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"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 the start of the Frozen franchise. The film 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.

It is only the second time they tapped Hans Christian Andersen for a full-length feature (in addition to shorts used for Fantasia), following up The Little Mermaid.

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

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.
  • 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.
    • 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?
    • Appearances can be deceiving, and nice is different than good.
    • Love is stronger than fear.
  • 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.
    • The king and queen's names are Agdar and Iduna.
    • Hans' horse is called Sitron.
  • 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, who acts very concerned... 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.
    • 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.
  • 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.
  • Always Save the Girl: Played with. Multiple characters, most notably the Duke of Weselton, want to kill Elsa to stop the winter and save the kingdom, but Anna believes that both is possible.
    • 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: 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.
  • 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.
  • Arc Symbol:
    • The crocus is a symbol of spring and rebirth and is part of the official crest of Arendelle and is seen adorning various props and official regalia, including the scepter and orb Elsa takes as part of her coronation ceremony, her gloves, and her coronation dress and cape, as Sigil Spam, but also contains thematic significance. Elsa throws away her gloves and cape and replaces her dress with an ice dress when she flees Arendelle, signaling her leaving behind both the responsibilities that tied her down and her home and much of her hope, but the symbol still appears embedded within the walls of the ice palace she constructs, indicating they are still a part of her.
    • 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 and can open up to people.
      • 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". They use the door motif in conversation, discussing their trouble connecting with their siblings. Anna laments that "Elsa and I were really close when we were little, but one day she shut me out, and never told me why," to which Hans responds that he'd "never shut you out." When they begin their duet, Anna sings her life has "been a series of doors in my face" until Hans, and shuts the door on the party (including her sister) she had been longing so desperately for, now believing love lies with Hans instead. Hans locks Anna in the drawing room once his duplicity is revealed.
    • Falling, and catching people:
      • In the beginning of the film, the sisters lovingly play together in the snow, and Elsa creates snowbanks that catch Anna as she jumps around, but then slips and falls, resulting in her missing and in Anna also falling without anyone catching her. This accident leads to the separation of the two girls, Elsa growing up repressed and Anna, who is Locked Out of the Loop, growing up feeling unloved.
      • Anna turns to inanimate objects to catch her in "Do You Want to Build a Snowman?" and "For the First Time in Forever," including an empty suit of armor, because no one else is around.
      • Anna's first encounter with Hans knocks her into a boat, and he uses his horse to stabilize it before she falls into the water. She falls twice more due to the movement of the boat during the meeting, literally into his arms, signifying that someone who will offer her support has arrived and foreshadowing that although he appears helpful and caring, Hans is more trouble, actually exacerbating Anna's insecurities and need for support.
      • When her conversation with Elsa at the coronation ball ends with Elsa turning away again, Anna walks away dejected and is nearly bumped to the floor by a dancer, and Hans swoops in and catches her.
      • When Elsa flees, Anna slips on some of the ice created and falls to the ground.
      • Kristoff catches Anna when she comes down from the cliff she was climbing, signifying that they're growing closer. Anna even compares it to a trust exercise.
      • After "Fixer Upper," Anna collapses as her frozen heart worsens, and Kristoff catches her.
      • Anna again literally falls into Hans's arms when she goes to him for a curse-breaking True Love's Kiss, but he lets her fall off the couch when he reveals he was Evil All Along and decides to just let her die, signaling he will no longer offer her support because he no longer has anything to gain from her.
      • Elsa falls to the ground when Hans tells her Anna, her only supporter, is dead. She then collapses again onto Anna's frozen body after Anna makes her Heroic Sacrifice to save Elsa.
      • Anna slips on ice again toward the end of the film, but Elsa helps hold her up and Olaf, the physical embodiment of the love between the two sisters, catches and supports her.
    • Gloves associated with hiding one's true self. The king gives Elsa a pair as she begins to conceal her powers, and she temporarily removes them for her coronation ceremony, for which she also opens up the gates (see above) for the day. When she and Anna fight, one comes off and her powers come out, and she throws the other one away in "Let It Go," when she's decided to embrace her magic. Hans also wears gloves throughout the film, only removing them for The Reveal scene, which is the only time he shows his true self. He puts them back on when he declares he will be "the hero" of the story and puts his mask back on to meet with the dignitaries.
    • Hands in general. Hans offers his gloved hands to Anna repeatedly, pretending to open up to her while really concealing himself, and Elsa attempts to both cover hers and keep them away from people, not touching anyone or, in contrast to Hans, even giving the appearance of connecting with people. She looks at them in horror when she's terrified by her power, and in amazement when she realizes she can create life, and often uses them to make gestures as she casts magic, although her Power Incontinence establishes that they're unnecessary for it to work.
    • 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.
    • Boats are associated with hope. The girls lose their parents when their ship is overtaken by a storm, Anna looks longingly at the ships coming into the harbor during the excitement of "For the First Time in Forever" and is knocked into an unsteady boat when she meets Hans, their Falling-in-Love Montage includes a shot of their shadows on the sail of a boat as the two dance in a lighthouse, a ship nearly falls onto Kristoff and Sven as they race to rescue Anna, and when Elsa thaws the EndlessWinter and the fjord melts, they are all find themselves standing on the deck of one.
    • Light is also associated with hope. The girls' joyful play in the beginning of the movie is spurred by the presence of Northern Lights, but after the accident the lights are no longer visible in the sky. The lighting grows progressively darker during "Do You Want to Build a Snowman?" and completely fades at the end, after the parents' ship sinks at night. The light returns after a Time Skip for Coronation Day, when Anna sings "they'll be light" again "for the first time in forever." Anna and Hans dance on a lighthouse during their Falling-in-Love Montage, Elsa concludes "Let It Go" and rediscovering the beauty in her powers at the break of dawn, wolves attack Anna and Kristoff at night and challenge their resolve, and they meet Olaf note  in the daytime. Elsa reveals she doesn't know how to thaw the Endless Winter and accidentally freezes Anna's heart at sundown, the trolls give hope for a cure at dawn. Hans extinguishes all light sources at The Reveal of his Evil Plan to kill the sisters and take over the kingdom, and sentences Elsa to death at night with one of the lights in the chandelier out. Elsa then breaks out of her cell and Kristoff makes choice to return in day. When Olaf finds Anna, he relights the fire as he brings back hope of her surviving the curse, and the film's last shot in the epilogue is of light glinting off a snowflake at the top of the Arendellian castle.
  • Arc Words:
    • "Conceal, don't feel", and its variations. While this is Elsa's mantra for suppressing her powers, it also reflects her need to both emotionally and physically distance herself from others in general.
    • "Only an act of true love can thaw a frozen heart."
    • "Open up/Close the gates."
    • "Do you want to build a snowman?"
  • Armor-Piercing Question:
    • Anna firing off a string of these during the coronation party is what gets 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 exchange:
    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]
  • Art Imitates Art: In the "For the first time in Forever" sequence, the paintings hung on the wall of the castle are pastiches of Grand Masters works. One can recognize the style of Bruegel, Watteau, Goya and a bowdlerised version of the rather risqué artwork "Les Hasards heureux de l'escarpolette" by Fragonard.
  • 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 – History: Word of God is that the main events of the movie supposedly take place in the 1840s.
    • 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 ride a pedal-driven tandem bike, which wasn't invented in 1870.
  • 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 only the second 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, the first being Kida).
  • 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: Olaf does an accidental version with Kristoff and his reindeer, Sven.
    Anna: I'm Anna.
    Olaf: [gestures in the direction of Kristoff and Sven] And who's the funky-looking donkey over there?
    Anna: That's Sven.
    Olaf: And who's the reindeer?
    [beat]
    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.
  • Beat: During the "Fixer Upper" song...
    Kristoff: Enough! She is engaged to someone else, okay!
    [beat]
    Troll: So she's a bit of a fixer-upper...
  • 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 snowballs or arrows at Happy Fun Marshmallow. He'll kill you.
  • Bestiality Is Depraved: Kristoff's and Sven's relationship is lampshaded by the trolls as being "outside of nature's laws."
  • Betrayal by Inaction: Exaggerated Trope. Hans attempts this, depriving Anna of a supposedly life-saving True Love's Kiss. Instead, he leaves her to freeze death after a Break Them by Talking speech in which he taunts her for trusting him and trying to help the seemingly-evil, as well as gloats about his plan to murder her beloved sister. He also locks her in the room and extinguishes all sources of heat in order to prevent any chance of her being cured.
  • Betty and Veronica: Gender Flipped. Anna's love interests are cultured prince Hans (Veronica) and manly ice-farmer Kristoff (Betty). This later gets turned up after both The Reveal that Hans is an Evil All Along male version of The Vamp and Anna and Kristoff getting to know each other better throughout their journey, which leads to Kristoff warming up to her, revealing a sweet Nice Guy under his 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).
  • 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 both subverted and defied, twice. First, Anna goes to Hans for a life-saving True Love's Kiss, and he leans in... only to sneer "If only there was someone out there who loved you." (See Almost Kiss entry.) Afterwards, Olaf suggests Kristoff is actually her True Love, and she and Kristoff dramatically make their way towards each other in the whiteout blizzard of the film's climax, only for Anna to notice that Hans has successfully pushed Elsa over the Despair Event Horizon. She turns away from Kristoff and instead uses the last of her strength to throw herself in front of her sister and take the blow from Hans's sword. When a kiss finally does happen, it's downplayed and not the focus of the scene, which instead places more emphasis on the reunited sisters enjoying time together, with Elsa feeling free to use her powers, to the acceptance and even delight of everyone around her.
  • 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 Armor Piercing Questions that lead to Elsa snapping]]:
    Elsa: I said ENOUGH!!
  • Big Sister Instinct:
  • Bilingual Bonus: During Elsa’s coronation as Elsa holds the orb and scepter, the Bishop says, in Old Norse: “Sem hón heldr inum helgum eignum ok krýnd í þessum helga stað ek té fram fyrir yðr...”. In English, this means: “As she holds the holy properties, and is crowned in this holy place, I present to you...Queen Elsa of Arendelle.”
  • 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.
  • Blonde, Brunette, Redhead: Elsa, Queen Iduna, 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, as well as Hans's evil boast to Anna that he never loved her and is planning to let her die; followed by Anna's resolve to take a stand against Hans's tyranny.
  • 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. They don't even know that the Endless Winter was an accident — they just have Anna's word that it was, and the Duke makes it clear he doesn't really believe it, meaning they attacked her given the possibility that she was The Unfettered.
  • Burn the Witch!: Heavily played with. It's double subverted, defied, then triple subverted, defied again, exploited, and then defied again. When the sisters' parents see the girls in an ice-covered throne room, they're upset — because Anna was seriously injured, not because magic was involved. When they take the girls to the trolls for healing and advice, though, the trolls show a vision of a mob attacking an older Elsa and warn she must learn control. Elsa and her parents then do all they can to keep her magic hidden. (See Failsafe Failure entry). There's then a different subversion when people find out and the general response includes some Fantastic Racism and accusations of "monster," but no one's calling for a pyre yet and most of the townspeople show more concern about the damaging effects of her magic as an Endless Winter sets in and Elsa's response is to fleewithout explanation, which adds to the Evil Witch image. Anna attempts to defy the trope and defend her sister, but when the magical blizzard persists, the prejudiced Duke sends men to kill her. The trope then becomes triple subverted when Hans redirects the arrow, saving her and defying the trope.note  He then exploits the trope, taking advantage of the political confusion that results when Queen Elsa proves unable to end the winter and accidentally hits Princess Anna with a fatal curse. Elsa is sentenced to death, not for being a witch so much as for appearing to have used her magic to murder her sister and curse the entire country. The trope gets twisted yet again when Hans goes to execute her by sword and fails because Anna took the blow.
  • 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.
  • Character Tics: The film uses these to give the characters further personality. See the Characters pages for specific details.
  • 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 at most we can surmise this is some form of Christianity, but don't know anything more specific. His vestment looks very Catholic, though Arendelle would most likely be Lutheran and Scandinavian Lutheran Bishops usually dress very differently from their Catholic and Anglican counterparts.
  • 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 (especially during the "Do You Want To Build A Snowman" sequence), 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. See the Characters pages for more details.
  • Colour Motif: See the Characters pages for more details.
    • 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 some shade of blue, tying her to winter. Even her coronation dress is teal, with cyan gloves.
    • Hans is associated with white, which only drives home his status as a subversion of the Disney Nice Guy archetype.
    • Kristoff wears mostly brown, symbolizing his down-to-earth nature and his humble origins.
  • Comically Missing the Point:
    • 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, her hired guide, suspiciously and scoot farther away on the seat from him.
    • After her heart is frozen, he takes her to see his family in hopes they can heal it. They promptly try matchmake the two before either can explain the actual reason for their visit, and in the process, list all of the reasons they're concerned Anna might not be interested in him. Kristoff tries to bring up the fact that Anna is dying, pleading "We've got a real, actual problem here." Bulda responds "I'll say," and continues to list his flaws and traits that they think Anna might find unattractive.
  • 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: See High Class Gloves entry for more.
    • Elsa is given these as a child in an effort to help control her powers. Anna noticed her wearing them all the time, noting she guessed Elsa was just Terrified of Germs.
    • Hans also wears gloves for most of the film, only taking them off during The Reveal of him as Evil All Along, before putting them back on as he returns to his facade for the benefit of the dignitaries. Like Elsa, the gloves represented him not being himself.
  • 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.
    • 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.
  • Contrived Coincidence: The fact that Kristoff, who has never seen Anna since witnessing Pabbie use his magic on her, would happen to cross paths with Anna 13 years later at Oaken's.
  • Crash-Into Hello: Anna meets Hans by bumping into his horse. They quickly become engaged.
  • Creator Cameo: Anna and Elsa's mother, Iduna, 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, the sun rises, and this coincides with her walking towards it after singing "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.
  • 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 contender for this among Disney films, despite having permanent deaths of only two minor characters (the King and Queen), and the villains punished justly without death. The film features childhood trauma, parents lost at sea, friendly noblemen who turn out to be murderous, a comic relief character that spends the movie dreaming about the thing that will kill him, and the entire kingdom 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 and Fourth Date Marriage being the cure for isolation and abuse, this movie treats it rather as a symptom, for both Anna and Hans. After years of isolation and neglect (as Elsa was deliberately acting aloof in order to keep her powers controlled and secret), during which she turned to paintings for socialization, Anna Desperately Craves Affection and Thinks Like a Romance Novel and so confuses companionability for True Love, not having much reference for an actual healthy relationship. While she sincerely believes the two of them are meant to be, Hans himself is a subversion of the Prince Charming trope and a deconstruction of the Prince Charmless trope, his own neglect as the youngest of Massively Numbered Siblings turning him bitter and ruthless, and is deliberately exploiting Anna's vulnerability to gain access to the throne, knowing that as thirteenth in line he has no chance of becoming king in his own country. While the realistic shock expressed by other characters in response to the sudden engagement and Hans' revelation as a Sociopath seem to deconstruct this trope, the Power of Love is still what saves Anna in the end, both through an Act of True Love that consists of family reconciliation and loving sisterly self-sacrifice, rather than a Grand Romantic Gesture. She comes to a more sophisticated understanding of what love truly looks like and finds a healthier romantic relationship with a man who has already proven himself true.
    • Anna talks fondly to adorable little ducklings, but they're ordinary, non-talking ducklings. Kristoff, the outdoors man, is the character who has full conversations with an animal companion, but even 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. For both humans, it's connected to their social isolation — Kristoff's Establishing Character Moment is singing a lullaby to Sven called "Reindeers Are Better than People," about his negative experiences and subsequent distrust of other humans, and Anna excitedly tells the ducks about her excitement over the chance to meet people for the first time in the years since the castle gates closed.
    • 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. She's also a a princess who sets out on a journey to try to save her sister and their kingdom and is willing to put up a fight when she or an other person is threatened, but as a Sheltered Aristocrat who spent most of her life locked up, and without any special magic powers or training, it's a struggle with mixed results, sometimes succeeding, sometimes not. In the end, she does succumb to the curse, but revives without being rescued by a Knight in Shining Armor or outdoing any villains in combat, but by curing the curse herself through her Heroic Sacrifice, because The Power of Love within her is what mattered, rather than whether other people wanted to rescue her or even her Action Girl qualities.
    • "Do You Want to Build a Snowman?", "For the First Time in Forever", and "Let it Go" are each an unusual "I Want" Song:
      • Anna has two I Want Songs about her longing for love. "Do You Want to Build a Snowman?" focuses on how much she misses her big sister and is becoming increasingly lonely as the two sisters are isolated, and then transitions into "For the First Time in Forever", in which Anna, having come to believe that her sister has no desire to mend their relationship after years of Elsa's Jerkass Façade, now spends the first of half the song expressing excitement over the chance to meet and connect with someone when the gates to the castle open and she gains a temporary reprieve from her isolation. The second part of the song brings another transition: after singing about her desire for a friend, Anna begins to sing about the possibility of finding a romantic True Love. Immediately afterward, she runs into the friendly and charming Hans, only later to discover he's not actually what she wants. Instead, he's a Gold Digger exploiting the Thinks Like a Romance Novel mindset she expresses towards the end of her second "I Want" Song, which resulted, along with low self-esteem and a starvation for love all of which he also takes advantage of, from the isolation and neglect demonstrated in both. She does want love, and love is what saves her from her curse later on, but at the end of the story, it's the mended relationship between her and her estranged sister, which is what she'd wanted most all along, that takes precedence the primary love in her life. Moreover, the love that saves her is the love within her for her sister, as demonstrated with an actual Act of True Love in the form of a Heroic Self Sacrifice, as opposed to receiving a True Love's Kiss or other gesture, romantic or otherwise, since as Hans demonstrated, such gestures can sometimes be shallow. She also does get that romantic love she'd come to also desire, too, but it's secondary to the mending of her relationship with Elsa, and when she does, it's with a man who's proven himself sincere, having gained from her experiences a better understanding of what a loving relationship really looks like.
      • In "For the First Time in Forever," Elsa has her own part, but sings about what she does not want, namely to lose control of her powers, but there's a hint that part of her does want to use her powers, but she's afraid to. "Be the good girl you always have to be/Conceal/Don't feel/Put on a show/Make one wrong move and everyone will know." This desire becomes more apparent in "Let It Go," when Elsa flees the kingdom and believes that increased isolation means freedom to enjoy her powers, not realizing that her unchecked magic is destroying the kingdom. In the end, Anna shows her love can thaw the ice and she gains better control, becoming able to truly embrace her powers without fear.
    • "Let it Go" is a "World of Cardboard" Speech of these expressed through song. After having spent most of her life concealing her ice powers, once Elsa runs to the North Mountain, she realizes she has no one to fear and no one to accidentally hurt. "Let It Go" comes on and she starts testing the extent of her powers, creating a new dress and an entire castle of ice. However, she traded one form of isolation for another and still does not have full control, and ends up setting off an Endless Winter in the process and later accidentally cursing her sister. When Anna sacrifices herself to save Elsa, her love for her sister is enough to reverse the effects of the frozen heart, and Elsa realizes that she will still be loved and that love will thaw - love, not a life of fear, is the key - and finally truly embraces her powers. (See Failsafe Failure entry.)
  • 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 lying to Elsa about Anna having already died and emphasizing the part her powers played in the curse, 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 Not Think This Through: As a reconstruction of The Heart and the Plucky Girl, although Anna is brave, optimistic, and extremely loving, one of the downsides of these strengths is that this is one of her weaknesses:
    • When the castle gates temporarily open and Anna gains a brief reprieve from her isolation, she becomes excited about having a chance to meet and potentially befriend new people (see Decon-Recon Switch entry). Among the new visitors is the charming Hans, who is the first person in years to treat Anna as a friend, and she agrees to his marriage proposal before the night ends and the gates close, despite not having met any other potential suitors yet to compare and the two only having known each other for a day. Despite being aware that the decision is, by her own admission, "totally crazy," in her happiness and fear of losing her only apparent friend, Anna neglects to consider various potential issues with the quick decision, some of which are later discussed by Kristoff. First, the queen refuses to allow the marriage because of its suddenness, and second, Hans turns out to be a Gold Digger who was not as caring as he pretended. Lampshaded by Hans in his Break Them by Talking monologue:
      Prince Hans: You were so desperate for love, you willing to marry me, just like that.
    • Her plan to find Elsa and bring back summer. She's so quick to undertake the journey that she leaves unprepared for the ordeal. She also has no assurance that Elsa will want or knows how to thaw the Endless Winter the the snow queen's powers created and is acting out of optimism and faith in her sister, but without a backup plan. She's right about Elsa not being malicious and the curse on the kingdom being an accident, but it ultimately takes more than words of support to show Elsa ''how'' to thaw. Lampshaded by Kristoff:
      Kristoff: That's your plan? My ice business is riding on you talking to your sister?
  • 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.
  • 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.
  • 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: Elsa's 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.
  • Easily Forgiven: Elsa is well-intentioned, but she also has very bad publicity, and is quickly and easily forgiven without her innocence being proved:
    • Anna has been straight-up abandoned by her older sister for 13 years without any explanation as to why. Elsa then continues their parents' policy of keeping the family isolated, still without any explanation, before opening the gates for just one day only in order to hold her coronation ceremony. During a confrontation about this, when Anna begins begging for an explanation, Elsa snaps and shoot an array of ice spikes at her, and then promptly runs out of the room - and out of the kingdom as an Endless Winter begins. (See A Tragedy of Impulsiveness entry.) Anna blames herself for this and defends her sister against the naturally suspicious townspeople and dignitaries, despite the situation looking as if Elsa had cursed the kingdom on purpose. An apologetic Anna heads into the blizzard after Elsa to save both the kingdom and her sister, but when she informs the queen that the latter had frozen the entire kingdom, Elsa's response is to insist there was nothing she could do and accidentally curse Anna's heart, before summoning a giant Snowlem to literally throw Anna and Kristoff out of her Ice Castle in her panic. (See Nice Job Breaking It, Hero! entry.) Despite not even knowing that the frozen heart was an accident, Anna doesn't hold any of this against Elsa, and doesn't hesitate to sacrifice her life to save Elsa.
    • Also applies to the populace of Arendelle as a whole. Despite the fact that Elsa abandoned her kingdom and plunged the world into an Endless Winter that could surely have caused some casualties, as well as froze her sister who magically turned to ice from inside out in public view, and no one has any evidence that these things were accidents besides her word - even Anna doesn't know for sure - none of the people of Arendelle have a grudge against her and they actually welcome their queen back with open arms. Made especially impressive by the fact that until that point, Elsa had stayed shut up in the castle and only opened up the gates for her coronation ceremony and its celebration, during which she had a fight with her sister that ended with her snapping and shooting a ring of ice spikes, so she didn't exactly have much of an established reputation to help, either.
  • Emotional Powers: Elsa's powers are tied to her emotions. Positive emotions tend to lend themselves to positive creations, such as with her ice castle, which she constructs it beautifully while in a self-affirming mood, Olaf coming to life, or the creation of the snowgies when she has fun with her sister on Anna's birthday. Negative emotions can have more negative consequences: her fear when she flees the kingdom brings about an Endless Winter, and when her sister tells her about the curse on the kingdom, cracks start appearing and a red light appears within. She comes to fear that her powers go out of control when she feels even the smallest bit of emotion, and eventually takes her father's well-meaning advice to "conceal it, don't feel it" in order to deal with Power Incontinence to the point that she attempts to suppress her emotions in general, which increases her fear of losing control, and by extension, her Power Incontinence, which grows the more fear she feels.
  • 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]
    [beat]
    Kristoff: But I just paid it off!
  • 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: Downplayed and 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 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.
    • An inversion causes a problem for Elsa growing up. The king advises her to "Conceal it; don't feel it" when coaching her on learning to control her power, but she grows up shortening it to "Conceal; don't feel" and attempting to completely suppress her power and the emotions that set them off, which just makes her fear — and by extension, her Power Incontinence, worse.
    • 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.
    • Deconstructed and played with heavily in one case, the film raising the question of which parts of the spirit of a wish matter:
      • In "For the First Time in Forever," Anna dreams of love and of meeting "a beautiful stranger, tall and fair." Hans seems to more or less deliver: a beautiful stranger, not particularly tall but relatively so in comparison to her, and redheaded, so debatably fair. He also seems to capture the spirit of the wish: just as charismatic, regal, brave, friendly, a leader, and friendly as the Prince Charming implied. But since the charm is a cover for Hans also being selfish and cruel, and the relationship between the two wasn't love as Anna had believed it to be before, he doesn't fit the most important parts of the spirit of her wish after all, making him a downplayed example of the trope.
      • Anna also meets Kristoff, who fits the literal description given in the song much better, as he's blond and tall. On the other hand, Kristoff differs from the classic Prince Charming archetype implied in that he is a gruff, aloof, decidedly non-royal Pig Pen who can be insensitive and rude. He also has a has a heart of gold and he and Anna fall in love, so he fits the most important part of the spirit of her wish.
      • On top of that, while Anna's dream was clearly implied to be romantic, the Exact Words can also be applied to the platonic case of her sister, "a beautiful stranger, tall and fair," given that the two have been separated for most of their childhood so as to be near-strangers.note  Not quite what Anna had been implying when she sang those particular lines, but their reconciliation is still in line with the most important parts of her wish, as the two sisters truly love each other, and as seen in "Do You Want to Build a Snowman?", it was her big sister and best friend back that she really wanted all along. See The Four Loves and Decon-Recon Switch entries.
  • 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: Deconstructed. The failsafes actually make things worse.
    • After accidentally hitting Anna in the head, the trolls show a vision of Elsa's older self being attacked by an angry mob with a warning that she must learn control, and the king decides to close the family off from the world as a temporary precaution and "limit her contact with people" while Elsa is still learning, but this increases her fear and thus her Power Incontinence. He then gives her gloves as another way to hide the magic from people, telling her "Conceal it, don't feel it, don't let it show," but again, this ends up only increasing Elsa's fear.
    • As a result of that anxiety, once it becomes apparent she cannot completely hide her powers, Elsa tries another failsafe and runs to the mountains, believing she can push her powers to the limit without endangering others or attracting their anger because of her isolation, only to find that her Power Incontinence has reached such an extent that the kingdom has actually plunged into an Endless Winter and that some people suspect she's done it on purpose.
  • Failures on Ice:
    • In the teaser trailer, Sven has difficulty crossing a frozen lake. He even gets his tongue stuck to the ice at one point! Olaf the Snowlem isn't much better.
    • In the film itself, Olaf actually pretty decent on the ice, and along with Elsa, actually helps Anna, who's learning to skate for the first time in the epilogue.
      Anna: I got it! I got it! ... I don't got it! I don't got it!
  • 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.
  • 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.
  • Fatal Flaw:
    • Elsa's main flaw is being overwhelmed by fear after an accident involving her powers nearly kills her sister and the trolls warn of the possibility of angry mobs if she doesn't learn control, and her Character Development revolves around learning how to deal to with it.
    • Played with in the case of Anna, who has two: naivete and impulsiveness. (See Decon-Recon Switch and Did Not Think This Through entries.) Her naivete and big heart lead her to quickly fall for Hans before getting to know him really well. She also shows impulsiveness and naivete when she rushes after Elsa as the Endless Winter begins, with no protection from the cold, no plan to bring her back beyond talking her down somehow, no idea how she'd accomplish that, and no reason to be sure that Elsa was a Hero with Bad Publicity rather than an Evil Witch intentionally cursing the land. As a result, she nearly dies when Elsa accidentally curses her heart and Hans leaves her to die. However, while her trust in Villain with Good Publicity Hans was misplaced, her trust in Hero with Bad Publicity Elsa is validated, and the film shows Hans to be a talented actor and manipulator who fools all the other characters into trusting him as well and the audience themselves. The plot-twist nature of The Reveal of Hans as The Sociopath looking to gain the throne by any means necessary creates An Aesop for the audience as well as Character Development for Anna, who realizes that after her childhood of isolation she does not know much about love and that her Thinks Like a Romance Novel mindset was wrong. She uses her newfound experience to grow past it and gain a more sophisticated understanding of love (see while simultaneously keeping her large heart and choosing to continue to see the best in Elsa, her unflappable bravery and loving nature saving herself, her sister, and the kingdom. (See Decon-Recon Switch and The Four Loves entries.) Lampshaded repeatedly:
      Kristoff: That's your plan? My ice business is riding on you talking to your sister?
      Anna: Yup.
      Kristoff (after nearly being impaled by one of the spikes created by Elsa's magic): So you're not at all afraid of her?
      Olaf: Yeah. I bet Elsa's the nicest, gentlest, warmest person ever.
  • Fat and Skinny: The two servants of the Arendelle castle who have given names: Kai (fat) and Gerda (skinny).
  • 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 ideal 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 Anna tells Elsa that they can be close again like they were as kids, Elsa has a sudden flashback to the traumatic accident in which Anna was hurt by her magic, leading her to rebuff Anna's request, since she is dealing with Power Incontinence.
  • 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: Subverted. When her ice palace is under attack, Elsa initially retreats rather than use her powers, but begins to use them once her attackers start firing at her.
  • Forgotten First Meeting: Played with. Kristoff saw the troll elder curing Anna when they were kids, and initially appears not to recognize her. He later tells her about the event, but does not tell Anna, who had been unconscious at the time and unaware of the presence of Kristoff, who was also hiding behind a rock, that she was the girl he saw healed and she remains unaware.
  • 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 (Eros), but it turns out to be a combination of Anna's unconditional, sacrificial love (Agape) for her sister (Storge) in the climax. Learning to understand the difference between Grand Romantic Gesture|s and love in all its forms is a large part of Anna's Character Arc as she befriends Olaf (Philia), finds the caring Kristoff to be a better lover than the romantic but selfish Hans (Eros), realizes that she and her sister have loved each other all along (Storge), and shows unconditional, selfless love for all three.
  • Fourth Date Marriage:
  • 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.
    • When Pabbie alters Anna's memories so that she won't remember Elsa's magic and puts them back in her head, look closely and you can see Anna's tired expression change to a smile.
    • 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.
    • More noticeable to a viewer when rewatching with knowledge of Hans's Evil All Along status, Hans looks at the chandelier above Elsa's head before redirecting the Mook's arrow toward that chandelier so that it would fall on her.
  • Freudian Excuse:
  • 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.
  • Friend or Idol Decision: A rather tearjerking one happens in the climax: Anna has nearly completely frozen to death and Kristoff is about to approach her and give her a kiss to save her, but then she notices Hans about to murder Elsa with his sword. Willingly, she uses her last breath to throw herself in front of Hans and freezes over just before the strike. Her sacrifice was the "act of true love" which thaws her minutes later.
  • 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 "For the First Time in Forever" (about 22 seconds after Rapunzel & Flynn's Blink And You Miss It cameo), Anna very briefly grabs a random man's hand and then immediately runs away from him. It's easy to miss because Anna's singing in the foreground, but in the background you see the man first quickly looking confused, and then he gets a smile on his face upon recognizing it was actually the Princess who just ran into him.
    • 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, working desperately with their parents to contain her powers, and Anna was left alone (see Parental Neglect entry), Locked Out of the Loop and wondering why her sister appeared to suddenly not care about her anymore. (See Parental Neglect entry). Consequently, both sisters had unhappy and very lonely childhoods despite living under the same roof, and said roof being that of a castle.
  • 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!: Heavily played with in Queen Elsa's case. Heir to the throne Elsa was born with powerful ice magic. After an accident involving her powers results in her sister being seriously injured and the trolls warn she must learn control or else danger could arise, showing her an image of her future self being attacked by an angry mob, she works to avoid becoming this trope and the often-overlapping Wicked Witch trope, but her attempts to do so both make her come off as a metaphorical ice queen to those Locked Out of the Loop and exacerbate her Power Incontinence, which in turn heighten her fear and cause her to double down on her attempts to avoid it, perpetuating a dangerous cycle. (See Failsafe Failure entry.) On the day she officially becomes queen, after years of shunning her younger sister Princess Anna, Elsa forbids her marriage to Prince Charming Hans and subsequently leaves the kingdom in an Endless Winter as she builds an ice palace on the North Mountain and sings about how now she sees "no right, no wrong, no rules for me." (See first Villain Song entry.) When the good-hearted princess journeys to help Elsa, as she still chooses to believe the queen is a Hero with Bad Publicity, and save the kingdom, Elsa makes no effort to unthaw the kingdom and instead curses the heroine... but really is a Hero with Bad Publicity: freezing the kingdom and Anna's heart were accidents, she actually doesn't know how to undo the winter and her response is a manifestation of her panic, she's justifiably concerned about how quickly Anna and Hans are moving (see first Decon-Recon Switch entry above), and her seemingly-cold treatment of Anna is a Jerkass Façade and Break Her Heart to Save Her approach, because her powers are emotion-based, so she tries to become an Emotionless Girl to prevent Power Incontinence and defy God Save Us from the Queen!. With Anna's help, she eventually learns how to deal with her fear and her powers and becomes a Benevolent Mage Ruler, rather than an Evil Queen / Wicked Witch or a repressed Emotionless Girl afraid to use her power.
  • 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 agrees to marry Hans the same day she meets him, not having much reference for what a truly loving relationship actually looks like, and panics at Elsa reclosing the gates early. Also plays a role in Elsa's spiraling anxiety. (See Failsafe Failure entry.)
  • The Good Kingdom: Arendelle has a Benevolent Mage Ruler, a Princess Classic as her sister (if not demure, like typical examples), and people who love their queen after it was clear she would only use her powers, when under her control, for good (despite Elsa growing up worried how others would treat her regardless).
  • Good Parents: Played with. 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, and act very protective of Elsa, firing most of the staff and closing themselves off as they close the castle gates in order to protect her after the trolls show an image of her future self being attacked by a mob. They also patiently attempt to help her control her Power Incontinence so one day the isolation can end with less fear. However, their attempts to help, while well-intentioned, backfire and harm both of the sisters, exacerbating Elsa's anxiety and subjecting Anna to neglect that damages her own self-esteem and ability to recognize the difference between gestures and actual love. The issues of the two girls set off a chain of events that leave the kingdom in an Endless Winter and nearly get both of them killed. (See Failsafe Failure, Go Mad from the Isolation, and Parental Neglect entries, and first Decon-Recon Switch entry.)
  • 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.
  • 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. After Elsa leaves the kingdom in an Endless Winter, Anna discovers that she has made her stronghold on the North Mountain. However, this is shown to not be entirely bad — once she's away from people, Elsa finally feels free to be herself for the first time in years, and in doing so, is able to create wonderful things again, including Olaf and a gorgeous ice palace that Anna and Kristoff admire in wonderment. It also turns out Elsa truly isn't malicious, the Endless Winter being a result of Power Incontinence. Still, Elsa remains more isolated than ever, and doesn't realize how much the kingdom is suffering, while she appears to the people as likely having cursed them on purpose. (See second Failsafe Failure entry.) The script highlights this nuance: "The place is beautiful, but also eerie." After she returns to Arendelle, she learns how to be a Benevolent Mage Ruler without becoming an Evil Queen / WickedWitch or suppressing her power.
  • 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 the surroundings for wolves.
  • Happily Adopted: Kristoff and Sven by the trolls. All of them are like doting parents.
  • Harmless Freezing: Generally 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.
    • Played straight at the end of the movie. Anna is fine after being an ice sculpture, but this was not a mundane freeze, nor was it a mundane thaw. The same applies to the plant life seen magically springing back to life when Elsa undoes the Endless Winter.
  • Harmony Versus Discipline: Of the Emotions vs. Stoicism variety. Elsa has spent her whole life trying to master her Emotional Powers through Discipline and attempting to be an Emotionless Girl, 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 acceptance doesn't cure her Power Incontinence, too much discipline and attempting to completely suppress her emotions and her powers often makes them worse, prevents the benefits of the magic as well as the risks, and isn't healthy for her. (See Failsafe Failure entry.) Embracing her emotions and magic allows her to harness and enjoy it, is healthier for her, and keeps the risk of Power Incontinence relatively low. In fact, it's The Power of Love that turns out to be the key to thawing unwanted effects, which is shown through Anna, the more emotional red oni to Elsa's blue.
  • Hate Sink:
    • The Duke of Weselton's role in the story as a Red Herring mainly involves displays of greed and comments about distrusting Elsa and magic. Elsa's declaration that, after his attempted regicide, trade with Weselton will be cut off and the messenger's deliberate mispronunciation of it as "Weaseltown" is portrayed as a triumphant part of the happily-ever-after.
    • 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 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.
  • High Class Gloves: Elsa and Hans, the more formal main characters, generally wear gloves, while the less formal Anna and Kristoff either go barehanded or use mittens when the weather gets too cold to do so. Played with:
    • In the case of Elsa, who uses gloves as a Magic Feather to keep her powers controlled. When she opens up the gates for the day 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. When she fights with Anna over their isolation, one comes off and she loses control of both her powers and herself. When she flees the kingdom, she discards the other one and decides to completely let go and stop being The Woman Wearing the Queenly Mask.
    • In the case of Hans, he takes off his gloves once, during The Reveal of him as Evil All Along. Like Elsa, the gloves represented him not being himself.
  • Hollywood Costuming:
    • The film is supposedly set somewhere in the 1840s (as implied by much of the wardrobe and architecture), 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 ballgown, or they fall straight down, like Elsa's coronation dress. A scene from an earlier draft showed the sisters together in a dressing room where Anna tries on a dress spoofing the increasingly large crinoline skirts around that time, with a comment made about it being a gift from "one of the bigger countries", suggesting it may be a deliberate example to highlight the girls' isolation. However, the dresses of the coronation guests also lack the expected stiffness.
  • 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.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. The fact that they had fairly normal, happy childhoods until then, plus having loving parents, saved them both from becoming sociopaths; Hans not having that love or happier beginning also fits.
  • 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.
    • And then subverted when Anna gets another opportunity for a True Love's Kiss only for Hans to succeed in pushing Elsa over the Despair Event Horizon. This leaves Elsa vulnerable to his attack and halts her magical storm, which allows Anna to see him about to strike the mourning queen. Anna then turns away from Kristoff to use the remainder of her strength to take the blow for her sister. Her Heroic Sacrifice turns out to count as the Act of True Love that breaks the curse, thus saving her as well as Elsa.
    • 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, and 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 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).
  • 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: Inverted when Hans mocks, "Oh, Anna... If only there was someone out there who loved you," having picked up on how unloved Anna felt. In truth, Elsa does care about Anna but attempts to be an Emotionless Girl in order to keep her powers controlled, creating a Jerkass Façade in the process. Kristoff and Olaf also care about her, but Anna doesn't know it yet.
    • Later played straight. Elsa asks Hans, "Just take care of my sister," not realizing that Hans was Evil All Along and wanted both sisters dead. See Betrayal by Inaction entry.)
  • 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 she or 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. Implied to be intentional with his glance up at the chandelier before rushing to the goon. See Rewatch Bonus and Freeze-Frame Bonus entries.)
  • Improvised Lockpick: Snowman Olaf uses his carrot nose to unlock the door behind which Princess Anna is dying of her frozen heart.
  • Improvised Weapon: While being chased by wolves, Anna drives one off by swinging Kristoff's lute at it like the lute's a baseball bat.
  • 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 their voice actresses, Idina Menzel and Kristen Bell respectively, 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 phyiscal 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).
  • Internal Reveal:
  • 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: Kai mispronounces Weselton as "Weaseltown" the first 2 times it is said. The third time, it's deliberate.
  • 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.
    • Kristoff bases his disparagement of Anna's Fourth Date Marriage on him having friends who are love experts. When we meet said love experts, they immediately try to get him and Anna, who have known each other for about a day, married on the spot.
    • 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. See Exact Words for more detail.
  • 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, the messenger deliberately calls him "Weasel Town".
  • I Want My Beloved to Be Happy/Safe: Played with.
    • A platonic variation with Elsa. As she becomes more afraid of her powers, Elsa worries about the harm they can do to other people, including Anna, and so avoids her. Exposited at the ice castle, when Anna tries to reach out to Elsa and Elsa declares that she thinks it's best if she stays alone in her ice palace, "where I can be who I am, without hurting anyone," and "Just stay away and you'll be safe from me." However, Anna has to tell Elsa that despite her distance, the kingdom is in an Endless Winter and that they need to find a way to thaw it. Elsa panics at the news and tries again to protect Anna by summoning a giant snowlem to throw her out. While the story explicitly supports this trope, declaring "Love is putting someone else's needs before your own," Elsa's fear - both of and for others - makes things worse. (See Failsafe Failure and Nice Job Breaking It, Hero! entries.) In the end, Elsa realizes that love itself is the answer and that it's safe to be with her sister and other loved ones without repressing her powers.
    • Played straight with 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.
  • Jerkass Has a Point: The Duke. He's prejudicial and a definite jerk, but when he worries, "If we don't do something soon, we'll all freeze to death," it's part of the ramping up of the emotions in anticipation of the climax, reminding viewers of how high the stakes are, as Anna is on her deathbed and the villainous Hans has extinguishing all light and heat in the room and Elsa's fear is growing stronger and stronger. (See Snow Means Death entry). There were a ton of innocent civilians who were going to freeze or starve to death if summer never came back, especially with the frozen fjord and blizzard-wracked mountains making evacuation making evacuation unlikely, besides the plights of our heroes.
  • 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 people fear her to be.
  • 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: When Anna needs an "act of true love" to live and the characters assume this act would be a True Love's Kiss, her fiance and supposed True Love Hans, rather than attempting a kiss in case it might be helpful or to keep the act up as part of common decency or in case she survives anyway and he would need his tracks covered, picks up a Villain Ball and reveals his Evil All Along status, gloating about his Evil Plan to to manipulate and take advantage of Anna, murder her sister, and take over their kingdom in a sadistic monologue that seems designed to break her. He also decides to extinguish all sources of heat and light in the room, even though speeding up her death process had little benefit for his plan, and to twist the knife further and demonstrate how little he cares by leaving her to die alone — before she's finished freezing. He veers into Bond Villain Stupidity territory in the process, since all he really had to do was wait and watch her die painfully and then he wouldn't have to lie to anyone afterward, and had he kept the act up and pretended to be at least well-intentioned like Anna, even if not actually her One True Love, he could have kept his Villain with Good Publicity status and avoided punishment.
  • Knife Outline: Elsa does this to one of Duke of Weselton's bodyguards using icicles.
  • Lampshade Hanging: 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, making his case a subversion.
  • Large Ham: The Duke of Weselton hams it up anytime he's onscreen.
    Duke of Weselton: (to Anna) YOU!! Is there sorcery in you too? Are you a monster TOO?!?!
  • 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. 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 a villain 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 and removing all sources of heat and light.
  • 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 of 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 that 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: Downplayed when Anna and Hans agree to a Fourth Date Marriage after spending the day together, as well as deconstructed} as part of the film's exploration of the power and nature of love. See first Decon-Recon Switch entry.
  • 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 he immediately rushes to help.
    • 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 also makes her realize it's mutual.
  • Love Theme: "Love Is an Open Door" is set up as one, but it's downplayed and subverted in that while Anna is sincere about her verses, Hans is later revealed to be Evil All Along and is just using that time to get Anna to fall for him.
  • Love Triangle: It's downplayed (the fandom placed a lot more emphasis on it than it actually receives) and subverted, but it's there. Anna and Kristoff bond throughout their journey to Elsa's Ice Palace, and by the time Kristoff's Shipper on Deck family tries to push the two together, it's clear to the audience that he's starting to see her in a romantic light, although the two both quickly try to correct the trolls' assumptions and explain that the two are not a couple and that in fact, she's engaged to her apparent One True Love Hans. Then Hans is revealed to be an Gold Digger who never cared and was manipulating Anna into a relationship so he could gain access to the throne. Both Anna and Kristoff don't realize their feelings for each other until Hans is already out of the picture and become an Official Couple in the film's epilogue. 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.
  • Madness Mantra: Elsa after learning that her escape to the mountains actually brought on an Endless Winter. See Arc Words and Exact Words entries for more detail:
    Elsa: Don't feel, don't feel, don't feel, ''don't feel''!
  • 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.
  • 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, and short for the Scandinavian form "Kristoffer", meaning "bearing Christ", or "Christ-bearer", so of course he's going to be a good guy, and he guides Messianic Archetype Anna in her quest. And his canon last name is "Bjorgman" — "Bjorg" is a feminine Norse name meaning "help" or "salvation".
    • Anna's name, the Greek form of the Hebrew "Hannah", indicates that she's gracious and merciful.
    • Hans:
      • His name is a derivative of the name "Johannes" in Northern-European languages (the English counterpart is "John"). The name means "God is gracious," reflecting his role as a mirror; he's functioning as one toward all the characters he interacts with, but particularly toward Elsa (whose own name has the meaning "God's oath") and Anna. Not only does his mirroring of his targets work as part of his manipulation, he also plays the thematic role of a twisted version of each of the two sisters. Like Elsa, he hides much of himself, symbolized by their shared habit of wearing gloves. Like Anna, he also grew up feeling unwanted by his older siblings. However, unlike the two of them, he became ruthless and cruel.
      • His name references Hans Christian Andersen, the author of the fairy tale this movie was inspired by.
      • "Hans" is a common fairy tale name, tying into his role as a Deconstructed Character Archetype for both the classic Prince Charming and Prince Charmless.
    • 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.
  • Meet Cute: Anna and Hans meet when he nearly knocks her into the water with his horse. Hans turns out to have exploited this trope as a way to get close to Anna and take advantage of her naivete. Turns out that he's just heartlessly using her and manipulating her into a quick engagement to get to the throne of Arendelle, and couldn't give two craps about her.
  • 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 visually 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.
  • Modeling Poses:
    • Spoofed when Sven did a hood ornament hottie pose to show off Kristoff's new sled.
    • Played with in "For the First Time in Forever." In preparation for the ball, Anna imitates poses in paintings, not experience or much other indication of how to act. She also attempts one while trying to emulate her sister.
  • Moment Killer: A platonic version. 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.
  • Mood Whiplash:
    • After the heartbreaking ending song of "Do you want to build a Snowman?" with the scene of the two sisters being orphaned and alone, the movie immediately time-skips to three years later where after some comments about the princesses being lovely and beautiful, we see Anna sleeping in a comical bedhead and drooling and cheerfully singing about how she could finally find true love.
    • The cheerful troll song "Fixer Upper" is followed by Anna collapsing due to her freezing heart, which causes a dramatic mood switch.
    • 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.
  • Mook Chivalry: One of the two mooks going after Elsa at her castle aims at her with his crossbow but waits to 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, concealing things, catching people, snowflakes, boats. See Arc Words, Arc Symbol, and Colour Motif entries for more details.
    • Paintings. Anna begins turning to paintings for company during her isolation in "Do You Want to Build a Snowman?", the passing of the girls' parents is marked by their portraits being covered, Anna models the behavior portrayed by the pictures in the portrait room portray as she prepares for the castle to open up again (see Art Imitates Art entry), and Elsa looks up at a depiction of her father's coronation she practices for her own. The motif even shows up again in the sequel short "Frozen Fever" and Christmas Special "Olaf's Frozen Adventure," as well as Tie-In Novel A Frozen Heart. (See Franchise page.)
  • Mr. Exposition: Olaf, when discussing True Love with Anna:
    Anna: I don't even know what love is.
    Olaf: That's okay, I do. Love... is... putting someone else's needs before yours; like, you know, how Kristoff brought you back here to Hans and left you forever.
    Anna: Kristoff... loves me?
    Olaf: Wow, you really don't know anything about love, do you?
    Anna: [seeing Olaf's face melt] Olaf, you're melting!
    Olaf: Some people are worth melting for... just maybe right not this second.
  • Murder by Inaction: Exaggerated Trope. Hans attempts this when he finds out his fiance is dying and needs an "act of true love," assumed by him and other characters to be a True Love's Kiss, to break the curse. Instead, he leaves her to freeze death after a Break Them by Talking speech in which he taunts her for trusting him and trying to help her Hero with Bad Publicity sister, as well as gloats about his plan to murder her beloved sister. He also locks her in the room and extinguishes all sources of heat in order to prevent any chance of her being cured.
  • 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!
  • Nature Tinkling: Nobody ever does this during the movie, but apparently, Kristoff likes to do it, as evidenced in Fixer Upper.
    Young Troll: Or that he only likes to tinkle in the woods?
    Anna: I did not need to know that.
  • 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.
      • Some TV ads focused entirely on Olaf portraying 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.
    • 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.
      • One of these aggressive-seeming shots used is actually is a clip from test animation of the scene where Anna and Kristoff jump off the cliff to escape from Marshmallow, for an earlier draft where she had been a villain, but this was changed by the film's release, as were several other aspects of the clip also sometimes included in promotional material. 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. 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.
      • 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.
    • 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 one of the songs included in any of the pre-release trailers.
    • A lot of ads for the movie make Hans out to be one of the heroic characters by having him pictured along with Anna, Elsa, and Kristoff with a friendly look. This is ultimately revealed to be an act — and by the end, he has revealed himself as the film's most villainous character.
    • 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.
  • Nice Job Breaking It, Hero!:
    • Both the trolls and the Elsa's parents try to protect her from Burn the Witch! treatment, but their attempts backfire. After Anna is accidentally struck by Elsa's magic, the trolls warn she needs to learn to control her gift, and that "fear will be your enemy" while showing an image of an angry mob attacking her future self. Her father responds by vowing to protect her by isolating her while she is still learning control, but teaching her to hide it from everyone increases her own fear, which both hurts her and in turn exacerbates her Power Incontinence. See Failsafe Failure entry.
    • While healing Anna, the trolls remove her memories of Elsa's magic. The memory removal part isn't 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 making Elsa's attempts to be an Emotionless Girl and Aloof Big Sister treatment of Anna a Jerkass Façade, creating psychological damage that makes her vulnerable to Gold Digger Hans's manipulation. (See Decon-Recon Switch entry.)
    • Elsa's response to the eternal winter? Hiding in an ice castle, leaving the rest of the people to suffer. She chases away the one group of people who were trying to help her, arguing they're safer that way, by creating Marshmallow, who attacks them with a ferocity that endangers their lives and prolongs the discovery of the solution.
  • 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 heat.
  • 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 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, Iduna 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!:
  • One Steve Limit: Played for Laughs. Played for Laughs. See Bait-and-Switch Comparison entry. When Anna is introducing Kristoff and Sven to Olaf, Olaf asks "who's the funky looking donkey over there?" Anna thinks he's referring to the reindeer, Sven, and tells him Sven's name, only for Olaf to follow up with "And who's the reindeer?". Anna repeats the reindeer's name, leading to a Running Gag where Olaf thinks 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, Anna of the only people who seemed to care about her, 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 being with magical powers in the entire film, and even she doesn't comprehend how powerful she is, so when her magic sets off an Endless Winter, it comes as a shock to even her. On the other side of the scale, Prince Hans comes completely out of nowhere as a scheming, politically minded manipulator. In a story about magic and the bond between sisters, no one was expecting the villain to have based their plans on medieval laws of succession.
  • The Outside World: Elsa and Anna both are trapped in the castle. 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 into 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 apparent sympathy toward 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 day.
    Elsa: You can't marry a man you just met!
  • Parental Neglect: In "Do You Want to Build a Snowman?" (See Sanity Slippage Song entry). Anna's parents seemingly never notice that their youngest daughter is Going Mad from the Isolation after the castle gates are closed, the staff reduced, and the people allowed in limited. She is seen lamenting "all these empty rooms," turning to paintings for company, and is almost always alone for most of the song, the one exception when she hugs her clearly surprised parents goodbye. The sequence implies they're busy dealing with Elsa, who is struggling with dangerous levels of PowerIncontinence. The younger princess is even seen alone as she rides a bike clearly meant for two, down the stairs. By standing on the backseat. On one foot. ''Completely unsupervised.'' When we see the inevitable crash, there's no evidence anyone came to check on the kid, who's established to have extreme bravery but also recklessness as both a strength and one of her two FatalFlaws.
  • 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 Horror: Elsa freezing Anna while trying to drive her away to protect her.
  • 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, [[spoiler"You sacrificed yourself for me?"]] Anna replies, "I love you."
  • 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 caring 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 Iduna, 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 "fear will be your enemy." See Exact Words and Metaphorically True entries.
    • After young Elsa accidentally struck Anna in the head and called her parents for help, the parents came into an ice-covered room to find their child with ice magic cradling their younger one, who was unconscious and suddenly had a streak of white in her hair. The father exclaims, "Elsa, what have you done? This is getting out of hand!" and when he takes her to the trolls, both he and Pabbie assume the problem was Power Incontinence, Pabbie telling Elsa her power is beautiful but also that it needs control and the father responding "She can learn to control it, I'm sure." Except that Elsa had been controlling her powers perfectly before she slipped, which affected her aim and made her accidentally hit Anna. 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. (See Failsafe Failure and Nice Job Breaking It, Hero! entries.)
  • The Power of Love: A big theme for the film, but it also plays around with expectations on what love is This is also what allows Elsa to finally control her powers.
  • Pragmatic Villainy: 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's great at maintaining good publicity, and accordingly, will act perfectly nice to anyone who might be useful. When Anna asks him to take care of Arendelle while she's trying to get back Queen Elsa and return summer, he offers shelter in the castle and hands out supplies personally. See Evil Virtues entry.
  • Present-Day Past:
    • Olaf's Imagine Spot 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.
    • The word 'OK', which was invented in 1839, is used frequently throughout the film, especially by Anna. It works for post-coronation day events in the film, but Anna says 'OK, bye' to Elsa in "Do You Want to Build a Snowman?", which was before the word 'OK' was around.
    • Characters often speak in modern colloquialisms,. 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 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.
    • Chocolate sweets like the ones staked on the buffet were first manufactured in 1847, so they're not out-of-place, albeit as very new and exotic treat, but chocolate fondue is still about 140-150 years off, though, alas.
  • 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:
    • The Duke of Weselton's two men come to kill Elsa. Elsa is afraid to use her powers and begs them to turn away but is forced to use them to defend herself, and when they continue to take shots at her, Elsa finally goes into a state of Tranquil Fury and nearly impales one and almost pushes the other right off the balcony of her ice palace.
    • Anna's years of frustration with Elsa boils over when Elsa orders the gates closed again and she then has at Elsa with that fateful fusillade of armor-piercing questions.
    • After the stress of being in public for a day while worried about her secret Power Incontinence, Elsa snaps at her Locked Out of the Loop sister's series of Armor-Piercing Questions and shoots an array of ice spikes at her. (See Armor-Piercing Question, A Tragedy of Impulsiveness, and Berserk Button entries).
  • 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.
  • 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).
    • Anna's desperation for love and affection is a result of her being secluded in her castle away from human interaction since she was a little girl. (The staff working in the castle do not count due to them not being her friends, but much older adults busy with their jobs.)
  • 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:
    • 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.
  • Recurring Camera Shot: We get two shots set up with someone looking out of the study window. The first time, it is with Elsa during "For the First Time in Forever" number, where she is looking at the kingdom citizens waiting outside the gates. This is to show that's she nervous about opening up to all those people out of fear that her powers will be revealed to them. The second time, it is with Hans during his Motive Rant to Anna, where he looks out the window. Due to the blizzard outside, there are no people this time and he only sees his reflection in the glass, showing that he only cares about himself.
  • 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 be paired with Elsa instead.
  • Red Oni, Blue Oni: Played with. Anna is the Red Oni to Elsa and Kristoff's Blue, and the trope is deconstructed for all the characters, subverted for Kristoff and Elsa, as well as Double Subverted for Anna.
  • 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 "of nowhere in particular").
  • 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 in an earlier draft, but that scene 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:
    • Anna personally sets out on a journey to try to save her missing sister Queen Elsa and their kingdom, rather than commission soldiers to take on the task or risk the prejudicial Duke of Weselton sending his men ,and makes sure there is someone left looking after the kingdom while she's gone. It's deconstructed and reconstructed, since for all of her courage and heart, after being locked up for most of her life, she doesn't actually know what she's doing and doesn't have any magic powers or special training to help her. Reality Ensues: her horse runs away, she starts to freeze, and when Elsa responds to hearing that kingdom is under an Endless Winter not by thawing it, but by revealing she doesn't know how and panicking, Anna finds herself kicked out of the ice palace with no way to stop the winter. She realizes she needs — and finds — warmer gear, transportation, directions, and a way to thaw by herself, which in turns shows Elsa how to deal with her Power Incontinence. (See third Decon-Recon Switch entry.)
    • Prince Hans, meanwhile, runs the kingdom for her in her absence, and from what we're shown he appears to be quite good at the job. He 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. Of course, Hans is a villainous example of the trope, but Anna doesn't know that when she leaves him in charge. In fact, the trope is exploited by Hans, who uses it to build up his Villain with Good Publicity status and grasp power while the queen and princess are absent. (See Uriah Gambit entry.)
    • Elsa herself qualifies, as the Duke of Weselton's concerns with securing his trade interests in her kingdom make this one of the only Disney Princess movies (the other being Western Animation/Brave) where political diplomacy and international affairs are an explicit concern. It's mainly the Duke who's concerned with it at all, but Anna and Elsa are more focused on Elsa's Power Incontinence and the Endless Winter afflicting the kingdom. At the end of the movie, Elsa cuts off the trade agreement between Arendelle and Weselton after the Duke tries to have her killed..
  • 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 Funny: How else to explain both Anna and Kristoff looking shocked that they are suddenly inside Olaf's Imagine Spot.
  • Rule of Glamorous: So how can the power to manipulate ice allow Elsa to reweave her cloth dress into ice? 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:
  • 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.
  • 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.
  • Ship Sinking: The sheer brutality of the main plot twist in Frozen did this to the Hans/Anna ship, and by extension, every other Hans-related ship. Essentially, Hans reveals that he only ever cared about getting the throne, and Anna was the easier sister to seduce. He then explains how now that she's dying, all he needs to do is kill Elsa and become a Villain with Good Publicity. Said Evil Gloating is done with a smug, satisfied smile. Word of God confirms that the character in question is and always was a sociopath.
  • Sigil Spam: The crocus is part of the official crest of Arendelle and is seen adorning various props and official regalia, including the scepter and orb Elsa takes as part of her coronation ceremony, her gloves, her cape, both sisters' coronation dresses, Anna's necklace, wallpaper, and tablecloths. See Arc Symbol entry above for thematic significance.
  • 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 seeing Anna alive after had had locked her in a room to die from a curse, 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 hits Anna in the head, knocking her out. Anna is saved by trolls, but years later she does die when Elsa accidentally freezes Anna's heart during a panic attack. Anna turns to ice in the climax but is comes back through The Power of Love.
  • Sibling Yin-Yang: Anna and Elsa. Anna is cheerful, extroverted and a Badass Normal while Elsa is stoic, introverted and very powerfully magical. This is highlighted by their hairstyles, with Elsa's hair in a single, lone French braid and Anna's in pigtails. See Red Oni, Blue Oni entry.
  • 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 cloaks and clothes to freezing residents suffering in the magical July blizzard, the Duke of Weselton complains that Hans is giving away tradable goods. Hans's response, repeatedly stressing that he was left in charge, displays more anger at the duke questioning his authority than his apparent lack of concern for the populace.
  • Slapstick Knows No Gender: Anna takes just as much slapstick as Kristoff does.
  • Snowball Fight: Anna lobs a snowball at Marshmallow. This only makes him mad.
  • Snow Means Cold: Justified in that magic is involved, but Elsa makes it not only cold, but a foot or so of snow everywhere.
  • Snow Means Death: Played with. Most of the film takes place during an Endless Winter, but 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 Arendelle has taken on the appearance of a wasteland and Anna is missing, 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, who had been told by Kristoff to lay low and didn't even think that Hans would make Anna's troubles worse, nevertheless making his way to the castle and poking his head into random rooms — and helping Anna warm up and get to Elsa. Hans didn't even know Olaf existed.
  • 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.
  • 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, "I have a feeling you don't know."
  • Subverted Trope: The film gained a lot of attention for subverting expectations and stereotypes associated with fairy-tales.
  • 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.
    • The same happens to Hans in the climax via being thrown backwards with a magical shockwave — though he's only out for a few minutes and is visibly groggy afterwards.
  • 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 suspected that Elsa's use of gloves resulted from a dislike of dirt.
  • 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."
  • 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 one of the darkest stories. It's downplayed as Elsa is a 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 seeing Anna alive after had had locked her in a room to die from a curse, 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.
    • Anna also has a love of sandwiches.
    • Sven loves carrots, to the point where he tries at least three times to steal Olaf's nose.
  • A Tragedy of Impulsiveness: The "Party Is Over" scene that sets off the main events of the film is full of this, both sisters acting impulsively:
  • 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. In fact, the promos for Disney Channel and Freeform all play up scenes from the epilogue, spoiling the movie's resolution for those who didn't see it yet.
  • Trauma Conga Line: For both sisters:
    1. At a young age, Elsa inadvertently almost kills Anna, which leads to a warning from the trolls that makes her fear both the reaction of other people and the potential of her power to cause harm, and becomes 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 given Laser-Guided Amnesia and is left to wonder why her sister and best friend in the world suddenly doesn't want anything to do with her anymore.
    3. Then their parents die, leaving both of them utterly alone in the world.
    4. Elsa can't control her secret Emotional Powers in the aftermath of their death, and so can't even leave her room to attend their parent's funeral.
    5. Locked Out of the Loop Anna has no clue why Elsa is still avoiding her and leaving her to deal with the burden of their parents' death without any friends or family, as well as with the responsibilities involved in being the only living member of the royal family willing to leave her room at the time the previous monarchs are lost, including explaining the new queen's mysterious absence, without knowing why Elsa doesn't seem to care and wants to continue their parents' policy, started after the accident Anna had removed from her memories, of keeping the two of them as isolated as possible.
    6. Another three years of isolation go by and Anna finally finds someone she seems to connect with, only for Elsa, who's concerned about Anna entering into a committed relationship so soon (see first Decon-Recon Switch entry), to immediately close the gates again and tell Anna that she has to chose between a life beyond the gates or the only home she's ever known and her only remaining family.
    7. Elsa's secret is revealed when she snaps at an Armor-Piercing Question during the confrontation, and she faces calls of "monster" as her panic and Power Incontinence grow.
    8. As Anna deals with realizing that her family kept her in the dark about such a major secret, as well as feeling guilt for the confrontation, Elsa flees and the kingdom plunges into a magical blizzard in the middle of summer and the suffering people begin to express suspicion that her estranged but still beloved sister is doing it on purpose.
    9. Just when Elsa thinks she can live without any magic-related problems, she's informed about the Endless Winter, and she feels she has just doomed everyone in Arendelle and is powerless to stop it.
    10. Anna gets unintentionally shot in the heart with magical ice, which starts to slowly freeze her from the inside out.
    11. Elsa, meanwhile, feels even more guilty after Anna gets cursed.
    12. Anna then gets literally thrown out by her panicking sister's giant snow monster.
    13. Elsa survives an assassination attempt, only to be knocked out and imprisoned instead.
    14. 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 after subjecting her to a sadistic monologue about how no one loves her.
    15. Elsa gives up the will to live when she thinks her sister died because of her, only to be saved by Anna actually freezing to death, and looks up to see Anna's frozen body, as Anna had realized that her sister really was in danger and needed to give up her chance to live and to finally find love when she chose to Take The Bullet.
  • Traveling at the Speed of Plot: Elsa takes apparently no more than a few hours to get from Arendelle up to the top of the North Mountain on foot. 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. This is likely because she was not initially traveling to the mountain specifically, but rather searching around for the missing Elsa — she may have been traveling away from the North Mountain until the scene at the trading post when she overhears Kristoff's remarks to Oaken about the storm coming from the direction of 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. The difference between the travel times of Hans and Anna could be explained by Hans and his team riding horses the whole way and with soldiers who may have known the terrain and/or been more experienced trackers, whereas Anna made the majority of the the journey on foot and half of it unaccompanied, after spending most of her life in isolation, but no explanation is actually given how they found where to go.
  • 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. Its 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. Grand-Pabbie Troll tells Anna that only an Act of True Love can save her. The first idea that occurs to the other trolls is, "like a true love's kiss!", so off Anna goes to get a kiss from her beloved Hans who doesn't actually love her. See the Act of True Love entry for the act that does save her.
  • Truth in Television:
  • 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 dancing and singing her way down the railing of the road to the castle with the visitors taking little 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.
  • Uriah Gambit: Downplayed and inverted. When Queen Elsa flees and an Endless Winter sets in, Princess Anna volunteers to find her and help the kingdom. Hans initially protests that it's too dangerous for her to go alone and suggests he accompany her himself — until she says there also needs to be someone to stay and take care of Arendelle and asks him to do it. Once he's in charge, then he's happy to have her go off on her own, although he's careful to take soldiers with him on the "rescue mission" later on when her horse very publicly returns without her. In his Break Them By Talking Speech, he implies this trope was his intent, gloating that in order to take the throne, he had already been planning to kill Elsa, "But then she doomed herself, and you were dumb enough to go after her!".
  • Villain: "Exit, Stage Left!": Anna punchs Hans off the ship for lying to her, then he is thrown into a jail cell onto a ship back to the Southern Isles to face punishment for such.
  • Villain Has a Point:
  • Villainous Breakdown:
    • The Duke of Weselton has a 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 the messenger deliberately pronounces its name as "Weasel Town".
    • 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 "tradable goods" to keep from freezing to death.
  • Villainous Face Hold: Prince Hans holds a weakened Anna's chin up so she's looking him in the eye whilst he tells her of his plan to kill Elsa and usurp the throne.
  • 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.
    • Hans gets past Marshmallow by slicing off his leg, and goes to rescue the soldiers.
  • 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.
    • 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....
    • Snowlem Olaf laments "Man, am I out of shape!" as he runs from Marshmallow — while his body parts are literally out of order.
  • 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.
  • "Well Done, Son!" Guy: Implied for Elsa. During "For the First Time in Forever", the way she looks up at the painting of her father while she is mentally preparing herself for her coronation, not to mention her coping mantra involves the phrase "Conceal, Don't feel", which has its roots in her father suggesting that to control her powers she "Conceal it, don't feel it, don't let it show," and the way she interacts with her parents in "Do You Want to Build a Snowman?" all seem to suggest that she fears being a disappointment to her deceased parents.
  • Wham Line: (See Decon-Recon Switch and Subverted Trope entries).
  • Wham Shot: Hans stopping inches away from Anna’s lips and giving a wicked grin, which shocks the audience that something’s not right.
  • 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?: Hans calls out Elsa for nearly killing Weselton's soldiers while they were defenseless.
  • 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: Decon-Recon Switch. "Let it Go" is one of these expressed through song. After having spent most of her life concealing her ice powers, once Elsa runs to the North Mountain, she realizes she has no one to fear and no one to accidentally hurt. "Let It Go" comes on and she starts testing the extent of her powers, creating a new dress and an entire castle of ice. However, she traded one form of isolation for another and still does not have full control, and ends up setting off an Endless Winter in the process and later accidentally cursing her sister. When Anna sacrifices herself to save Elsa, her love for her sister is enough to reverse the effects of the frozen heart, and Elsa realizes that she will still be loved and that love will thaw - love, not a life of fear, is the key - and finally truly embraces her powers. (See Failsafe Failure entry.)
  • 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 Better Than You Think You Are: Anna to Elsa in the Dark Reprise of "For the First Time in Forever", as she expresses her confidence that Elsa can bring summer back so Arendelle will be fine.
  • 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.
  • 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. Their names are given to 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..."

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