 1940s and 1950s, especially the Mary Poppins reference where he dances with seagulls.
    • Although sailing vessels were in wide use until at least the mid-nineteenth century, the type of sailing vessels shown look more at home a century or so earlier.
    • Anna's bike in "Do You Want to Build a Snowman?" looks very 21st century.
    • Generally speaking, aside from the fact that the overall aesthetic of the film is Scandinavian, there's really very little true Norwegian stuff. Architecture, music, characters, practices and even folklore from Norway to Finland from the early middle ages to the early 20th century combine very tightly, everyone speaks English with American accents, and in the end, the film is not representative of any given place or time period, only that it's definitely before the automobile was invented and well before the construction of the first railroads
    • Characters speak in modern colloquialisms, often for the sake of a joke. For example, Oaken's "big summer blowout" sale, Kristoff complaining that he'd just paid off his sled, or Anna saying that the new sled Elsa gave Kristoff at the end of the movie is "the latest model" — "and, it even has a cup holder."
    • In "Let It Go" Elsa refers to frozen "fractals", a word invented by Benoit Mandelbrot in 1975.
    • Soldiers fight with spears and crossbows. Firearms are nowhere to be seen. However, in fairness, firearms might exist, but they don't want to use bullets because those can trigger avalanches.
  • Animal Motifs: The Duke of Weselton is constantly annoyed when people refer to his home as "Weaseltown". In folklore, weasels are usually seen as sneaky, evil animals; fitting, considering that the Duke is somewhat of a shady businessman. This is a Red Herring, to help obscure the true villain of the film.
  • Animated Musical: Why do you think they cast Idina Menzel as Elsa? In the first 40 minutes there's five songs — the ice harvesters' work song "Frozen Heart", the Anna and Elsa duet "Do You Want to Build a Snowman?", "For the First Time in Forever," "Love Is an Open Door" and "Let It Go".
  • Annoying Arrows: Played straight and averted when Hans shows up at Elsa's ice palace. His mens' crossbow bolts barely tickle Marshmallow and are like being injected with needles, but this is averted with Elsa, as she has to block and deflect those shot at her.
  • Anti-Climax: In the DVD Bonus Content the cast of Frozen dances around Disney animation studios singing a song called "How Did We Make Frozen", and the last line? "We don't know." Full-stop, end of song.
  • Apologetic Attacker: Played for Laughs. After Oaken throws Kristoff out of the store for calling him a crook, he cheerfully apologizes "I'm sorry about this violence!"... to Anna, since she witnessed an act of violence in his store.
  • Arbitrary Scepticism: Olaf, an anthropomorphic snowman, is initially skeptical about the existence of rock trolls.
  • Arc Symbol:
    • Doors, both open and closed:
      • 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. After all is well at the end, Elsa decrees that the doors will never be closed again, denoting that she no longer feels she must conceal her nature.
      • 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 "For 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. Also, 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).
    • Snowflakes symbolize the beauty and danger of Elsa's power. They Sigil Spam her dress and her ice castle. They also appear as pock-like marks on Anna's skin after she is cursed with a frozen heart.
  • Arc Words:
    • "Conceal, don't feel", and its many variations. While this is Elsa's mantra for suppressing 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?"
  • Armor-Piercing Question:
    • Anna firing off a string of these during the coronation party is what finally forces Elsa to snap:
      Anna: What did I ever do to you?!
      Elsa: [walking away] Enough, Anna!
      Anna: No! Why, why do you shut me out?! W-why do you shut the world out?! What are you so AFRAID of?!!
      Elsa: I said, "ENOUGH"!! [accidentally creates imposing ice spikes around her at that word — cue huge Oh, Crap!/My God, What Have I Done? reaction and fleeing the scene]
    • When Elsa is is fighting the guards, we get the Armor-Piercing Statement variant:
      Hans: Queen Elsa! Don't be the monster they fear you are!
  • Armor-Piercing Response: Elsa's refusal to bless her engagement to Hans leads to this:
    Elsa: Anna, what do you know about true love?
    Anna: More than you! All you know is how to shut people out!
    [Elsa is visibly shocked]
  • Artistic License – Biology:
    • Hans's horse Sitron is a Norwegian fjord horse, as is every other horse seen in the movie. However, fjord horses are actually smaller and chubbier than they all appear to be, meaning they likely "dignified" the breed a little to make them more befitting of royalty.
    • A male reindeer that is Sven's adult age should have antlers nearly twice the size seen in the movie. Here, they probably made them smaller so he doesn't come off as intimidating.
  • Artistic License – Music: Kristoff's lute has four strings, but only three tuning pegs.
  • Artistic License – Physics:
    • In the beginning of "Frozen Heart," we see ice harvesters plunge their saws into the water as they cut blocks of ice from an icy lake high in the mountains. The ice harvesters are clearly standing on the ice they are cutting. Ice that is thick enough to support the weight of a person, let alone the thickness of the blocks they cut, would require a hole to be drilled to mark a spot for the saw to actually start cutting. Trying to harvest ice this thick by simply plunging a saw straight into it like shown in the movie should actually cause the saw to bend.
    • A blink-and-you'll-miss-it point in "Let it Go" when Elsa's braid has to go through her arm on the far side of her body to end up where it does. The animators couldn't do it realistically and still keep the flow of Elsa's movements, so they pulled a Necessary Weasel.
    • Both of Kristoff's sleds (his original and the one Anna gets him at the end on Elsa's behalf) are realistically too large and heavy for a single reindeer to pull.
    • During "For the First Time In Forever (Reprise)", when Anna is following Elsa through the ice castle, there's a point where she passes between two pillars. The pillars reflect her face from the front, when they should be reflecting the sides of her face.
    • When Hans comes upon Elsa in the ice palace, realistically there's no way he could bolt across the room in time to deflect the beardless Weselton guard's (guy pinned to the wall) shot when the guard raises his crossbow to aim at Elsa.
    • Doesn't matter how much powder there was at the base of the cliff. In real life, if you were to jump off a 200+ foot cliff like Anna and Kristoff do to escape Marshmallow, the landing wouldn't be "like landing on a pillow". You'd probably be killed by the impact. It's not 100% out of the realm of possibility that someone could survive that (after all, a few people have survived falling out of an airplane), but it's pretty close. And two people both surviving completely uninjured is even more implausible than that.
  • Audible Sharpness: It becomes important in the climax, as Anna hears the shing sound of a sword being drawn from its sheath, and that alerts her that Hans is 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 however, when it's clear she's absolutely terrified of accidentally revealing her powers to the crowd. Also notable is that Elsa becomes the first Disney 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).
  • Badass Boast: Some of Elsa's lines in the third verse of her "I Am Becoming" Song "Let It Go":
    Elsa: I am one with the wind and sky
    Elsa: I'll rise like the break of dawnnote 
  • Bait and Switch: The whole movie runs 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) helps this along. 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 the Duke of Weselton 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).
  • Bait-and-Switch Comparison: Forsaking the usual use of this trope, they did it when introducing Olaf to Kristoff and Sven.
    Anna I'm Anna.
    Olaf: [points to Kristoff] And who's the funky-looking donkey over there?
    Anna: That's Sven.
    Olaf: [points to the actual Sven] And who's the reindeer?
    Anna: ...Sven?
    Olaf: Oh they're bo—oh! Ok. Makes things easier for me.
  • Banister Slide: Anna gets a nice long one on a spiral staircase toward the beginning of "For the First Time in Forever".
  • Barehanded Blade Block: Just before she turns to ice, Anna holds up her bare hand to stop Hans' attack on Elsa, and her icy hand breaks his steel sword! Although if you look closely, the sword has become cold enough to form a visible layer of frost; steel that changes temperature that quickly is extremely brittle. (See Shown Their Work below.)
  • 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. The art book indicates that they thought about doing this visually — a few rough sketches from early in the film's development suggested that the original plan was for Elsa to become more unkempt and angry-looking as she grew older, as if she'd given up on personal appearances.
  • Berserk Button:
    • Do not ask Elsa Armor-Piercing Questions about fear when fear is her worst enemy.
    • Do not call Oaken a crook. Kristoff learns this the hard way, finds out how massively bulky Oaken is, and seconds later, Oaken is throwing him out into the cold. What's funny is that he does it without losing his cheery persona that he puts on for other customers.
    • Do not taunt or throw a harmless snowball at Happy Fun Marshmallow. He'll kill you.
    • Endangering Arendelle and presumably any kingdom that Hans could potentially claim for himself is a good way to get on Hans's bad side, as the Duke of Weselton learns the hard way.
  • Bestiality Is Depraved: Kristoff's and Sven's relationship is lampshaded by the trolls as being "outside of nature's laws."
  • Betrayal by Inaction: Hans leaves Anna to die when she had been expecting that he could perform an Act of True Love to save her.
  • Betty and Veronica: Gender Flipped. Anna's love interests are cultured prince Hans (Veronica) and manly ice-farmer Kristoff (Betty). This later gets flipped after both The Reveal and Anna getting to see past Kristoff's gruff exterior.
  • Beware the Nice Ones:
    • Oaken. He looks quite small and nonthreatening when sitting behind his counter with his overly-cheery voice. Turns out he towers over Kristoff, and has no problem chucking him outside when Kristoff insults him. He does it without even losing his cheerful demeanor when he returns to his desk and apologizes to Anna, offering to add a jar of pickled lutefisk to her purchases for free as compensation for the act of violence she had to witness in his store.
    • Hans. His niceness is either a façade (to Anna) or Pragmatic Villainy (to the commoners of Arendelle).
  • Beyond the Impossible: When Anna dives between Hans and Elsa, then finishes freezing solid, Hans's descending sword blow strikes her—and under normal circumstances, the sword should shatter her, not the other way around. However, given that she's been turned into ice by magic, these are clearly not normal circumstances. In slow motion, you can see frost forming over the blade just as it's about to strike her upraised hand; Anna's body is so cold its mere proximity super-chills the metal, which makes it incredibly brittle. Quite a literal Freeze-Frame Bonus.
  • Big Damn Heroes:
    • Anna, at the climax, for Elsa. Coupled with Heroic Sacrifice and Disney Death to boot.
    • Olaf finds his way to Anna after Hans's betrayal, and he then tells her exactly what she needs to hear, despite melting himself in the process. It's not as dramatic as this trope usually plays out, but the context of the moment makes it clear.
    • 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, Kristoff punches out Hans after his sword breaks on the frozen Anna.
  • The Big Damn Kiss: Par for the course for princess-centric Disney animated film. Except when it's defied. When a proper one finally does happen, it's fittingly downplayed for a film where a major plot point is that the heroine has been called out on following love too fast.
  • Big "NO!": Anna shouts this when she rushes to protect Elsa from Hans.
  • Big "SHUT UP!": 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.
    Elsa: I said ENOUGH!!
  • Big Sister Instinct:
  • Black Comedy: Because Olaf is a snowman, the script can get away with doing some pretty "adult" things to him, such as playing grab-ass and later impalement, and keep it PG.
  • Blasting It out of Their Hands: With her powers Else is able to blast a mook's crossbow out of his hands when he tries to shoot her at her castle.
  • Blessed with Suck: This is how Elsa views her ice and snow powers; while there's nothing evil about the powers themselves (but harmful if used in certain ways), her inability to control them means she grew up alone, neglected her beloved little sister, and lives in fear of losing control entirely. The irony is that the fear is invoked by others — once she has freedom to let loose, her control becomes complete.
  • Blonde, Brunette, Redhead: Elsa, Queen Idun, and Anna.
  • 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, but he doesn't trouble himself to wait around to make sure of her death.
  • Bookends:
    • 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, Elsa converts the courtyard outside the castle into a skating rink, and she, Anna, and Olaf skate together again.
    • The song "Do you want to build a snowman?" begins and ends with that line.
    • 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 beautiful 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.
    • Young Elsa freezes the ground in the ballroom with a giant snowflake forming at her feet. It's the same way she starts forming her ice castle in "Let It Go" and the skating rink at the end.
    • 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.
  • Born of Magic: Olaf and Marshmallow spontaneously come alive after being formed by Elsa's magic. (Evidently all she has to do is make a vaguely humanoid form and it'll develop consciousness.)
  • A Boy and His X:
    • In this case, a boy and his reindeer (Kristoff and Sven).
    • Also, two girls (Anna and Elsa) and their snowman (Olaf).
  • Break His Heart to Save Him: 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.
  • Break the Cutie: Happens to Elsa and Anna a lot, starting with the accident as children, moving through the death of their parents, and then the Endless Winter.
  • Brick Joke:
    • During "Let it Go", Elsa removes her crown and throws it out of sight somewhere in the ice castle. We never see her pick it up again. Immediately after the credits, Marshmallow finds it and puts it on, seeming quite happy about it.
    • The ice staircase Elsa creates during the same number. When Anna and Kristoff struggle to hike up the mountain to Elsa's palace, Olaf suggests they just take the staircase he noticed.
    • Kristoff mentions that all men pick their noses to Anna. It gets mentioned in the credits, see Credits Gag below.
  • Bridal Carry:
    • Kristoff carries Anna in his arms as he brings her back to the castle. This can also be called the "princess carry", which is fitting.
    • Hans also briefly carries Anna like this after she is brought to him by two servants.
  • Bright Castle:
    • Arendelle's royal palace has a fortified wall around it, but is otherwise in the style of a fairy tale castle.
    • Elsa's ice palace is even more in this style.
  • Bullying a Dragon:
    • Let's try to kill the woman who you've seen shoot ice from her hands with a thought, and then buried Arendelle in a near apocalyptic mid-summer snowstorm, both without even meaning to. It's no wonder that when Elsa finally tries to kill the Duke's men, they are only saved at the last second because Hans reminds her she isn't a cold monster.
    • Also throwing snowballs after Marshmallow isn't such a good idea after all.
  • Busby Berkeley Number: "In Summer" plays this trope up, with Olaf dancing with cartoon seagulls.
  • 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)".
  • The Cameo:
    • Rapunzel and Eugene appear for just a moment among the guests arriving for Elsa's coronation.
    • At the coronation ball, when the guests are applauding after Elsa and Anna are introduced, there's a dark-skinned woman in a blue ballgown roughly in the center-foreground of the camera who looks a bit like Tiana.
  • Casual Danger Dialogue: The wolf attack scene. First as Anna and Kristoff are being chased by the wolves, they momentarily banter about Anna's Fourth Date Marriage. Then when Kristoff is pulled off the sled by a wolf, Anna cries out "Christopher!" and his first response as he's dragged through the snow is to correct her. After Anna lights a bedroll on fire and uses it to take out the wolves biting on Kristoff, he's more upset that she almost set him on fire.
  • Catch Phrase:
    • Anna says "Wait, what?" quite a few times. This apparently is a tic of Kristen Bell's and easily adds to Anna's adorkableness.
    • "Hi, I'm Olaf, and I like warm hugs."
    • Oaken and the sauna family's "Hoo-hoo!"
  • Chekhov's Gun: Hans mentions his twelve older brothers as a counterpoint to Anna's problematic relationship with Elsa. During his Motive Rant he points out that all those older brothers put him so far down the line of succession, he needs to marry into another kingdom's throne to fullfill his ambitions.
  • Church of Saint Genericus: The bishop at Elsa's coronation wears Arendelle's crocus on his mitre instead of a cross. Similarly, the orb used in the coronation is not topped with a cross but a crocus flower. So exactly which religion Arendelle follows (catholic, orthodox, Church of England-style state religion, etc.) is unclear.
  • Circle of Standing Stones: The magical trolls live in such an area (when they aren't being the standing stones themselves).
  • Closed Door Rapport: "Do You Wanna Build a Snowman?" is basically this in song form.
    Anna: Do you wanna build a snowman?
    It doesn't have to be a snowman!
    Elsa: Go away, Anna.
    Anna: Okay, bye...
  • Clothing Reflects Personality: At the start of the film, Anna and Elsa wear light-colored clothes, which symbolizes their relationship with each other going well. After Elsa is separated from Anna and they grow apart, their clothes become progressively darker, with Elsa regaining lighter clothes after fleeing the kingdom once the eternal winter is unleashed. Then at the end, both the sisters' clothes are light again representing they have finally reunited.
  • Colour Motif: Three examples;
    • Anna's outfits nearly all contain some form of green (even her mostly blue and violet winter outfit has green stems on the rosemaling), tying her to spring.
    • Elsa, by contrast, has outfits that are blue or some shade of blue, for obvious reasons. Her ice dress is blue, and her coronation dress is teal, with cyan gloves.
    • Hans is associated with white, which only drives home his exploited status as Disney Nice Guy archetype.
    • Kristoff wears mostly brown, symbolizing his down-to-earth nature and his humble origins.
  • Comically Missing the Point: Twice during the sled ride.
    • Anna misinterprets Kristoff's repeated question "You got engaged to a man you just met that day?" as inattention rather than incredulity, from the way she replies, "Yes! Pay attention!"
    • When Kristoff asks Anna if her parents ever warned her against strangers (in relation to the above mentioned engagement), this only causes her to look at Kristoff suspiciously and scoot farther away on the seat from him. Bear in mind she hired/ordered him to transport her up the North Mountain.
  • Coming-of-Age Story: A large part of the story is Elsa and Anna both growing up out of their cloistered childhood. In particular, the plot is kicked off by Elsa quite literally coming of age and having to take on adult responsibilities.
  • Conspicuous Gloves: Elsa is given these as a child to keep others safe from her uncontrollable powers. During her coronation, she has to take them off to accept the scepter and orb, and is visibly uncomfortable without them because she is having such a hard time keeping the regalia from icing over. Anna says she thought Elsa was just Terrified of Germs because she couldn't think of another reason.
  • Convection Schmonvection:
    • We see it where extreme cold should be incredibly harmful. Twice in the film characters fall into water (Anna, then Sven) and are perfectly safe once they climb out despite that it's freezing cold out. Getting wet in freezing temperatures is bad, and getting out of the water does not remove the danger. Anna's dress freezes but it is Played for Laughs, and since she immediately goes into Wandering Oaken's Trading Post and Sauna moments later, it probably wouldn't be that serious. Sven, on the other hand, even if he is a reindeer, would potentially have been in trouble had Elsa not ended the winter moments later leaving it the midst of a balmy summer day.
    • Played straight when the heroes go to visit Kristoff's troll family; Olaf does not melt, or even thaw a little, despite walking between what appear to be geysers of steam. The steam suggests that the area where the trolls live has geothermal features, which are the reason why it stays clear of snow while the rest of Arendelle is snowed in.
    • At the end of "Do You Want to Build a Snowman?" Elsa is sitting against the door, and has flash-frozen it and the surrounding walls to the point where snow is raining from the ceiling. Anna's sitting against the same door on the other side, but has no reaction to how the door would feel.
  • Costume Porn:
    • As in Tangled, all of the characters' costumes, especially the royals', are detailed to the stitch.
    • In the various music videos for "Let It Go" (English and other languages), the singers usually are seen wearing fancy outfits. In the Mandarin version the singer is wearing a dress with a train of white feathers.
  • Could Have Avoided This Plot: Anna points out "Of course, none of this would have happened if she had just told me her secret. She's a stinker!" in response to Elsa's powers.
  • Counterpoint Duet: "For the First Time in Forever" for Elsa and Anna, towards the end of it. The former is dreading the day and the latter is ecstatic. They later have a second one in the Triumphant Reprise/Dark Reprise where 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 struggle for dominance.
  • Crash-Into Hello: Anna meets Hans by bumping into his horse. They quickly become engaged.
  • Creator Cameo: Anna and Elsa's mother, Idun, 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 legal disclaimer:
    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.
  • Crowd Song: The trolls' song "Fixer Upper" is sung by every single troll, even the children.
  • 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 familial love on Anna's part.
  • Cuteness Overload: The kid versions of Anna and Elsa are adorable little girls playing in the snow. They pretend to waltz with an inanimate Olaf!
  • Dagwood Sandwich: During "In Summer", Anna and Kristoff are confused as to why exactly they appear in Olaf's dream sequence holding these when Olaf imagines what summer will be like.
  • Dance Party Ending: Skate party ending, but the idea's the same; happy fun at the end.
    Olaf: And glide, and pivot, and glide, and pivot...
  • Darker and Edgier: A major contender for this among Disney films, despite having a body count of only two minor characters (Anna and Elsa's parents), 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 the thing that will 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. Also, listen to the ominous music that follows right after and the fact that you hear the percussion from the ice harvesters' song "Frozen Heart", from the line "beware the frozen heart".
  • Decon-Recon Switch: Several. To wit:
    • Rather than Love at First Sight being the cure for isolation and abuse, this movie treats it rather as a symptom, for both Anna and Hans. Hans, however, is clever enough to exploit Anna's vulnerability. Though Elsa and Kristoff's mockery of the sudden engagement and Hans' revelation as a Sociopath seem to deconstruct this trope, Anna is still saved by the Power of Love, both through loving self-sacrifice and family reconciliation. Hans unfortunately has no such breakthrough prior to arriving in Arendelle (or apparently afterwards).
    • 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. When he tries to communicate, he must use body language, like a real pet.
    • 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 freezing solid. When she's taken captive she's just about on her deathbed, so one can forgive any "helpless" vibes, because she's honestly almost beyond reviving.
    • "Do You Want to Build a Snowman?", "For the First Time In Forever", and "Let it Go" are each 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 Elsa back in her life; in the second, we see Anna's naivete while Elsa's part is about her dread for the upcoming coronation; in the third, it's more a revelation of Elsa's that she's finally free to be herself — regardless of the consequences for her kingdom and sister — now that she imagines that she has nothing left to lose.
  • 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. Cuts to Anna looking like a complete bedhead: fast asleep, very messy hair, snoring and drooling all over her pillow.
  • Despair Event Horizon: By sort-of lying about Elsa being responsible for Anna's death, Hans deliberately pushes Elsa over it. Would've worked too, if it hasn't made Elsa so emotionally empty that her Psychoactive Powers shut down, ending the blizzard and allowing Anna to spot them and save her sister.
  • 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.
    • Anna, briefly, after running into Hans. "You're gorgeous. Wait, what?"
    • Kristoff when he gleefully tells Anna "I could kiss you!" when she gives him his new sleigh.
  • Did You Actually Believe...?: "You were so desperate for love, you were willing to marry me, just like that!"
  • 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.
  • Dies Wide Open: A magical variant, combined with Taken for Granite. When Anna's curse completely envelopes her and turns her to ice, her eyes are wide, staring, and fearful.
  • 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 1950s or even from something like Mary Poppins. Its visual style, with blazing sunshine, saturated colors, and bloom, is completely unlike the rest of the movie. It's lampshaded when Anna and Kristoff seem surprised and confused to find themselves in it towards the end.
  • Disney Death:
    • Princess Anna turns into an ice statue but thaws moments later.
    • Sven falls into a chilly ocean when the ice breaks, but resurfaces moments later.
  • 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.
  • Disney Villain Death:
  • Disproportionate Retribution:
    • Marshmallow's response to Anna hitting him with a snowball is to chase her and Kristoff away. Anna should have listened to Kristoff saying "Let the snowman be!" Especially since it looked like Marshmallow is turning to go back inside when Anna throws the snowball at him.
    • Sending an ice monster to drive Anna away is a bit much, too.
  • Dodgy Toupee: The Duke's toupee comes off at one point.
  • Doomed New Clothes: Anna's coronation ballgown doesn't really last. When she falls into an icy creek, the skirt is frozen solid within seconds of Anna standing up. Thus further justifying that her main purpose for stopping at Wandering Oaken's Trading Post and Sauna (conveniently just a few hundred feet away from the creek) is go get more appropriate cold weather gear.
  • Double Aesop: "Fixer Upper" is about a potential romantic relationship with Kristoff, but the song applies perfectly to Anna's sisterly relationship with Elsa. Strangely enough, it doesn't seem to apply to Hans... as far as we know.
  • Double Meaning:
    • "Let it Go" is about how Elsa can finally stop trying to hold in her powers, but also about how she is leaving 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".
  • Dramatic Wind: Once Elsa's powers are revealed, her emotional state can usually be determined by observing how hard it's snowing. You can also tell whenever she has hit a full-blown Heroic B.S.O.D., 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.
  • Dreamworks Face: In all the posters for the film, Elsa is shown making this face. Typically, the rest of the main cast will be all smiles alongside her, although there are some posters of the sisters where Anna attempts to imitate Elsa's, which shows how much she looks up to her big sister.
  • 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.
  • Earn Your Happy Ending: Elsa and Anna reconcile and the kingdom is happy. 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.
  • 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.
  • Every Car Is a Pinto: When Kristoff's (wooden, freshly lacquered) sled falls off of a cliff, the impact breaks a lit lantern, splashing the sled with flaming oil.
    [sled bursts in to flames]
    Kristoff: But I just paid it off!
  • Evil Cannot Comprehend Good: The trolls entertain True Love's Kiss as being only one of the ways to save a frozen heart, but Hans clearly believes that "True Love" can only come from the love of a man and a woman. He doesn't consider the love of siblings, though given his own relationship with his brothers and what Anna had told him about her relationship with Elsa, of course he wouldn't.
  • Evil Virtues: This is combined with Pragmatic Villainy in some cases. Both villains. Hans is nice to Anna even before she introduces herself as the local princess, 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.
  • Evil Wears Black: Subverted. In order to throw off the audience, Hans wears light colors while Kristoff, Anna, and Elsa wear darker colors.
  • Exact Words:
    • Only an act of true love can thaw a frozen heart. And it doesn't have to be romantic love, nor does it state who has to do said act — or even which heart needs thawing. Anna's heart - and body - literally freeze solid, but when their sisterly love unfreezes Anna it also thaws Elsa's metaphorically frozen heart.
    • 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 (along with her parents' fears) and her constant repression of them that leads to them running out of control.
    • 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. It's made even funnier when Olaf sits down beside Kristoff, and Kristoff very reluctantly joins in counting as well. If you count along slowly while Anna goes in to talk to Elsa, it is almost sixty seconds exactly when Olaf comes in. In real time it feels a bit closer to seventy seconds, but they did have to get up the stairs.
    • During "For the First Time in Forever" Anna sings "I suddenly see him standing there, a beautiful stranger, tall and fair!", but this is actually averted. Hans is actually on the short side of average, he's a redhead, and he introduces himself within seconds. Kristoff is closer, being much taller and fair-haired, but he's more gruff and aloof than "a beautiful stranger".
    • Another aversion causes a problem for Elsa growing up. The king advises her to "Conceal it; don't feel it", but she grows up shortening it to "Conceal; don't feel", which just makes things worse as her powers are emotion based.
  • 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 platinum blonde streak after she is struck in the head by Elsa's ice powers. Later, her hair goes completely white after Elsa strikes her in the heart and she is slowly dying as a result. After Anna thaws from being frozen solid, the platinum blonde streak in her hair is gone.

    Tropes F to M 
  • Failed a Spot Check: Elsa apparently doesn't notice that she accidentally caused an endless winter until Anna tells her, or at least she isn't aware of how far it extends, which is strange because Arendelle can easily be seen from the mountainside.
  • Failsafe Failure: Elsa has no problem controlling her powers as a young girl 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.
  • Fairy Tale: Inspiration is drawn from Hans Christian Andersen's original The Snow Queen.
  • Falling Chandelier of Doom: When an arrow meant for Elsa, due to the intervention of Hans, heads 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.
  • Falling in Love Montage: "Love Is an Open Door" acts as one for Anna and Hans. To further drive the nature of the song home, they agree to marry the second it ends.
  • Family Business: Oaken and his family run their own trading post (and sauna).
  • 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 built around a port as well. As Humon, the creator of Scandinavia and the World, details in the strip "Frozen Nordics", it isn't just that Arendelle is Fantasy Norway, the Southern Isles are Fantasy Denmark and Weselton is Fantasy Sweden, with Kristoff being a Saami. She also proposes that the trolls live in a fantasy version of Iceland (thanks to all the steam around where they live) and that Oaken is from Fantasy Finland (due to his love of the sauna).
  • Fantasy Gun Control: Despite its ambiguous setting, the clothes and architecture resembles the Victorian Era, but the only ranged weapons are javelins and crossbows.
  • Fat and Skinny: The two servants of the Arendelle castle who have given names: Kai (fat) and Gerda (skinny).
  • Feminist Fantasy: It stars two strong, female protagonists (one of which has god-like ice powers that are noted for being "stronger than a hundred men!") 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.
    • "Fixer Upper" has it so that every other line is sung by a troll other than the line before or by the group.
  • First Girl Wins: Played with. Though Hans is the first boy shown to the audience as a love interest and the first boy to properly meet Anna, Kristoff appears in the movie before him during A Minor Kidroduction along with Sven, Elsa, and Anna. This means that Kristoff is the first boy introduced to the audience and is also technically the first boy to see Anna (though he didn't know who she was at the time).
  • Fisher Queen: Elsa involuntarily creates an Endless Winter for her entire kingdom that can't be lifted until her emotional problems are dealt with. On a smaller scale, her ice palace on the mountainside changes between beautiful and scary depending on her mood. Her moods can also more acutely affect the weather: strong anxiety and emotional turmoil tend to cause a swirling snowstorm around her, while emotional shock and numbness tend to cause such a frozen stillness that snowflakes are suspended motionless in midair.
  • Flashback Cut: When Anne tells Elsa that they can be close again like they were as kids, Elsa has a sudden flashback to the traumatic accident which leads her to deny Anna's wish.
  • Flyaway Shot: The movie ends with a zooming out from the court to an aerial view of the entire castle, now partially ornamented with Elsa's ice powers.
  • Forced into Their Sunday Best: One boy, for Elsa's coronation, as seen in this exchange:
    Son: Why do I have to wear this?
    Mother: Because the Queen has come of age! It's coronation day.
    Son: That's not my fault!
  • Foreshadowing: Has its own page.
  • Forgot About His Powers: When her ice palace is under attack, Elsa is still suffering from the news about freezing the kingdom, and is desperate to control her powers again. So at this point, she seems to either forget the various non-lethal ways to use her powers against Weselton's men, or hopes to avoid using her powers and risk harming anyone.
  • Forgotten First Meeting: Kristoff saw the troll elder curing Anna when they were kids. He even mentions witnessing it to Anna in the present, but never considers that Anna could be that same girl.
  • The Four Chords of Pop: "Let It Go", in the chorus.
  • 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).
  • Fourth Date Marriage:
    • Lampshaded. Neither Elsa nor Kristoff can believe that Anna became engaged to a guy she just met, with both essentially saying that she needs time to get to know him first. Protip: If the suitor turns out to be a gold digger or a throne chaser, you can easily break it off before such a relationship would otherwise bite you in the ass. Even Hans himself sounded surprised at how quickly Anna agreed to marry him: "You were so desperate for love, you were willing to marry me just like that!"
    • Later, Kristoff's family try to convince the girl he's just met to marry him on the spur of the moment, despite the fact that neither of them is interested. They have a love epiphany later, so maybe the trolls were ahead of curve.
  • Freeze-Frame Bonus:
    • Rapunzel and Eugene are two of the guests at Elsa's coronation.
    • When everybody else is panicking after Elsa accidentally reveals her powers to the public, one of the Duke of Weselton's guards (to be more specific, the beardless one) smiles and looks momentarily attracted to her.
    • When Hans is talking down Elsa in her castle, you can see his eyes instinctively looking up at the chandelier when the one man is about to shoot her with a crossbow bolt.
    • Literally: When Hans is about to strike the ice-infused Anna, you can see the frost forming on his blade just before it shatters.
    • There are Hidden Olafs throughout "In Summer", such as the cloud in the sky or the ice cubes in a drink.
  • Freudian Excuse: "Throw a little love their way, and you'll bring out their best." In other words, if someone's best hasn't been brought out, it's because love was never "thrown their way." For example:
    • Hans's villainy stems from growing up without being loved.
    • Kristoff's inital misanthropy may have resulted from growing up among ice miners who treated him badly (i.e. ignoring him and leaving him behind). The trolls treated Kristoff better, hence why he's warmer to them and not with humans.
  • Friendless Background: Both Anna and Elsa spent their lives raised in seclusion, and both of them had no friends growing up. According to Word of God, neither did Hans.
  • Frothy Mugs of Water: In keeping with Disney tradition, this trope is not in play: the party guests, Hans included, are quite obviously drinking champagne, making his line "or maybe it's the party talking" in "Love is an Open Door" suddenly make a lot more sense.
  • Funny Background Event:
    • During Elsa's coronation, while Anna and Hans wave to each other (right before the bishop places the tiara on Elsa's head), you can see the guy sitting on Hans's left is apparently so bored by the event that he has fallen asleep and is leaning against him, gently snoring.
    • When Anna and Kristoff are tossed out of Elsa's ice palace by Marshmallow, Sven is shown to have his tongue stuck to the railing of the staircase.
    • During the coronation, when Anna is announced she runs on stage and awkwardly waves at the crowd. If you look at the bottom of the screen one of the guests waves back at her.
  • Get Out:
    • Elsa doesn't exactly say it, but this is what she conjured up Marshmallow to say.
    • Oaken physically throws Kristoff out of his store after Kristoff calls him a crook.
  • Getting Crap Past the Radar: Has its own page.
  • 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.
  • Girls Love Chocolate: Both Anna and Elsa love chocolate, with Anna having more than a few lines mentioning it.
  • God Save Us from the Queen!: Queen Elsa is a Played With and possibly defied case. Elsa wants more than anything to be a benevolent queen but her ice powers covered the country in snow.
  • Go Mad from the Isolation: Played for Laughs during the second verse of "Do You Want to Build a Snowman?", when Anna mentions that she has started talking to the paintings in the castle because of her lack of company. Takes a more serious turn when she decides to marry Hans immediately after meeting him, probably because of desperation resulting from her almost cloistered childhood. And takes a MUCH more serious turn when Elsa flees Arendelle, goes into isolation, and later forces Anna to leave her ice palace, when her sanity is at its lowest ebb in the entire film.
  • Good Parents: Elsa and Anna's parents were shown to be caring and loving towards their two daughters. They frantically search for way to help Anna after the accident; their concern is clear.
  • Gorgeous Garment Generation: As Elsa reinvents herself as the Snow Queen, she uses her ice power to turn her restrained coronation dress into a magnificent, flowing ice-blue number.
  • Graceful in Their Element: Elsa is very reserved and proper in Arendelle, but becomes far more comfortable after leaving, to the point that in "Let it Go," she's practically dancing while building her ice palace. Graceful in Her Element, indeed.
  • Grim Up North: Being a Fantasy Counterpart Culture to the Nordic Countries, Arendelle is very cold but it's a Played With example — it's a pretty positive portrayal.
  • Hammerspace: Where did Hans get his sword when he's about to slice at Elsa out on the fjord? When he catches up to her, he is not wearing his sword or the scabbard to holster the sword in. We hear the shing of his sword being drawn while Anna is on screen, and when we next see Hans, he has his sword in hand but still no scabbard. This is in contrast to the attempt to capture Elsa at her ice castle, where Hans's sword and scabbard are clearly visible.
  • Hand Gagging: Kristoff does this to Anna in an attempt to keep her quiet while he scans his surroundings for wolves.
  • Happily Adopted: Kristoff and Sven by the trolls. All of them are like doting parents.
  • Harmless Freezing: Averted.
    • Elsa's powers are scary because freezing is far from harmless.
    • Slipping into a winter creek wearing only a summer dress is a painful and dangerous situation. It's a good thing Anna found Wandering Oaken's Trading Post and Sauna very shortly thereafter.
    • Internal freezing is slow and fatal. However, this is also a straight example because Anna is fine after being an ice sculpture, but this was not a mundane freeze, nor was it a mundane thaw.
    • Played straight at the end of the movie. An entire day covered in snow does not seem to have harmed the plant life at all. Plant life that far north of the equator is probably accustomed to an occasional unseasonal freeze, but even the most delicate blossoms sprang miraculously back to full health.
  • Harmony Versus Discipline: Elsa has spent her whole life trying to master her powers through Discipline, by staying in a carefully controlled environment and trying to avoid strong feelings of any kind. It turns out that they are better controlled through a selective use of Harmony — while negative emotions make them run wild, positive emotions grants perfect accuracy with them.
  • Hate Sink:
    • The Duke of Weselton counts as this since his prejudice towards Elsa for just having powers she can't control is kind of uncalled for.
    • But especially Prince Hans for being a cold-hearted bastard who fakes Love at First Sight with Anna only to reveal he doesn't actually love her and leaves her to die, and then tries to kill Elsa by claiming that Anna is already dead and striking her at her moment of weakness.
  • Held Gaze: Anna and Kristoff have more and more of these as the journey progresses.
  • Heroic B.S.O.D.:
    • Happens with Elsa twice in the film. First during the final verse of "Do You Want to Build a Snowman?" when she discovers that her parents have been killed in a storm, and then later when Hans makes her believe that Anna has frozen to death. On both occasions, the snow stops moving in the air as a sort of visual cue to Elsa's mental state.
    • Kristoff gets one when Anna freezes solid. He mentally shuts down to the point that he just stares at the ground with a blank expression on his face. His mental detachment from reality is to the point that when she starts to thaw, he doesn't even notice until Sven nudges him to snap him out of it.
  • 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 Anna's life but cost Elsa hers.
    • Sven shoves Kristoff off of the cracking ice onto (more) solid ground, falling into the freezing water himself. Only played with, as he scrambles out of the water himself shortly afterwards.
    • Olaf helped Anna and Kristoff bring back summer, even as he came to realize—if he didn't realize all along—that this would ultimately kill him. Ultimately averted though by Elsa's creation of a special cloud for Olaf.
    Olaf: Some people are worth melting for.
  • He Was Right There All Along: When Hans' group approach Elsa's ice palace, there's a new pile of snow next to the staircase that we didn't see the evening before when Marshmallow was tossing Anna and Kristoff out. Turns out the pile is Marshmallow sitting down with his back to the camera to catch them off-guard.
  • Hollywood Costuming: The film is supposedly set somewhere in the 1840s, yet the skirts of both sisters' costumes don't even show a hint of crinoline. They either fall in tight folds that flounce nicely when moving, like Anna's ball gown, or straight down, like Elsa's coronation dress. A cut scene from an earlier draft of the movie showed the sisters together in a dressing room where Anna tries on a tight laced corset (as fashion standards of the actual time period dictated), possibly lampshading the physical features both Elsa and Anna display.
  • Hollywood Law:
    • While there are precedents for revolutionaries to charge monarchs with treason against their own countries and sentence them to death (e.g., Charles I in the English Civil War), it's hard to interpret a representative of a foreign nation judging and carrying out such a sentence as anything other than an act of war.
    • There should have been a regent who would have ruled Arendelle in the three years between the King's death and Elsa's coronation, and this person, not Hans, would most likely have been put back in charge when Elsa went missing (assuming said regent hasn't already passed away for whatever reason). A storyline which would have included a regent was deleted from the script — see Princesses Rule.note 
  • Hollywood Personality Disorders:
    • Elsa displays enough traits to fit the diagnosis of borderline personality disorder: she is emotionally unstable, has a hot temper, and suffers chronic feelings of emptiness and impulsiveness. Her upbringing is also for the most part typical of those with the disorder, with the emotional invalidation she experienced ("Conceal it, don't feel it.") being one of the key driving forces of the plot.
    • Or autism... (which is not a personality disorder but a difference in neurological wiring, but still)... She was just born differently (how autistic individuals usually feel about themselves) and has terrible difficulty functioning socially and maintaining relationships.
    • Both of them were so socially isolated that having some sort of issue that is at least bordering on a personality disorder is quite realistic.
  • Hood Ornament Hottie: Spoofed. When Kristoff's sled is replaced, Sven does a pose on it similar to this trope.
  • 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 quiet sobbing from Elsa as the last few chords just hang quietly.
    • Later, a Hope Spot for everyone when Anna gets a perfect opportunity for her True Love's Kiss only for Hans to make the reveal.
    • Earlier on, during the ball, Anna is happy when Elsa is finally talking with her again, and they seem to get along as good as before. But Elsa shuts her down hard when Anna suggests things could be like this every day, but because Elsa still wants to hide her powers, she can't tell Anna why. This only makes Anna more depressed than before.
  • How Do I Shot Web?: From the age of eight until she flees her coronation at twenty-one, virtually every time Elsa's powers have manifested, it's been an accident spurred by bad emotions. Only in "Let It Go" does she start to experiment and quickly realizes just how much control she actually has over them if she puts her mind to it.
  • Humans Are Bastards: Kristoff believes this, as detailed in "Reindeer(s) Are Better Than People":
    Kristoff: Reindeers are better than people / Sven, don't you think that's true?
    Kristoff (as Sven): Yeah, people will beat you and curse you and cheat you. / Every one of them's bad, except you [Kristoff]!
  • Hurricane of Puns: During a few of the lines in "Let It Go", Elsa makes several ice/snow puns as she makes her ice palace (e.g. in the line "A kingdom of isolation, and it looks like I'm the queen," she stresses the first syllable of "isolation"). Likewise her thoughts "crystallize" (a wordplay not all of the dubs manage to translate).
  • Hypocritical Humor:
    • After Anna puts her feet on the sled front, Kristoff shoos them off, asking "Seriously, were you raised in a barn?" Kristoff then spits on that part of the sled to do a quick "polish".
    • In the same scene, Kristoff asks "Didn't your parents ever warn you about strangers?" and Anna almost immediately scoots away from him, as if ignoring that she pretty much gave Kristoff gave no say in transporting her up the North Mountain.
    • According to Kristoff, the trolls (who are "love experts") would disparage Anna for getting engaged to a man she just met. When he brings her to them, they try to get them married immediately. In the trolls' defense, they don't know that the two of them just met. One troll mentions that Kristoff has been gone for awhile, so they might think that they've been going steady for awhile. Their comments about getting Anna's fiancé out of the way to fix the whole thing, on the other hand, are something different.
    • Elsa calls Anna out for falling for Hans so quickly saying, "Anna, what do you know about love?" reasoning that Anna is too sheltered to know what love means. It's understandable, except Elsa is also a bit sheltered about the world.
  • I Am a Monster: Elsa thinks this of herself because of her ice powers.
  • "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. It works as a I Am What I Am as well.
  • Ice Breaker: When the icy curse completely overwhelms Anna, the extreme cold shatters Hans' sword.
  • Ice Palace: Elsa, the Snow Queen, lives in one of her own creation.
  • If Only You Knew: The "Oh, Anna... If only there was someone out there who loved you." line has a little of this going on when you realize that Hans only assumes (based on his own relationship with his brothers and how Anna had told him that her relationship with Elsa was similar) that Elsa doesn't love Anna (when in truth, it's already been established multiple times that Elsa does care about Anna but her ice powers and fear of hurting others physically have made it impossible for her to properly express it). Even if Elsa didn't love her, there's still Kristoff, whose existence he's been completely unaware of at the time.
  • I Just Want to Be Normal: Averted. 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; she's just afraid that someone she loves will get hurt as a result of them. The times she is shown to be happiest are when she is free to use her powers to their limit.
  • Improbable Aiming Skills: Hans knocks one of the assassin's crossbows up, making it look like he was trying to save Elsa, but the bolt shot up and hit the narrowest part of the icy chandelier, dropping it on Elsa and knocking her out. If that was intentional, it certainly qualifies.
  • Inexplicably Awesome: Elsa's the only human character who has supernatural abilities in the film. Why? Because the plot requires that Elsa has ice powers. It isn't explained in the movie itself. Word of God mentioned that Elsa was born during a time when When the Planets Align, but that doesn't explain a lot.
  • 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. Anna actually bears a resemblance to Kristen Bell, even adapting Bell's ever so slight lazy right eye (meaning Anna suffers from a mild form of strabismus).
    • Inverted when they were adapted to the small screen for Once Upon a Time and the actresses cast for both sisters (Georgina Haig as Elsa, and Elizabeth Lail as Anna) are dead ringers for their physical appearances in the movie.
  • In Love with Love:
    • Anna herself at the beginning of "For the First Time in Forever". Being lonely for so long seems to have led to a fixation with romance on her part.
    • The trolls. They're considered "love experts".
  • In-Name-Only: Heck, the domestic title isn't even that, but international titles include the original story's name. Frozen was originally intended to be an adaptation of Hans Christian Anderson's "The Snow Queen", and then ended up a very different story after various attempts ran into trouble trying to make a film of the story. Tellingly, the end credits say that it is Inspired by... "The Snow Queen", not based on it. A few similar concepts from the original tale do show up, albeit they are used in different ways (for example, Grand Pabbie altering Anna's memories similar to the part in the original tale where Kai's memories are removed by the Snow Queen in the original tale, as well as a main character's heart becoming frozen and starting to freeze their body).
  • Instant Ice, Just Add Cold: Justified in that magic is involved, but Elsa makes it not only cold, but a foot or so of snow everywhere, because cold things look better with snow and ice.
  • Instrument of Murder: While being chased by wolves, Anna drives one off by swinging Kristoff's lute at it like the lute's a baseball bat.
  • Internal Reveal: Elsa had absolutely no idea that her actions accidentally caused an Endless Winter until the Dark Reprise of "For the First Time in Forever". Even then, as she quickly admits to Anna, it would take some time before she's able to figure out how to stop it.
  • In the Style of...: "Fixer Upper" sounds a lot like the kind of songs that appeared on Fraggle Rock. The songwriters, husband and wife couple Robert and Kristen-Anderson Lopez had initially become famous for parodying Jim Henson in Avenue Q.
  • Ironic Echo: Elsa (through the royal messenger) mispronounces Weselton as "Weaseltown" the first 2 times it is said. The third time, she means it.
  • Irony:
    • When Anna tells Elsa that "I can't live like this anymore!" Elsa responds by telling Anna "Then leave!" Moments later, it's Elsa herself fleeing the castle after accidentally displaying her powers in front of all the guests.
    • "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 and black comedy because everything he daydreams about is something that will only melt him faster. And Kristoff almost contemplates interrupting the song to tell Olaf this, only for Anna to say, "Don't you dare!"
      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 the 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 trolls, they immediately try to get him and Anna married.
    • In "For The First Time In Forever", Anna wonders if that night she'll meet the one, thinking he'd be "a beautiful stranger, tall and fair". While she initially thinks it's Hans, Kristoff is the "tall and fair" one (being a husky blond), and she does meet him that night.
  • It Is Pronounced "Tro-PAY"!: People keep deliberately getting the Duke of Weselton's name wrong, pronouncing it as "Weasel-town" instead of "Wessel-ton". It's implied that they deliberately gave him this nickname because they dislike him — and at the end, notice that when Elsa decides to cut trade off with Weselton due to the Duke trying to kill her, she deliberately calls him "Weasel Town".
  • I Want My Beloved to Be Happy:
    • Elsa wants Anna to be safe/happy. Shutting her out since she was a child (with intention to keep her safe). At the end, as she tells Hans "Just take care of my sister!", it becomes really clear that it's what she's always wanted. Exposited at the ice castle, during Elsa's solo in "For The First Time in Forever (Reprise)":
      Elsa: Please go back home
      Your life awaits
      Go enjoy the sun
      And open up the gates
      You mean well
      But leave me be
      Yes, I'm alone but I'm alone and free
      Just stay away and you'll be safe from me
    • Kristoff towards Anna near the end, thinking that bringing her back to Hans will save her life, despite his own growing feelings towards her and that he may never see her again afterward. Sven tries to get Kristoff to defy this.
  • "I Want" Song:
    • "For the First Time In Forever" for Anna as it talks about the companionship (romantic and otherwise) that she craves.
    • "Do You Want To Build a Snowman?" is a sadder "I Want" Song for Anna, as she just wants her beloved sister back.
    • "In Summer" for Olaf describes all the things he wants to do in summer.
  • Jumping Off the Slippery Slope: Elsa almost does this when she nearly kills the Duke's men, but Hans points out that she's on the brink of becoming the monster that a few xenophobes have accused her of being.
  • Just Between You and Me: Hans tells Anna of his Evil 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 he 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." In case he forgot that without blankets and other stuff, many would be freezing to death. Hans's cold response suggests that he really doesn't like the Duke's way of thinking.
  • The Kingdom: Arendelle, which is inspired by Norway/Scandinavia.
  • Knife Outline: Elsa does this to one of Duke of Weselton's bodyguards using icicles.
  • Lampshade Hanging: Invoked while Kristoff and Anna are chased by wolves:
    Kristoff: [smacks away a wolf with his foot] Who marries a man she just met?!
    Anna: [picks up Kristoff's lute] It's true love! [Anna hits another attacking wolf with the lute]
  • Lantern Jaw of Justice: Both humble nobleman Hans and rugged mountaineer Kristoff possess these and both of them are powerful and heroic men. Actually, Hans only pretends to be humble and heroic.
  • Large Ham: Anna. Also Kristoff every time he's speaking "on behalf" of Sven.
  • Laser-Guided Amnesia: In the prologue, after Anna is almost accidentally killed by Elsa, Grand Pabbie heals her by readjusting her memories of Elsa's magic; she still remembers the events, but as just mundane winter days.
  • Laser-Guided Karma:
    • The Duke of Weselton loses his trade treaty, and is hit with an outright embargo, for his little attempt to have Elsa shot with arrows.
    • Hans is sent home to be judged by his brothers, the very people he was hoping to prove himself superior to by usurping Arendelle. Royals throughout history have taken a dim view of family members A) trying to take shortcuts to a throne, any throne, especially without clearing it through them; and B) failing spectacularly at doing so, leaving the crowned head in question in a position to demand restitution. In Frozen Fever, a snowball sneezed out by Elsa (while blowing a bungle horn) takes off from Ardendelle and lands on Hans just as he is shoveling manure at the Southern Isles' Royal Stables. Talk about karma!
  • Last Note Nightmare:
    • The reprise of "For the First Time in Forever" is shut down abruptly by Elsa's scream of "I can't!", then shifts to a minor key when the results become apparent.
    • And "Do You Want to Build a Snowman" has a downer ending, listed under Hope Spot above.
  • Last-Second Word Swap: From "In Summer", we have this gem:
    Olaf: [singing]
    Winter's a good time to sit close and cuddle
    But put me in summer and I'll be a...
    [stares at, then jumps over a puddle in front of him]
    Olaf: [brightly] ... happy snowman!
  • Late-Arrival Spoiler:
    • On one version of the DVD cover, Hans is nowhere to be seen making it obvious to people watching for the first time he's not the nice guy he seems.
    • The "Making Frozen" documentary that aired on TV 10 months after the movie's release doesn't attempt to avoid spoiling that "the handsome prince is the bad guy".
    • Trailers made Elsa look like an antagonist instead of one of the heroes. Since she became the Breakout Character, virtually every bit of marketing and licensed item has been very open that she's a good person.
  • Laugh of Love: Anna tends to sigh and giggle a lot around Hans from the moment they meet, at least until he reveals his true colours.
  • Leave the Two Lovebirds Alone: When Anna comes back and asks Hans to kiss her after being accidentally struck with ice in the heart from Elsa, the other people in the room excuse themselves with "we'll give you two some privacy".
  • Left for Dead: Hans does this to Anna by leaving her in a cold room so Elsa's ice magic can kill her. He doesn't want to have his hands dirty, you see (bludgeoning her with a fireplace poker would be simpler, but then a bloody corpse would discredit his later stories).
  • 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.
  • Let No Crisis Go to Waste: Hans's original plan would have taken at least a couple years, but the Endless Winter allowed him to speed those plans up to only a couple days.
  • Let's Get Dangerous!: Elsa's first instinct is to run away from Weselton's goons, but then they corner her....
  • 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.
  • Literally Shattered Lives: Inverted, as Anna's frozen body is so cold that it breaks Hans's sword.
  • Literal-Minded: When Anna tells Kristoff and Olaf to wait a minute, Olaf starts counting. Olaf then barges in exactly one minute later.
  • Littering Is No Big Deal: Elsa throws her cape and glove into the wind after embracing her ice powers. Not that the cold is a problem. Those two things are never seen again. She also tosses her tiara away just before the third running of the chorus, and during the post-credits stinger, Marshmallow picks it up and dons it himself.
  • Little "No":
    • Elsa utters a barely audible "no" when Hans tells her Anna is dead because of her.
    • Anna utters one of these when she starts to see visible signs of her skin turning to ice.
  • Locked into Strangeness: When they are playing as children, Elsa accidentally hits Anna in the head with a blast of her magic, and a lock of Anna's hair turns platinum blonde. The platinum blonde streak persists as she grows up.
  • 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). The percussion then builds 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 hours. The pros and cons of the trope itself are explored, and as it turns out, placing love and trust in someone you don't know can have some pretty bad consequences. The development of the relationship between Kristoff and Anna is in stark contrast — and is manifestly not an example of this trope. Anna and Kristoff spent a considerable amount of time getting to know each other — and their families — in very trying circumstances, and do not appear to be headed for a quickie marriage. The idea here is that while chemistry will definitely exist, it cannot be forced or rushed for a real relationship to bloom.
  • Love Epiphany:
  • Kristoff is utterly in denial about his developing crush on Anna even despite Sven's efforts to turn him back around...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 Revelation Epiphany: Olaf tells Anna that Kristoff is in love with her. This coupled with Hans's betrayal makes her realize it's mutual.
  • Love Theme: "Love Is an Open Door" is set up as one, but it's downplayed in that while Anna is sincere about her verses, Hans is a bad guy and is 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. Then Hans is revealed as the villain, and Anna and Kristoff become an Official Couple. In fact, Hans and Kristoff never meet until the very end of the film.
  • Lyrical Dissonance: "Let It Go" has gained a reputation of being an Empowerment Anthem. While it technically is about Elsa finally accepting her powers, it's also about her choosing to live a life of isolation away from everyone else.
  • Magic Feather: Elsa's gloves don't actually hold back her powers, but her confidence in them to do so helps give her a measure of control over them. This also means that deliberately covering her hands to keep her from breaking out of a prison cell is only temporarily effective at best.
  • Major Injury Underreaction: Twice with Olaf:
    • His reaction to accidentally being split by an icicle is "Oh look at that. I've been impaled." in the most casual tone you can imagine. Being made of snow, it's a mild inconvenience, and actually amuses him, if anything.
    • He's 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...!
  • 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.
    • Invoked by Hans in one of the moments pointed to as evidence he's The Sociopath, when he announces his marriage to Anna followed immediately by her death, without adding that he did all he could to finish her off.
  • Match Cut: There's a subtle one where Anna is shown outside and everything around her changes so she's now inside.
  • Maybe Ever After: Anna and Kristoff decide to simply date at the end movie. There is the strong implication that will marry eventually, but only after they spend much more time together than a single day.
  • Meaningful Echo:
    • When they were little girls, Elsa built a snowman and named him Olaf, and would manipulate his arms while telling Anna "Hi! I'm Olaf and I love warm hugs!" Years later, she recreates him as she's leaving Arendelle, but unwittingly creates an anthropomorphic version who says this as his introduction. Fitting, as Olaf is a living symbol of the loving relationship Elsa and Anna shared before things changed between them.
    • Right before Olaf is introduced, Anna says, "I never knew winter could be so... beautiful," in response to the ice-covered willow vines she and Kristoff are walking through. Later, when she first gets to see Elsa, Anna compliments Elsa on her new ice dress and Elsa replies, "Thank you. I never knew what I was capable of," with the exact same tone of voice that Anna used when looking at the willow trees.
  • Meaningful Name:
    • Kristoff is a Slovak deviation of Christopher, so of course he's going to be a good guy. And his canon last name is "Bjorgman" — "Bjorg" is a feminine Nordish name meaning "help" or "salvation".
    • Hans. It's derivative of the name "John", which is what Anna thinks Hans's best friend's name might be. Also, it references "Hans Christian Andersen".
    • Elsa is the name of a heroine from Wagner's operas, who was in love with someone whose face she could never see.
    • Anna's name indicate that she's gracious and merciful.
    • Olaf has a name that is descended from the Old Norse name "Aleifr", which means "ancestor's descendent". He is Elsa's "descendent". His name is also Nordic for "treasure", and Olaf is more or less a "treasure" of the sisters' childhood memories. His name is also pronounced "oh, laugh", referring to his role as comic relief.
  • Metaphorically True: The troll prophecy. While the verbal message is just a standard Self-Fulfilling Prophecy with a Prophecy Twist, he is simultaneously showing various images to go along with his words. It is later shown that "fear will be your enemy" refers to the emotion of fear in Elsa. However, he represents fear as a violent mob attacking Elsa, which is completely at odds with the intended message.
  • 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 Steps Plan: Anna's "plan" for unfreezing Arendelle can be summed up as: 1. Find Elsa, 2. Talk to Elsa, 3. I'll put "???" here but it goes something along the lines of Elsa getting convinced to return down the mountain into Arendelle, 4. Elsa unfreezes everything! Kristoff lampshades this at one point.
  • Modeling Poses:
    • Spoofed when Sven did a hood ornament hottie pose to show off Kristoff's new sled.
    • Anna at several points in "For the First Time in Forever"
  • 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 (some reason that Elsa wants to privately reveal her powers to Anna). 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.
  • Mood Whiplash:
    • When Anna asks Hans for a kiss after Elsa freezes her heart, at first it seems all will go great, but then Hans stops and refuses, revealing his true nature, leaving not only Anna, but also the movie's audience, completely shocked.
    • The cheerful troll song "Fixer Upper" is followed by Anna collapsing due to her freezing heart which causes a dramatic mood switch.
  • Mook Chivalry: One of the two mooks going after Elsa at her castle aims at her with his crossbow but attempt to shoot until she is finished with the other mook and turns against him.
  • Moral Event Horizon: In-Universe, Hans begs Elsa not to "become the monster they think you are", as she is about to kill the two guys sent by the Duke of Weselton to shoot her, although it was still part of Hans's white knight act, and a kind Elsa was easier to handle. Elsa had never used her powers to deliberately hurt someone, and even just a few moments before she was merely trying to defend herself against the guards.
  • Motif: Locked doors, warmth/cold.
  • Murder by Inaction: Hans attempts this, depriving Anna of a supposedly life-saving kiss. Instead, he just leaves her to freeze to death. You could argue that he also sped up the process by extinguishing flames, but ultimately, it was a choice not to save, rather than to kill.
  • My God, What Have I Done?:
    • Elsa when she sees the deep freeze that has affected her kingdom, and again when she thinks she killed Anna.
    • Anna gets through this when it takes Hans betraying her to realize Elsa and Kristoff were right about objecting to their engagement.
  • Mythology Gag:

    Tropes N to Z 
  • 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 the middle of "Frozen Heart".
    Beautiful, powerful, dangerous, cold!
    Ice has a magic, can't be controlled!
    Stronger than one, stronger than ten,
    Stronger than a hundred men!
  • Never Say "Die": Averted, even early on, with Kristoff warning Anna about her impulsive, untrained attempts at mountain climbing: "You're gonna kill yourself."
  • Never Trust a Trailer:
    • Olaf's melting scene.
      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 Olaf and Sven antics, neither of whom had a great deal of screen time), but the story itself is more a mixture of drama as well as comedy.
    • The first full trailer made it look like Elsa created the Endless Winter on purpose — all of her shots showed her using her powers aggressively, with an angry look on her face. In truth, 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.
    • It also gave the impression that Anna's relationship to Elsa would be a secret to the rest of the cast until a big reveal; and that Anna had ice powers of her own.
    • The American TV commercials make the movie look like Tangled... IN THE SNOW!
    • The movie's nature as a musical was also mostly hidden, with only a single song in the preview.
    • Some TV ads focused entirely on Olaf praising him as if he was the main hero, not even acknowledging Elsa or Anna at all. Ads focusing entirely on plucky comic relief characters is common for Disney if not most animated movies.
    • A lot of ads for the movie make Hans out to be a supporting character of the movie by having him pictured along with Anna, Elsa, and Kristoff. Granted he was technically a supporting character at the beginning of the film, but this is ultimately revealed to be an act - and by the end, he has revealed himself as the films most villainous character.
    • Some trailers may have a clip where Kristoff and Anna are caught in a driving blizzard and Kristoff shouts "Now we have to survive this blizzard!" Anna replies "That's no blizzard, that's my sister!" The camera then shows Elsa casting her ice magic at the tippy-top of the North Mountain. This actually is a clip from test animation of the scene where Anna and Kristoff jump off the cliff to escape from Marshmallow (this test animation is similar, but also very different from the final version: among other things, Anna looks scared shitless while preparing to jump off the cliff, Marshmallow is actively trying to kill Anna and Kristoff instead of just chasing them out of Dodge, and his arms are made from tree branches instead of from solid ice).
    • Elsa is portrayed all over merchandising and promotional material with a confident Dreamworks Face smirk... but that belies the tightly wound ball of neurosis that she really is. Frozen Fever shows that even with her ice powers being openly accepted by the people of the realm, she still has some lingering issues.
  • 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 he doesn't tell her how to control it). Her father proceeds to make it worse by doing 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 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 host of ethical problems, but leaves Anna clueless as to why her beloved sister is suddenly ignoring her, effectively driving a wedge between the two. There is a strong implication that the reason they got rid of Anna's memories of Elsa's magic because it was when Elsa was playing with said powers that Anna got hurt, and there was a possibility that Anna might grow up afraid of Elsa if she knew that it was Elsa's magic that hurt her, even accidentally.
    • Elsa only learns she can create living snow golems because Olaf burst in on her and Anna after 60 seconds.
    • Elsa apparently just wants to be left alone, so she chases away the one group of people who were trying to help her by creating Marshmallow, who attacks them with a ferocity that endangers their lives.
    • Elsa's response to the eternal winter? Hiding in an ice castle, leaving the rest of the people to suffer.
  • 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.
    • Just before that moment, when Hans lies to Elsa about her curse killing Anna, Elsa's fear gives way to despair, resulting in the raging blizzard her emotions had conjured to subside as she goes numb. This gives Anna a clear view of Hans about to kill Elsa, prompting her to rush to her sister's side to block the blade.
  • Nightmare Fetishist: Olaf has an obsession with and eagerness to experience summer activities, blissfully unaware that he'll melt in the extreme heat.
  • No Body Left Behind: A rare and strange non-fatal example Hans is knocked out when he breaks his sword on the newly frozen Anna's hand, but is not visible in the wide-ish angle shots afterward. However, once Elsa thaws Arendelle, he regains consciousness and reappears on the ship's deck. Maybe he slid on his butt a few feet?
  • No Cartoon Fish: Sven is depicted in a cartoony manner (as are the ducks and ducklings that Anna encounters in "For the First Time In Forever"), but the pickled jar of lutefisk at Wandering Oaken's Trading Post and Sauna looks very realistic.
  • No Endor Holocaust: Once Elsa figures out the "undo" aspect of her powers, all the floral life affected by it is magically returned to a summertime state. Flowers exposed to the biting winter storm perk right up after the frosty wisps blow by them and whisk the snow and frost off, and the fairy tale color palette returns to the fjord (not to mention that just before, Anna turned from ice to normal, being just fine).
  • 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 dress for the coronation gets frozen stiff at the skirt when she falls into an ice-cold creek, and then she staggers like a Stop Motion cartoon the rest of the way to Wandering Oaken's Trading Post (and Sauna).
  • No Ontological Inertia: Played with — 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.
  • Norse by Norsewest: Arendelle is basically Norway.
  • No Sell:
    • Anna throws a snowball at Marshmallow. Sure, it doesn't hurt him because he's made of snow, but, well, the giant snow rage monster in him comes out and he tries to chase her down.
    • Hans and the guards try to shoot arrows at Marshmallow. Since he's, you know, made of snow, it doesn't hurt him.
  • No Sense of Personal Space: For the duration of "Fixer Upper", the trolls are all over Anna and Kristoff.
  • Not Allowed to Grow Old: Elsa's and Anna's parents look to be in their early to mid-twenties in the prologue. At first it's understandable, given that the girls are about 8 and 5 at the time. However, they don't age a day by the time of their death, when Elsa is 18 and Anna is 15. Older Than They Look may be in effect by then, but at the time of her death, Idun looks like the animation model used for Elsa at the coronation with brown hair and a different dress, which looks egregious when an 18-year-old Elsa is standing right in front of her.
  • Not What It Looks Like:
    • A mild example, when Anna and Kristoff confront Elsa in her ice palace. One of the first things Elsa does upon seeing Kristoff is to ask Anna, "Who's this?" in a suspicious tone that suggests Elsa thinks Anna has found another stud to have a whirlwind courtship with.
    • Anna's first meeting with Hans, as she crashes into his horse, then falls into a precariously positioned rowboat. Hans's attempt to apologize to her ends up with him falling on top of her, and then she falls on top of him.
      Hans: Oh, boy! Uh...
      Anna: This is awkward. Not you're awkward, but just because we're... I'm awkward — you're gorgeous. Wait, what?
  • Odd Name Out: In a more subtle example, Kristoff is the only main character whose name is not four letters long, including even the Duke (of Weselton). It could symbolize his role as an outcast, but it's probably just a coincidence. Even Elsa calls her and Anna's parents the four-lettered "Mama" and "Papa".
  • Oh, Crap!:
    • Elsa has several of these, but her biggest one comes when she sees the ice chandelier falling towards her.
    • Anna has some too, her biggest one, even bigger than Elsa's is when she finds out Hans only faked his love for her to seize the throne.
  • One Steve Limit: Played for Laughs. When Anna is introducing Kristoff and Sven to Olaf, she mistakenly thinks Olaf is gesturing to Sven when he asks "who's the funky looking donkey over there?" when he's actually referring to Kristoff. This leads him to think that Kristoff and Sven are both named "Sven" for much of the movie.
  • One-Winged Angel: Downplayed with Elsa's ice creature "Marshmallow". Although he's already pretty intimidating, make him mad and he'll sprout giant ice spikes that make him look like Bowser if Bowser were made of ice, before attacking.
  • One-Woman Wail: Used over the end of For the First Time in Forever (Reprise) after Anna is struck in the heart by Elsa's ice magic. It really drives home how screwed she is. Oddly, the wail is absent in the soundtrack version of the song.
  • Only Six Faces: Elsa, Anna, and their mother all have the same facial structure. However, like many other Disney animated films, the basic reason is that they share a Strong Family Resemblance.
  • Opening Chorus:
    • "Vuelie", sung during the opening credits and logos (including the Disney castle logo).
    • "Frozen Heart", sung by ice harvesters in the prologue, right after the opening credits.
  • Orphan's Ordeal: Anna and Elsa's parents lose their lives in a storm on their way to visit a foreign kingdom by sea at the beginning of the film. This robs Elsa of the two people who know what she's going through, strains Anna and Elsa's failing relationship further than it already was, and forces Elsa to become queen at the young age of 21, a responsibility that she is by no means ready for.
  • Outside-Context Problem: Elsa is the only magical being in the entire film, which is one of many reasons why she is depressed. She's so out there and powerful that the antagonists have no real means of countering her, except to attack her very human side.
  • The Outside World: Elsa and Anna both are trapped in the castle, Elsa physically out of necessity, Anna metaphorically by naïveté (she could technically leave at any time). They both emerge into the Outside World in two different ways. Anna goes on a journey searching for Elsa, who decided to Let it Go and stop holding in her powers by fleeing nto the snowy mountains.
  • Pair the Spares: Averted. Once Anna and Kristoff go on the adventure together — and especially after "Fixer Upper" — Hans seems to be the odd man out. Hans's kindness to Elsa in the ice palace suggested a possible pairing, but Hans's later Evil All Along revelation upends this. Not that that's stopped some fanfic writers from trying.
  • Parental Abandonment:
    • The king and queen perish in a storm at sea.
    • The introduction shows Kristoff with a group of ice harvesters but by time Anna and Elsa's parents 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 parents nor even other ice harvesters anywhere to be seen.
  • Parental Marriage Veto: In this case, Older Sister Marriage Veto. Elsa doesn't approve of Anna and Hans marrying when they've only known each other for a few hours or the equivalent of one musical number.
    Elsa: You can't marry a man you just met!
  • Parental Neglect: Anna's parents seemingly never notice that their youngest daughter is going nuts with boredom, due to no guests being invited in the castle anymore.
  • Parent Service: Elsa doing her Sexy Walk in "Let It Go" in a slinky dress.
  • Pent-Up Power Peril: Elsa has grown up fearing her powers and trying to avoid using them, which just causes the power to build up and leak out (which makes her even more afraid of losing control of her powers, so she clamps down even more, which only leads to an ever repetitive cycle). Things come to a head when she plunges the kingdom into an endless winter without meaning to. But when she stops worrying about being found out and starts using her powers deliberately, she quickly gains full control of them.
  • Perpetual Storm: Elsa's Power Incontinence causes one. It gets worse when she gets agitated.
  • 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: A handful of pretty capes appear in this movie.
    • Elsa's coronation cape has lots of subtle trimmings. When she becomes the Snow Queen, she makes a lovely ice cape with snowflake patterns.
    • Anna gets a green cape decorated with rosemaling when she goes after Elsa. After she loses that, she gets a magenta cape lined with white fur on the collar.
  • Pimped-Out Dress: Anna, Elsa, and their mother wear dresses with some highly elaborate and lovely Norwegian inspired rosemaling (easy to miss at a distance). Then, once Elsa reinvents herself as the Snow Queen, she conjures herself a stunning off-the-shoulder gown complete with ethereal cape out of ice.
  • Platonic Declaration of Love: Near the end, Elsa asks her sister, Anna, "You sacrificed yourself for me?" Anna replies, "I love you." Of course, the point of the film is that true love can be platonic.
  • Please Wake Up: Elsa, for a moment after Anna is frozen solid, before she breaks down.
  • Plummet Perspective: Some snow falls off a cliff when Anna and Kristoff are fleeing from Marshmallow.
  • Polite Villains, Rude Heroes: After Hans shows his true colors, he fits this when compared with the grumpy but selfless Kristoff. Hans is the smooth, charming, and well dressed villain, and Kristoff is the snarky, impolite, and sometimes insensitive Tritagonist of the film.
  • 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, their father Agdar, or mother Idun, had just told Anna about Elsa's powers when they felt she was old enough.
    • Elsa's self-imposed isolation after her parents died might also be the result of a misunderstanding. When Agdar gives Elsa her first set of gloves, he tells her "conceal it, don't feel it", which suggests Elsa should stop thinking about her powers. Elsa later dropped the two "it"s, making the "conceal, don't feel" mantra that she seems to have lived with up through her coronation, which changed the intended meaning from "try to treat your powers like they don't exist" to "I must suppress all emotion so my powers can't flare up."
    • The trolls have no idea how to help Elsa gain control of her powers — only that she shouldn't let fear control her.
    • After young Elsa accidentally struck Anna in the head and called her parents for help, her father came bursting into the room saying, "Elsa, what have you done? This is getting out of hand!" Except that Elsa had been controlling her powers perfectly until the second Anna was in danger, then she struck out of fear. If her parents had asked or Elsa had been able to articulate what really happened, her parents would not have raised Elsa and Anna the way they did and most of the film's conflict would not have happened.
  • The Power of Love: A big theme for the film, but it also plays around with expectations on what love is. It can shatter a sword in mid-strike. "Tougher than diamonds and stronger than steel", indeed. This is also what allows Elsa to finally control her powers.
  • Pragmatic Villainy: Hans to the extent that 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:
  • Psychoactive Powers: When Elsa feels agitated or fearful, her power tends to manifest as an untamed explosion of ice and snow. 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.
  • Purple Is Powerful: Elsa's coronation cloak is reddish purple. Her mother wears a purple dress.
  • Race Against the Clock: The second half of the movie becomes this after Elsa strikes Anna's heart with ice magic. The countdown timer isn't a clock; it's Anna's hair.
  • Rage Breaking Point: When the Weselton guards attack Elsa with lethal intent, they eventually compel her to fight back, and in a Tranquil Fury way she comes dangerously close to killing them both in self-defense.
  • Ramp Jump: Dramatically subverted during the sled chase. Kristoff steers the sled across the canyon but it doesn't make the gap so he has to jump off to save himself.
  • Rant-Inducing Slight: Anna's frustration with Elsa boils over and she then has at Elsa with that fateful fusillade of armor-piercing questions.
  • Reality Ensues: Even though Anna is a Princess and Hans is a Prince, and they sang that love duet "Love Is an Open Door", Elsa refuses to let them marry right away no matter how infatuated they are, for the seeming reason that A) this is the 19th century, when marriages among royals were usually in the interest of politics rather than love, B) marriage wouldn't come for at least five to six months, and C) as Elsa is the ruler, Anna needs her permission to get married. Now, obviously Elsa is greatly concerned about Anna, but realistically, she would be in a position to cut Anna from the line of succession (a good real-life exploration of what happens if one doesn't ask for permission is what happened to the sisters of Lady Jane Grey).
  • Reality Is Unrealistic: There's a reason why the sword shattering upon contact with the just-frozen Anna is listed under both Shown Their Work and Beyond the Impossible. Those unaware of the effect low temperatures have on steel will likely assume that The Power of Love (in a way, at least) was at work here.
  • "The Reason You Suck" Speech:
    • In the Cut Song "Life's Too Short", both Anna and Elsa call each other out for what the other has done.
      Both: Cause life's too short
      Anna: To always feel shut out and unloved by the sister I long to know
      Both: Life's too short
      Elsa: To never let you celebrate me, the true queen of the ice and snow
      Anna: There it is! The door you'd love to slam in my face!
      Elsa: You're a fool who married a stranger!
    • Prince Hans, after revealing his true colors, taunts Anna for being naive and playing right into his plans.
    • Anna gives a minor one to Hans at the end of the movie.
      Anna: The only frozen heart around here is yours.
    • Played for Laughs in regards to the trolls naming all of Kristoff's flaws, and do so in order to get Anna to fall in love with him.
  • 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. The reason they'd identify the king on the spot is because the king's face is printed or engraved on all Arendelle currency (of the kind that would be handed to the trolls as payment). As for not recognizing Anna, it's justified: 13 years have passed and Anna has grown in height quite drastically.
  • Red Eyes, Take Warning: The wolves that ambush Anna and Kristoff's sled in the forest seem to have eyes that glow red as they stalk towards their prey.
  • Red Herring:
    • The Duke of Weselton is made to appear to be the main villain when it is actually Hans. It helps that the audience may now subconsciously think they know what to expect when Alan Tudyk (previously King Candy in Wreck-It Ralph) voices a character.
    • Another red herring (within a red herring) is that "only an act of true love can thaw a frozen heart." Hans is Anna's true love, right? So all she needs 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. (As is usual for prophecy, everybody - including the Wrong Genre Savvy audience - overlooks an equally valid interpretation of the statement.)
    • 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.
  • Red Oni, Blue Oni: Anna is the Red Oni to Elsa and Kristoff's Blue because she is more reckless and passionate than either of them.
  • Required Secondary Powers: Immunity to cold (and even the ability to keep ice in contact with her skin fully frozen) go with Elsa's ice magic.
    Elsa: The cold never bothered me anyway.
  • Requisite Royal Regalia: In the coronation, Elsa is required to raise an orb and scepter in her bare hands while the bishop of Arendelle pronounces her queen.
  • Rewatch Bonus: Hans' introduction and song with Anna. He systematically builds a fake personality designed to appeal to Anna through a mixture of standard manipulation techniques and cold reading, all while playing it off as "coming out of his shell".
  • Rich Suitor, Poor Suitor: Hans and Kristoff. Hans is a prince, and though it's not mentioned how well Kristoff lives on his ice business, he seems to be always on the road with Sven and crashing in peoples' barns (this is more obvious in a storyboarded deleted version of his introduction with Anna, where his last name "Bjorgman" is revealed and he claims he has no permanent residency).
  • Riddle for the Ages: Why was Elsa born with ice powers? How do her ice powers make clothes; are they made of snow or cloth?? The powers were going to be explained by one of the trolls, but that scene and character was removed to keep the flow of the film.
  • Right Behind Me: When Anna, Kristoff and Olaf are being chased by Elsa's new pet Marshmallow:
    Olaf: Hey, Anna! Sven! Where'd you guys go? We totally lost Marshmallow back there! [Marshmallow roars behind him] Hey, we were just talking about you! All good things, all good things....
  • Royals Who Actually Do Something:
    • Averted with Elsa and Anna who are not shown to exercise (or be prepared for) any ruling of the kingdom. In fact, no one seems to be in charge of anything.
    • After being left in charge by Anna, Prince Hans has the palace staff organize a hot soup kitchen and hand out warm clothes and blankets to help the people deal with the sudden cold.
    • This is the first Disney movie that shows, however tangentially, a monarch having to deal with issues of diplomacy and international trade.
  • Rule of Drama: At the climax, the realistic thing for Anna to do would have been to simply push Hans when he's raising his sword at Elsa which would have spared them both from being struck. Instead, she jumps in between him and Elsa to take his blow in order to serve the film's "act of true love" requirement.
  • Rule of Glamorous: So how can the power to manipulate ice allow Elsa to reweave her dress and make a fully functioning cape out of thin air? Simple, it's pretty.
  • Rule of Symbolism: According to Paul Briggs, Olaf represents the love between Anna and Elsa.
  • Rule of Three:
    • The Duke of Weaseltown note  refers to Elsa as a monster three times: first after she knocks him over at the castle doors, again after he questions whether Anna has any powers, and finally after Hans tells him about Anna's "death".
    • Elsa makes an ice surface by stomping the ground on three occasions; once during her and Anna's Minor Kidroduction, again during "Let it Go" when she's making the ice castle, and finally during the ending, when forming the skating rink in the courtyard.
  • Running Gag:
    • Olaf's constant Accidental Misnaming of Kristoff as "Sven", all because of a misunderstanding on Anna's behalf when making the introductions.
    • Throughout the movie, people keep calling the Duke of Weselton the "Duke of Weasel Town". Even Elsa indirectly refers to him as such.
  • Sadistic Choice: At the climax of the film Anna is forced to choose between running to Kristoff, where a kiss from him might save her from her freezing heart but at the cost of her sister's life. Or she can run towards Hans and stop him from killing her sister but at the cost of her own life. She chooses the latter..
  • Sanity Slippage Song: Anna admits over the course of "Do You Wanna Build a Snowman" that she's going mad from the isolation.
    Anna: I think some company is overdue!
    I've started talking to
    The pictures on the walls!
    (Hang in there, Joan!)
  • 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.
  • Second Love: After Hans's betrayal, Anna ends up with Kristoff.
  • Self-Deprecation:
    • During the lyrics for "Reindeer(s) are Better Than People," Kristoff says 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 Disney mocking their own previous portrayals of fast-winded romance.
    • Kristoff and Elsa separately lampshading the idea of marrying a guy on the same day you first meet him, is similar to above, mocking early Disney movies and Fairy Tales in general.
  • Self-Harm: In one scene in the novelization, when he was forced to be in the company of his brothers, Hans ran his fingers over the rough wood of the table and found the pain of the splinters "oddly pleasant. Physical pain he could handle."
  • Sexy Walk: At the end of "Let it Go", Elsa sways her hips as she struts to the balcony, as part of throwing away her old, proper life.
  • Shaped Like Itself: "I'm never going back, The past is in the paaaasssst..."
  • Shared Family Quirks: Both Anna and Elsa have a fondness for chocolate and even simultaneously do the "sniff in the air" motion when they smell it at the coronation banquet. On a more serious note, when Anna and Elsa are grieving for their parents' death, they sit down and hug their legs close to their chest in the same way.
  • Shared Universe:
    • With Tangled, apparently, if you catch Rapunzel and Eugene Fitzherbert being among the coronation guests filing in during "For the First Time in Forever".
    • Some have also noticed a similarity with the ship that the King and Queen sail on to the shipwreck that Ariel explores at the start of The Little Mermaid. Some fans want to say that the two ships are the same.
  • Shave And A Haircut: The first two verses of "Do You Want to Build a Snowman?" start with Anna tapping this on Elsa's door.
  • She Is Not My Girlfriend: Kristoff repeatedly tells the trolls that he's not in a relationship with Anna. He even manages to briefly cut off "Fixer Upper" when he tells them she is engaged to someone else, but the trolls decide that a fiancé is not a fixed thing — and by the way, they don't see no ring.
  • 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 has a split up to the thigh on the right side.
  • Shipper on Deck: The trolls heartily support Kristoff and Anna together, to the point they try to marry them on the spot.
  • 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.
  • Shout-Out: Now has its own page.
  • Shout-Out Theme Naming:
    • Say "Hans Kristoff Anna Sven" really fast and the theming should be apparent. Plus, Elsa's name is only one letter away from Elisa, the heroine of another Andersen tale "The Wild Swans."
    • A subtle one for the name Arendelle. To the south of Norway lies the port town of Arendal.
  • Shown Their Work:
    • The ice harvesting techniques shown in the opening sequence are all historically accurate — and modern accurate, too, since many of the tools the ice harvesters use, like the hooks and saws they use to lift blocks of ice out of the troughs and load them on the wagon, are still used in modern ice harvesting. With one exception: If ice is thick enough to stand on like shown in the opening shot, you don't thrust the saw directly into it without drilling a hole first (as shown in the very next shot).
    • Someone spent some time studying the proper way to trim the mane on a Norwegian Fjord horse.
    • When the camera tracks through Arendelle prior to the coronation, you may see a few people raising a green Maypole with two big green rings/circles, famous in Sweden during "Midsommar", an event that celebrates the summer.
    • What would happen in real life if a wooden, freshly lacquered sled carrying a lit lantern and a heavy load of ice were to crash into a snowy ravine? Why, the lantern would break, the flaming oil would set fire to the sled, and neither the ice nor the snow would put it out. Even if Kristoff just paid it off.
    • Making a snow anchor is a legitimate rappelling technique — specifically here, a snow bollard. Not that it did them any good because of Marshmallow (and realistically, that fall should have killed them or at the very least broken a lot of bones) but they get points for trying.
    • The animators travelled to the Ice Hotel in Quebec to use it as a basis for designing Elsa's ice castle interiors.
    • A few of the movie's crew walked through snow in dresses. They then used this information to develop software for animating character movement through snow, in particular, Anna's attempt to trudge through ankle deep snow after her horse gets spooked.
    • Regarding the Beyond the Impossible example above, those who look closely enough will observe that Anna's frozen hand is so cold that frost forms radiating outward from her hand over the blade. Any metallurgist will tell you that extremely cold steel is as brittle as sugar glass, and solid ice as thick as the frozen Anna is as hard as properly forged steel. Reality Is Unrealistic, indeed.
    • The sun can be seen from the same balcony of Elsa's ice castle at both sunrise (in "Let It Go") and sunset (in "For the First Time in Forever (Reprise)"), at the correct angle for summer in Norway. Putting Arendelle at about 63 degrees north.
    • While certain aspects of Sven's biology are suspect in a lot of ways (see Artistic License – Biology), he does have his summer feet. Reindeer's feet spread in summer to cope with boggy tundra, and shrink again in winter. This might explain why he slips when he tries to climb the staircase to Elsa's castle.
    • Dr. Jackson Crawford, a lecturer on Old Norse at UCLA, provided consultation about the Norse language and runic scripts.
  • Shut Up, Hannibal!: After Elsa thaws out Anna through the Power of Love, Hans rants about how impossible it is because Elsa had frozen Anna's heart. Anna gives Hans a piece of her mind (and then some) once and for all.
    Anna: The only frozen heart around here is yours. [punches him in the face so hard it knocks him off the ship]
  • "Shut Up" Kiss: Anna gives Kristoff one when he starts babbling.
  • Sibling Murder: Elsa nearly accidentally kills her sister as a child. They are playing with Elsa's ice powers when Elsa slips and hit Anna in the head. Anna is saved by trolls but afterwards their parents separate the sisters. Years later this occurs again when Elsa accidentally freezes Anna's heart during a panic attack. Anna turns to ice in the climax but is revived through The Power of Love.
  • Sibling Yin-Yang: Anna and Elsa. They are even visually very different, with Elsa's hair in a single, lone French braid and Anna's in pigtails. Interestingly, we see a few instances of Anna attempting to imitate Elsa and failing miserably (imitating her vocal style in "For the First Time in Forever" and her attempt at royally ordering Kristoff to give her a lift). The trope itself is discussed in "A Sister More Like Me"; Anna and Elsa compare and contrast each other's personalities and they each wish the other would be more like them while growing up, but ultimately realize that they appreciate their differences and that they complement each other.
  • Sidekick Song: "In Summer", sung by Olaf.
  • Sigh of Love: Anna tends to sigh and giggle a lot around Hans from the moment they meet, at least until he reveals his true colours.
  • Sitting on the Roof: Anna and Hans are seen sitting on the castle's rooftop as part of their Falling in Love Montage.
  • Skewed Priorities: When Hans is distributing free cloaks and clothes to residents, the Duke of Weselton seems pretty upset that Hans is giving away tradeable goods. Hans's response is threatening the Duke with charges of treason, his way of telling the guy, "It's freezing out there and the people of Arendelle need these goods much more than your own kingdom or any other kingdom."
  • Slapstick Knows No Gender: Anna takes just as much slapstick as Kristoff does, but not as much as Olaf.
  • Snowball Fight:
    • Anna lobs a snowball at Marshmallow after he is 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 palm-sized snowball when her back is turned, only Elsa's response is to conjure up a snowball the size of a basketball.
  • 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. Justified as Elsa at this point is terrified out of her mind that Anna might be dying and her emotions are directly causing the raging storm. Once Hans lies to her about Anna's death, Elsa falls so deep into despair that she no longer cares about anything, and the storm subsides.
  • Spanner in the Works:
    • Olaf. With Kristoff having left the castle town at the critical point where Anna was 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 warm up and get to Elsa.
    • Elsa denies Anna's marriage to Hans. This 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 Tangled IN 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 "Tale of magical hair" to "Tale of magical snow" (or, slightly less obviously, "Tale of ice and snow" in some regions). Tangled's Chinese name was originally a pun on the translation for another Disney film, and it's lost on Frozen.
    • The same applies to the Vietnamese titles — "The Cloud-Haired Princess" (fancy term for someone with long, luxurious hair), and "The Ice Queen".
    • And the Swedish titles, "Trassel" and "Frost", or "Tangle" and, well, "Frost". Both are one-word titles resembling the English titles.
  • Status Quo Is God: In the Frozen "Expanded Universe" of children's books. Every rumor of supernatural phenomena turns out to be false, Anna doesn't get her memories back, and Kristoff probably isn't going to lose his livelihood to automation.
  • 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 "ice-solation".
    • 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. Plus, "Taakse" can also be considered a command form of "back", so the phrase could be translated as something like "Stay back, ice", fitting with how Elsa wants to control her powers.
    • During "For the First Time in Forever," there's the line "Tonight imagine me gown and all / Fetchingly draped against the wall..." (this said while Anna has wrapped herself in the drapes)
    • In the Czech dub, Anna doesn't ask Elsa at the ball, why she is shutting the world out, but rather why she is so cold (chladna) to the world.
    • Anna briefly holds three ducklings. Three is an odd number. Anna is the odd duck out.
    • Olaf mistakenly calls Kristoff "Sven" — he was referring to Kristoff with a pet name.
  • The Stinger: Marshmallow finds the tiara that Elsa threw away and puts it on, and his angry spikes retract.
  • Stock Sound Effect: Baby Kate Cry.
  • Storming the Castle: Hans and a raid of soldiers invade Elsa's ice castle.
  • Subverted Rhyme Every Occasion:
    • "In Summer":
      Olaf: Winter's a good time to stay in and cuddle
      But put me in summer and I'll be a...
      [Olaf approaches a puddle, thinks for a moment, then jumps right over it, instead belting out...]
      Happpppppeeeee snowman!
    • Played with in the second verse of "Let it Go."
      Here I stand
      And here I'll stay.
      Let the storm rage on...

      ::: At this point, one expects her to say "The cold never bothered me anyway," like is done in verses 1 and 3, but Elsa goes straight into the bridge.
    • Played for Drama in the reprise of "For the First Time in Forever". The rhyming scheme sets Anna's final line up to be "everything will be all right". She gets to "be" before Elsa cuts her off with a Big "I CAN'T", a blast of Power Incontinence, and things getting much worse instead.
    • Subverted by the Last-Second Word Swap in the reprise of "For the First Time in Forever", where Anna sings that Arendelle is in "deep, deep, deep, deep... snow..." which does rhyme with the previous line, "There's something you don't know."
  • Subverted Trope:
    • Frozen has garnered a lot of praise from some quarters for modernising Disney tropes about romance. In the film, Anna is called out by Elsa for thinking herself in love with Hans, even though she has only known him a matter of hours. While this is more extreme than usual, it does call out the tendency of two characters deciding they are destined to be together within a few days — which doesn't just feature in Disney movies, but many family-friendly films. The pairing of Anna and Kristoff is far more subtle and doesn't even result in an engagement. It's even questionable as to whether Kristoff's kiss would have cured Anna.
    • The handsome Prince riding in to save the day. Watch the Big Damn Heroes finale closely. While Kristoff was brave to ride on in, he had almost nothing to do with saving Elsa or Anna. Olaf saved Anna from freezing to death at the risk of his life and let her out of that room. Anna saved Elsa at risk to her life, resulting in Elsa saving Anna.
    • Villains being easily recognisable just by their appearance. We are reminded of this with the Jerk Ass Duke, and then it's flipped on its head with the gorgeous Hans.
  • Taken for Granite: The final effect of Elsa's magic striking Anna's heart is that Anna's entire body turns to ice from the inside out in the course of a few moments.
  • 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.
  • Taking You with Me: When Hans cuts Marshmallow's leg off and Marshmallow falls into the gorge, Marshmallow tries dragging Hans down with him, but Hans manages to grab hold of the icy staircase and get helped up by the soldiers.
  • Tap on the Head:
    • Elsa gets one of these from a falling ice-chandelier, of all things (carefully dealt by Hans, though nobody realizes at the time). She's unconscious for what must be a few hours, but recovers very quickly after a few seconds of blurred vision.
    • She inadvertently does the same to Hans in the climax via throwing him backwards with a magical shockwave — though he's only out for a few minutes and is visibly groggy afterwards.
  • Teens Are Short: When the plot kicks off, Anna is 18 years old, and someone calculated that she's about five feet tall. Elsa is 21 years old and is average height.
  • Tempting Fate:
    • 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— [crashes into Hans's horse] Hey!
    • At The Reveal Anna says "You won't get away with this!" as Hans is about to leave her to die. His response? "I already have." It makes the punch that much more satisfying when it comes.
    • 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's rewarded with a punch to face is letting him off way too easy.
  • Terrified of Germs: Referenced, but averted. Anna assumed that Elsa's use of gloves resulted from a phobia of some kind.
  • 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.
    Elsa: That perfect girl is gone.
  • That's What I Call "X"!: Kristoff's reaction to seeing Elsa's Ice Palace for the first time is "Now that's ice. I might cry..." Anna tells him, "Go ahead. I won't judge."
  • That Wasn't a Request: Anna tries her hand at royal ordering to get Kristoff to help her... and falls flat.
    Anna: I want you to take me up the North Mountain.
    Kristoff: I don't take people places.
    Anna: Let me rephrase that. [throws a sack at Kristoff containing his supplies] Take me up the North Mountain... please.
  • They Died Because of You: During the climax, Hans tells Elsa that Anna is dead "because of you!", though he only thinks that's the case.
  • Thinking Out Loud:
    • Kristoff likes to "speak for" Sven. Though Sven "agrees" with what's said, it's more so Kristoff can just tell us what he's already thinking. For some odd reason, "Sven" always "wins" the arguments.
    • Olaf does this to a lesser extent. This can be heard happening when Anna and Kristoff first meet him. Also, when Anna hesitates before knocking on Elsa's front door, he says, "Knock? Just knock. Why isn't she knocking? Do you think she knows how to knock?"
  • 13 Is Unlucky:
    • Elsa is the thirteenth Disney Princess and gets a much rawer deal than any of them. It's downplayed as Elsa is the first Disney queen while Anna is the princess.
    • Hans is the youngest of thirteen sons and turns out to be the main villain.
    • Elsa and Anna are shut in for thirteen years.
  • This Cannot Be!: After Elsa manages to finally control her powers and thaw out Anna after being frozen through the Power of Love, Hans has this very revelation when he sees them both alive and exclaims to Anna, "But she froze your heart!"
  • Those Two Bad Guys: The nameless guards that work for the Duke of Weselton.
  • Thwarted Coup de Grâce: Anna's Barehanded Blade Block to save Elsa from Hans' Coup de Grâce.
  • Toilet Humor: Not blatantly but is still there:
    • Anna wondering if she's elated or gassy during "For the First Time in Forever".
    • Olaf is rambling a bit about yellow snow when he comes across Anna and Kristoff in the woods.
    • The "Fixer Upper" sequence has two:
      • One of the trolls says he passed a kidney stone.
      • One of the troll children mentions how Kristoff only tinkles in the woods, something Anna didn't need to know. note 
  • 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, he does manage to get his tongue stuck to the rail of Elsa's ice staircase while Anna and Kristoff are inside talking to Elsa.
  • Trademark Favorite Food:
    • Anna and Elsa have a sweet bonding moment when they simultaneously smell out their favorite sweet, chocolate, complete with synchronized motions. It shows that the two still 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.
  • A Tragedy of Impulsiveness:
    • Anna, in spades. Anna's recklessness as a child, while Elsa pleads with her to slow down when using her powers, is what led to the accident, which in turn causes Elsa to have to hide herself and her magic. Anna does it again when pressuring Elsa to give 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.
    • On a smaller scale; after Marshmallow throws everyone out of Elsa's castle, Marshmallow is going to just leave them alone, until Anna just had to lob a snowball at him.
  • Tragic Dream: Defied. Since he's a snowman, Olaf's dream of being out in the sun during summer would count as this. Fortunately, Elsa gives him a miniature snow cloud to let him live it out.
  • Trailers Always Spoil:
    • The "Elsa" trailer briefly shows a clip of Elsa saving Olaf from melting. Although you could be forgiven for thinking it's when she creates him. She actually creates him during "Let It Go".
    • 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 a Hans doll is present isn't all that strange after you learn the twist.
    • Some of the trailers spoil the scene where Elsa thaws Arendelle at the end.
  • Trauma Conga Line: For both sisters, but Elsa in particular:
    1. 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.
    2. Meanwhile, Anna is left to wonder why her sister and best friend in the world doesn't want anything to do with her anymore.
    3. Then their parents die, leaving both of them utterly alone in the world.
    4. After the coronation, Elsa's secret is revealed and she is forced to flee the only home she's ever known.
    5. 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.
    6. 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.
    7. 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.
  • Traveling at the Speed of Plot:
    • Elsa takes apparently no more than a couple of hours to get from Arendelle up to the top of the North Mountain on foot to sing "Let It Go" and build her ice palace. It takes about a day and a half to two days for Anna to travel up the North Mountain to Elsa's ice palace, first by horse, then by foot, then by Kristoff's sled, then by foot the rest of the way. In Anna's defense, it could be explained away that in traveling from Arendelle's castle to Wandering Oaken's Trading Post & Sauna, she was traveling away from the North Mountain, and from the best interpretations of the entire scene at the trading post, it's clear she had no idea where Elsa might have gone until she overheard Kristoff's remarks to Oaken about there being a big "howler" on the North Mountain. Likewise, it appears to take Hans and the Arendelle soldiers roughly thirteen to eighteen hours to travel from the castle in Arendelle to the ice palace on horseback since they appear to leave in the early afternoon and are seen arriving at the ice palace just as dawn is breaking. In Hans's defense, he and his team were riding horses, whereas Anna made the journey primarily on foot (and partially on Kristoff's sled before she crashed it during the wolf chase), which could explain Hans's shorter travel time.
    • Anna and Kristoff are returning to Arendelle from the trolls' place on Sven. As they leave the trolls' place, dawn is breaking on the horizon. Simultaneously, this is when Hans's team gets to Elsa's ice palace. They subdue and capture Elsa after knocking her out, and they've already gotten her back to Arendelle and locked her in a dungeon cell by the time Kristoff gets Anna back to the castle. Meaning, either the Valley of the Living Rock is farther away from Arendelle than Elsa's ice palace, or this trope is in effect.
  • Triumphant Reprise:
    • "Eatnemen Vuelie", the chorale at the beginning of the movie, is sung again, this time with instrumental accompaniment, when Anna's Heroic Sacrifice breaks her curse and Elsa channels her love for her sister to thaw her Endless Winter and restore summer.
    • 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.
    • "For the First Time in Forever (Reprise)" starts off as a Triumphant Reprise, but ends up becoming a Dark Reprise about halfway through.
  • Truck Driver's Gear Change: Some of the songs contain gear changes that are very noticeable.
    • "For the First Time In Forever" starts in F major and goes up a half step on each verse. It's predecessor "More Than Just the Spare" was written the same way.
    • "Love is an Open Door" ends a full step up from the key it starts in.
    • "In Summer" ends a full key up from where it begins.
  • True Blue Femininity: Anna and Elsa both wear dresses that are mainly blue, although Anna's other outfits incorporate a lot of green because she is both feminine and significantly cheerier than her sister. Meanwhile, Elsa's costumes all include some form of blue: her sky-blue ice dress, the blue dresses she wears as a child, her teal coronation dress and cyan-colored gloves.
  • True Love's Kiss: Played with to a great extent. 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 own Heroic Sacrifice to protect Elsa. Interestingly enough, the idea of the cure even being a kiss at all was purely thanks to the trolls interpreting it as such in the heat of the moment (see Wrong Genre Savvy below).
  • Truth in Television: It's true you can't marry a man you just met, as told by Elsa to Anna. In addition, a man you just met might not be all he seems.
  • Unknown Rival: Kristoff and Hans are both in the running for Anna. Kristoff isn't really aware he likes Anna until later, Hans doesn't even know Kristoff exists, and neither even are in the same place at the same time until the plot is resolved.
  • Unusually Uninteresting Sight: During "For the First Time in Forever", Princess Anna — who has undoubtedly been seen at least occasionally — dancing and singing her way down the railing of the road to the castle with the visitors taking no notice of her.
  • Unwanted Assistance: Kristoff's response to "Fixer Upper". He doesn't want his family's "help" impressing Anna because all they do is talk about his flaws. Also, and far more importantly, it's preventing them from examining Anna and determining what Elsa's magic blast did to her.
  • Villain Has a Point: "Don't be the monster they fear you are!"
  • Villainous Breakdown:
    • The Duke of Weselton has a very minor one when, as he is forced to return home to Weselton in disgrace, he insists that he is the victim of fear. Not only is Elsa having all trade with his country cut off due to his blatant act of attempted regicide, but Elsa has ordered that his name be pronounced on the decree as "Weasel Town" just because she knows it will royally piss him off even further.
    • 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 cruelty boiling under the calm surface, but to the viewer it's meant to come across as him standing firmly behind Anna, and/or the Arendelle citizens who need the "tradeable goods" to keep from freezing to death.
  • Villainous Valour:
    • Despite Elsa's vast powers, the Duke of Weselton's guards are willing to attack her armed only with crossbows. They hold their own for a surprisingly long time and if it wasn't for Hans, the guy pinned to the wall could've had a fatal shot lined up for her forehead.
    • Hans gets past Marshmallow by slicing off his leg, and goes to rescue the soldiers.
  • Villains Never Lie: After his reveal as Evil All Along, 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 tells Anna the truth about his brothers, and 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 doesn't realize that it's a lie because she was on the brink when he last saw her.
  • Villain Song: Played with, greatly.
    • "Let it Go" is an odd case. It was actually originally intended to be one of these, but the writers ultimately realized the song was too positive for a villain. Rather than changing it to make it more consistent with the villainous direction they were originally going for with Elsa, the filmmakers were actually inspired by the song to change Elsa from a Tragic Villain to a Classical Antihero Deuteragonist, even if it meant heavily rewriting most of the plot. Despite no longer actually being one, in some respects it still retains some of the beat and feel of a villain song, and contains elements that would seem quite at home in one, such as a powerful magic user conjuring a giant fortress for herself while singing gleefully about how she's not going to live by anyone else's rules anymore. The German translation of the lyrics makes it sound more of a villain song, with phrases such as "Die Kraft sie ist Grenzenlos" (The power is limitless), "Die Kälte sie ist nun ein Teil von mir" (The cold is now part of me) and "Nur ein Gedanke und die Welt wird ganz aus Eis" (Just a thought will turn the world to ice).
    • "Love Is an Open Door" originally comes off as a triumphant "I Am Becoming" Song of the Power of Love to heal. However, after Hans reveals his true colors, the song transforms into a stealth Villain Song, in which Anna's naivete becomes an "open door" for Hans' plan to usurp Arendelle's throne. Anna and Hans' exchange of "We finish each other's—Sandwiches!—That's what I was going to say!" goes from being Adorkable to evidence of Hans' manipulative prowess. The paired singing of "You and I were just meant to be" becomes especially emblematic of the film's Deconstruction of Love at First Sight; real life romance takes time to develop. According to Word of God, "Love Is An Open Door" is indeed supposed to be a straight up Villain Song, disguised as a romantic duet.invoked
    • The Frozen OST contains an outtake called "You're You", which implies more of Hans's ulterior motives than "Love Is an Open Door" does.
  • Villain with Good Publicity: Hans, even towards the viewer. No-one knows about his usurpation plan and instead view him as The Wise Prince.
  • Visual Pun:
    • In "For the First Time in Forever", the second verse starts "Tonight imagine me, gown and all/fetchingly draped against the wall," as Anna approaches a nearby drape, twirls, wraps herself up in it, and then dramatically leans against the column, and hits herself with the drawstring.
    • As Olaf once more starts to melt in the heat, he says "Hands down, this is the best day of my life..." Immediately, his left arm falls off before Elsa resurrects him. Hands down, indeed....
  • Wacky Wayside Tribe: The trolls are a detour from the mountain and the plot. While trying to stop eternal winter, the pair are held up because the trolls want to wed Anna and Kristoff.
  • 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 escape from the castle after her powers are exposed, when she flees across the surrounding fjords. She doesn't stick around long enough to see the ice left behind quickly spreads to freeze the entire fjord, disrupting the water currents, and causing the air temperatures to drop and snow to start falling. Possibly a Shout-Out to Kurt Vonnegut's Cat's Cradle and its lethal, self-proliferating "Ice Nine".
  • Weather Dissonance: It's supposed to be summer in Arendelle, despite all the snow around. We are treated to a few funny reminders, such as Oaken's big summer blowout sale (and having almost nothing left in the "winter department"), him and Kristoff exchanging some words about the unusualness of "a real howler" happening on the North Mountain in July, and Olaf's fantasies about summer.
  • Wham Line:
    • When Anna announces her instant engagement with Hans, Elsa is shocked and gives her words of advice which serve as a meaningful warning that Hans is not what he seems.
      Elsa: You can't marry a man you just met.
    • Near the end, when it looks like one of the major subplots is going to be solved. It's hard not to feel the impact when what you thought was the entire point of the movie starts falling around your ears.
      Hans: Oh, Anna... if only there was someone out there who loved you.
  • 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 horse, Sitron.
  • What's Up, King Dude?: This is a plot point. The Arendelle royal family traditionally has an open door policy for its citizens, but they suspend 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.
  • What the Hell, Hero?:
    • Both Elsa and Kristoff call Anna out for getting engaged to someone she just met. After the guy turns out to be a lying, manipulative, power-hungry sociopath, one sees they were right for the different reasons. Even Hans mocks Anna for this when he reveals his true colors.
    • Hans calls out Elsa for nearly killing Weselton's soldiers while they were defenseless.
  • When She Smiles: Elsa is absolutely adorable when she is smiling with childlike glee during "Let It Go", or upon finding out she's brought Olaf to life, or when trolling the Duke of Weselton by roping him into dancing with Anna.
  • Why Couldn't You Be Different?: Parodied briefly; while going after Elsa in the snow, Anna briefly mutters to herself how it would have been nicer if Elsa had tropical-related powers as opposed to ice-related ones.
    Anna: She couldn't have had tropical powers that covered the fjord in white sand and warm... [sees the smoke coming from the chimney of Wandering Oaken's Trading Post and Sauna] ... fire!
  • "World of Cardboard" Speech:
  • Worse with Context: At some point, Hans tells Anna about how some of his brothers once pretended he was invisible. Classic case of older siblings teasing the younger one, except it lasted for two years.
  • Wrong Genre Savvy:
    • The trolls suggest that the "act of true love" needed to thaw Anna's heart is True Love's Kiss, but in the end it's sisterly love that saves the day, not romantic love. Then it turns out, Elsa's love for her people also counts, as it was necessary to end the perpetual winter.
    • Anna adamantly believes in Love at First Sight with Prince Hans, and is tragically proven wrong when the latter reveals himself as a Machiavellian Gold Digger, with even the audience being fooled right up until the denouement, so good is his act.
  • Wrong Guy First: Anna falls for the gentlemanly prince at the start and spends much of the movie engaged to him. He turns out to be a jerkass and she moves on to the genuinely nice mountain man.
  • You ALL Share My Story: After Anna's accident, she is healed by a bunch of trolls, who just so happen to be Kristoff's adopted parents.
  • You Are in Command Now: Anna leaves Hans in charge of governing Arendelle, so that she can go look for Elsa.
  • You Are Not Alone: A major theme of the movie is that no one should be forced to face their troubles alone. Be they political or supernatural in nature, you can lean on friends and family.
  • You Monster!: The Duke yells that Elsa is a monster three times when he sees her ice powers. It's implied he is prejudiced against people who can use magic.
  • You Need a Breath Mint: Kristoff apparently always ends up sort of smelly, according to the trolls, even though they say he washes himself very well. This appears to be implied by when he first meets Anna at Wandering Oaken's Trading Post & Sauna: Anna looks visibly uncomfortable and turns her head away when he gets pretty close to her while trying to grab some carrots.
  • Younger and Hipper: Inverted. Kai and Gerda, who were the child-aged protagonists in the original story, are replaced by the young adult protagonists in this version. They themselves appear as a pair of middle-aged servants, and in Once Upon a Time become the names assigned to Anna and Elsa's parents.

"Gliiide, and pivot, and gliiide, and pivot, and gliiide, and pivot..."