Frozen (2013 film)

Hans Christian Andersen's "The Snow Queen"

In March 1940, Walt Disney suggested a co-production with film producer Samuel Goldwyn, where his studio would shoot the live-action sequences of Hans Christian Andersen's life and Disney's studio would animate Andersen's fairy tales. The animated sequences would be based on some of Andersen's best-known works, such as "The Little Mermaid", "The Little Match Girl", and "The Snow Queen". After the United States entered World War II, Disney shifted focus to wartime propaganda, halting progress on the Disney–Goldwyn project in 1942.[32]

Between 2000 and 2002, Disney explored multiple versions, now stored in their Animation Research Library. These versions removed key elements like the troll and mirror, requiring creative solutions for the character Kai's departure. Attempts included a storyline in Iceland where Kai joins a whaling ship to impress Erica (Gerda), while the Snow Queen rides an orca. Other versions experimented with adding comic side characters to the narrative.[32] The various versions of "The Snow Queen" explored by Disney artists featured diverse and beautiful artwork. However, despite the visual appeal, no one was able to transform the minimally defined characters and episodic plot into a compelling narrative.[33]

During one of those attempts, Michael Eisner, then-chairman and chief executive officer of The Walt Disney Company, expressed his support for the project. He proposed a collaboration with Oscar-winning director John Lasseter at Pixar who was intrigued by Frozen's concept arts from Disney's earlier attempt,[34] contingent on the anticipated renewal of Pixar's contract with Disney.[35] Rather than renewing the contract,[36] Disney acquired Pixar in January 2006 for $7.4 billion and Lasseter was promoted to chief creative officer of both Pixar and Disney Animation.[37]

Development began in 2008 after Lasseter successfully persuaded Chris Buck, who had previously co-directed Disney's 1999 film Tarzan and was working at Sony Pictures Animation (co-directing the 2007 film Surf's Up), to return to Disney. In September of that year, Buck pitched several ideas to Lasseter, including "The Snow Queen".[38] Buck shared that his original concept for "The Snow Queen" was not based on the Andersen fairy tale, but rather stemmed from his desire to explore a fresh perspective on true love. He stated that since Disney had already delved into the conventional prince kissing the princess narrative, he aimed to explore a novel approach.[39] Frozen began under the title Anna and the Snow Queen, and the original plan was to create it using traditional animation.[40]

According to Josh Gad, he became involved with the film during its early stages when the plot closely resembled the original Andersen fairy tale, and Megan Mullally was set to play Elsa.[41] In early 2010, the project entered a period of development challenges when the studio struggled to make the story and the Snow Queen character work.[42][43]

On December 22, 2011, Disney revealed a new title for the film, Frozen, and set a release date for November 27, 2013. A month later, it was confirmed that the film would be computer-animated instead of the initially planned traditional animation due to the added intricate visual elements in the script.[44] Kristen Anderson-Lopez and Robert Lopez joined the project and started writing songs for Frozen in January 2012.[45]^: 44:00 On March 5, 2012, it was announced that Buck would be directing, with Lasseter and Peter Del Vecho producing.[46]

Director Chris Buck, and director and screenwriter Jennifer Lee in 2015

In March 2012, Jennifer Lee, one of the writers of Wreck-It Ralph, was hired to write the screenplay.[47] Prior to Lee's involvement, the work of the previous screen and songwriters faced significant challenges.[45] The production team essentially had to restart the process and faced a tight deadline of 17 months. This condensed timeline resulted in an extremely intense schedule, requiring swift decision-making to progress the project.[48]

According to Lee, certain core concepts were already established, such as the film's "frozen heart" hook where an "act of true love will thaw a frozen heart". The team understood that the ending would revolve around true love in the context of the emotional bond between siblings, not romantic love, with Anna saving Elsa.[48] Lee recalled that Edwin Catmull, president of Disney Animation, emphasized early on the importance of earning the film's ending.[49] The final version of the film diverged significantly from the initial concepts. In the original draft, Elsa was inherently evil, kidnapping Anna from her wedding to deliberately freeze her heart and later attacking the town with an army of snowmen.[45]^: 8:42 Buck revealed that the original plot aimed to evoke sympathy for Anna by highlighting her frustrations as the spare rather than the heir.[50] In the revised plot, the focus shifted to musical comedy with reduced emphasis on action and adventure.[47]

Elsa's initial villainous character is driven by her heartbreak after being jilted at the altar. The plot revolves around a prophecy about a ruler with a frozen heart causing destruction, leading to a battle with snow monsters and an avalanche triggered by the two-faced Prince Hans. However, the team decided to transform Elsa and Anna into sisters and explored the theme of love versus fear. This change led to a more relatable and emotional storyline, with Anna's selfless act of saving Elsa thawing her frozen heart. The challenging part was staging the ending visually, which was resolved by depicting Elsa's emotions creating a blizzard, isolating Hans and Elsa from Anna, and allowing for the emotional reveal of the characters.[51][52]

The Lopezs' composition of "Let It Go" transformed Elsa into a more intricate, vulnerable, and sympathetic character.[53] The songwriters portrayed Elsa as a frightened girl grappling to control and accept her gift rather than a villain.[54] They approached this by empathizing with Elsa and delving into her experience of revealing her true self and enduring her freedom in solitude.[48] "Let It Go" reshaped Elsa's character, depicting her as a character governed by fear, while Anna is driven by love and determination. This spurred Lee to rewrite the first act, leading to a ripple effect that permeated the entire film. It marked the pivotal moment when the team discerned the essence of the film and fully grasped the depths of the characters.[55]

Another significant breakthrough came with the introduction of the plot twist involving Prince Hans, a character absent from the initial drafts, being revealed as the true villain near the end. According to Del Vecho, they aimed to make the audience believe that Kristoff was the answer to the story's mystery, only to subvert their expectations later. Lee portrayed Hans as "sociopathic" and "twisted" while also laying the groundwork for Anna's eventual turn to Kristoff.[56] It was essential to evoke Anna's emotions without fully revealing them, ensuring that the audience felt her inner conflict for both characters.[48] In earlier versions, Anna openly flirted with Kristoff at their first meeting. However, this was changed after Walt Disney Studios chairman Alan Horn pointed out the potential confusion and annoyance this would cause, given Anna's prior engagement to Hans.[57]

Lee faced the challenge of defining Anna's personality; some colleagues suggested making Anna more dysfunctional and co-dependent.[47] Lee disagreed, and it took her nearly a year to clearly articulate Anna.[48] She successfully advocated for a straightforward coming-of-age story, where Anna transitions from a naive perspective on life and love due to her loneliness to a mature understanding of love, culminating in the ultimate expression of love: sacrifice. In the process, she discarded many ideas she liked, including a scene depicting Anna and Elsa's relationship as teenagers to maintain the separation between the characters.[47] To develop the bond between Anna and Elsa, she drew additional inspiration from her own relationship with her older sister.[58]

The team transformed Olaf from Elsa's obnoxious sidekick into Anna's comically innocent companion.[48] Initially, Lee wanted to eliminate the snowman from the story. However, a staff animator conceived a three-page script treatment with Gad that convinced her otherwise.[59] John Ripa helped resolve writing the problem of how Anna would save Elsa at the climax.[60] Throughout the process, the team discarded many details from earlier drafts, such as a troll with a Brooklyn accent explaining the backstory behind Elsa's powers, and a regent for whom Lee had considered casting comedian Louis C.K. These elements were removed because they added complexity to the story beyond what could fit into a 90-minute film.[48] During production, Lee was promoted to co-director for her extensive involvement in the project.[61]

In November 2012, the team believed they had finally mastered the film's story.[62] However, in February 2013, they realized it still quite wasn't working, leading to further rewriting from February through June 2013.[63] That month, Disney conducted test screenings of the partially completed film in Phoenix, Arizona, with two audiences—one comprising families and the other adults.[58]

Actress Kristen Bell was chosen to voice the character Anna on March 5, 2012.[15][46] The filmmakers reviewed a collection of vocal tracks that she had recorded when she was young, where she performed several songs from The Little Mermaid (1989), including "Part of Your World".[64] Bell, who recorded her lines during her pregnancy, had to re-record some lines after giving birth due to the deepening of her voice.[65] She was called in for additional recording sessions approximately 20 times.[66] Regarding her approach to the role of Anna, Bell expressed her excitement about fulfilling her childhood dream of being part of a Disney animated film.[15] She explained, "I always loved Disney animation, but the female characters seemed unattainable to me. They had perfect posture and spoke too eloquently. I aimed to make Anna more relatable, weirder, scrappier, and more awkward. I take pride in bringing out those qualities in the character."[67]

Broadway veteran Idina Menzel was chosen for the role of Elsa. She had previously unsuccessfully auditioned for Tangled (2010).[68] However, Tangled's casting director, Jamie Sparer Roberts, kept a recording of her performance on her iPhone. Based on that recording, she invited Menzel and Bell to audition for Frozen. Prior to their official casting, Menzel and Bell deeply impressed the directors and producers during an early table read.[11][53] During their preparation for the table read, Bell proposed the idea to Menzel when she visited her home.[68][69] At the table read, the songwriters were also present, and Anderson-Lopez expressed that they were delighted to hear Menzel and Bell sing together in perfect harmony.[45]^: 32:07 Lee remarked that "they sang it like sisters, capturing the emotions of what you mean to me, and there wasn't a dry eye in the house after their performance".[56]

Between December 2012 and June 2013, the casting of additional roles was announced, including Jonathan Groff as Kristoff, Alan Tudyk as the Duke of Weselton, Santino Fontana as Prince Hans, and Josh Gad as Olaf.[22]

The animation process involves careful management of lighting, shadow, and color hues to prevent the setting from overpowering the character. Adjustments including lighting, object decorations, textures, and patterns ensured elements blended harmoniously with the scene.[70] Buck aimed to infuse the film with stylized animation designs reminiscent of Disney classics like One Hundred and One Dalmatians (1961), Sleeping Beauty (1959), the traditional Disney Little Golden Books, and midcentury American design. He also emphasized the importance of strong, shape-oriented visuals. To achieve this, he recruited Michael Giaimo who popularized this style; Buck was intrigued by Giaimo's sense of shape and design and innovative approach to push the boundaries of color and shape for realistic depiction in computer-generated imagery (CGI).[71]

Translating drawn actions in CGI required careful rigging to ensure realistic movement.[72] The animation team studied intricate costume designs and rosemaling patterns, aiming to incorporate them into the film's graphic and animation style.[73] When applying effects, achieving believability is challenging because the characters engage in activities like singing and building palaces, which demand a high level of believability despite the fantastical elements.[74]

Rigging Anna and Elsa required subtle refinements to highlight their individual traits due to their roles as heroines and sisters, with both characters needing to exhibit high performance and appeal while retaining their unique personalities.[75] When modeling the snow monster Marshmallow, they created realistic icicles, determined its edge hardness for correct lighting, and avoided a rubbery appearance.[76] Elsa's outfits and physical appearances required strong, purposeful shapes that accentuate and support the characters' physical and emotional performance. Her costume is akin to a walking special effect, resembling ice crystals with many refractive and reflective qualities.[77]

Creating a realistic snowy landscape involved intricate lighting techniques. The team emphasized the challenge of making the snow appear believable without resembling concrete. They developed various subsurface techniques to convey the effect of light penetrating the snow and altering its color as it travels through.[78] As light travels deeper into the snow, red wavelengths are absorbed, giving it a bluer tone. Rendering refractive objects like ice takes extensive time in CGI, adding to the complexity. Lighting the clear ice also presented a challenge, requiring careful consideration of how it reflects light realistically. The team faced challenges creating realistic visuals for snow, ice, and their combination in Frozen, aiming for a visually stunning and intricate ice environment without strict adherence to physical accuracy.[79] To achieve this, they considered various elements including geometric and painted snow, different snow shapes, and snow sparkles. The goal was to ensure a stable, renderable, and art-directable appearance.[80] After receiving insights from Dr. Ken Libbrecht who explained the formation of snow crystals at a molecular level, they approached this by focusing on the natural growth and shapes of these elements and avoiding morphing or artificial movements.[81]

The team noted the importance of balancing the brightness and contrast of the snow in the film. They strived to create a winter atmosphere with the sun appearing low on the horizon, adjusting lighting conditions according to the story and emotion. In the process, they faced difficulties maintaining the brightness without making the scenes look overly blinding, and also making the snow visually appealing and pristine without making it appear gray or dirty. Frozen's entire stage is predominantly white, and the team used careful lighting techniques to maintain audience engagement with the characters while preventing them from feeling overwhelmed by the snowy backgrounds.[78] They used a "Frost Modifier" tool to cover the entire world in frost and encase everything in ice, enhancing the film's visual depiction of a frozen environment.[82]

Character rigging supervisor Carlos Cabrol explained that since they had never animated a snowman before, there was extensive back-and-forth collaboration with Olaf's animation. They prototyped various movements and capabilities based on the animators' needs. Buck was involved in the process, suggesting ideas such as rigging Olaf coming apart or having his head fall off. The rig aimed to enable Olaf to move and behave in ways that are unique to snowmen and beyond the abilities of humans and animals. However, animating Olaf was challenging due to his vague anatomy and the need to make him stand out in a snowy environment. To address the issue of blending in with the snow, subtle differences in Olaf's texture were introduced. Collaboration with the lighting team ensured that Olaf stood out distinctly amidst the snowy backdrop. Lighting supervisor Josh Staub acknowledged the difficulty of making Olaf stand out in a snowy environment, mentioning the use of traditional techniques like rim and bounce lighting. However, these applications were necessary to ensure Olaf doesn't appear like a cut-out and seamlessly integrates into the snowy surroundings, making him feel like he belongs in the scene.[83]

Creating believable ice for Elsa's Ice Palace required intricate optical properties. Unlike snow, ice is optically active and its colors can shift based on the surroundings. It can refract light into rainbow highlights, vary from transparent to opaque, have a smooth or patterned surface, and reflect or distort its surroundings like a fun house mirror. Achieving realistic ice effects proved difficult due to these complexities.[84] Elsa's Ice Palace is inspired by a hotel in Quebec City. The hotel's snow sculptures with transparent ice frameworks and refractive ice pillars influenced the interior and exterior walls of Elsa's palace. During the day, natural lighting highlighted the ice and snow's qualities, while at night, the hotel became a colorful light show. Assistant art director Lisa Keene noted the dynamic lighting effects in the bar, where changing colors altered the perception of space, creating a visually striking and immersive experience.[81]

The team used the negative and positive space of snow flurries to produce intricate snowflake shapes. They introduced the concept of giving Elsa a distinctive snowflake pattern. This unique design element served as a recognizable symbol, distinguishing Elsa's creations from natural snowflakes throughout the film. The effects team applied effects that followed a narrative structure with a clear beginning, middle, and end. Unlike typical effects, these elements were integrated into the storytelling process, aligning with the vision outlined by the director and contributing to the overall narrative arc of the film. This approach added depth and excitement to the creative process.[79]

Initially set in the late 1600s, the film's costume designs were shifted to the 1840s for a more classical fairy tale appearance.[85] The designers focused keenly on fine details, intricately replicating the unique properties of various materials.[86] Their designs featured elaborate embroidery and rosemaling depictions,[87] balancing bold color choices with distinctly clear shapes.[86] They adhered to the traditional Norwegian style by predominantly using wool fabric. and velvet, linen, and silk as accents. Wool, being less reflective, served as an ideal base for the vibrant colors.[88]

The designers aimed for a stylized setting that complemented the characters and the story rather than a realistic travelogue. Arendelle's designs feature asymmetric elements from Balestrand's architecture combining Victorian aesthetic and Norwegian rustic design,[89] and its castle drew inspiration from twelfth-century Norwegian stave churches.[90]

To create Elsa's magical winter conditions including frozen fjords and extreme ice formations, they drew inspiration from Great Lakes lighthouses where continuous spraying results in unique and bizarre ice sculptures forming on top of ice.[91] Elsa's magic ice follows snowflake patterns but on a larger scale. Her growth of the ice is characterized by a melodic and rhythmic pattern, which gives it a unique and magical appearance.[92] Similarly, her palace incorporated various types of ice, ranging from clear and reflective to frosted and opaque. Clear ice areas allowed for distorted images and reflections, while frosted parts concealed views. The choice between them is influenced desired atmosphere and temperature, reflecting the narrative and intended emotional tone of the scene.[93] Elsa's palace is intricately linked to her emotional journey. As her character evolves from anger to contentment, the palace transforms in response. Initially aggressive, it gradually becomes more sculptural and refined, reflecting Elsa's dynamic mood and her journey toward self-discovery and acceptance.[79]

Songwriters Kristen Anderson-Lopez and Robert Lopez in 2019, and composer Christophe Beck in 2012

The songs for Frozen were composed by Robert Lopez and Kristen Anderson-Lopez, a husband-and-wife team known for their work with Disney Animation and Disney Parks.[94] They were approached for the project by producer Peter Del Vecho, who had worked with them on previous Disney films.[95] Despite being busy with other projects, including The Book of Mormon, Lopez and Anderson-Lopez were eager to collaborate with Disney on a fairy tale musical, and they were convinced to join the team after a personal pitch in New York City.[96] Disney valued Anderson-Lopez's strong storytelling abilities, making the decision to work on the film an easy one for the couple.[97]

The creation of Frozen's music was a meticulous and collaborative process. The composers, Lopez and Anderson-Lopez, worked remotely from New York City, engaging in frequent transcontinental videoconferences with the Burbank production team.[98] They composed 25 songs, but only eight made it into the final version, with one having a reprise and another being covered by Demi Lovato in the credits.[99] The songs were recorded as demos in their home studio, and then discussed in videoconferences.[100]

In addition to songs, the film featured a score by Christophe Beck, who incorporated regional instruments and vocal techniques inspired by Norwegian and Sámi cultures.[101] The orchestral recordings that took place on the Warner Bros. lot, blend seamlessly with the songs.[102] Sound played an important role in the film's emotional impact. Director Jennifer Lee highlighted the significance of sound, especially during pivotal moments, such as the complete silence after Anna freezes.[103] Foley work was done to capture snow and ice sounds, and various attempts were made to perfect the sound of Elsa's footsteps in the ice palace.[66]

Frozen was localized into 41 languages through the Disney Character Voices International. Finding sopranos with vocal tones and ranges similar to Idina Menzel's was a challenge in this process. The translation of the film involved a focus on the lyrical intent, rhythm, and lip sync. Disney instructed the songwriters to simplify wordplay and puns to ensure global appeal.[104][105] Casting for dubbed versions prioritized native speakers, and voices were matched as closely as possible to the original characters. For Elsa alone, about 200 singers auditioned for the 41 language versions.[106] The international cast involved over 900 individuals in approximately 1,300 recording sessions.[107]

Frozen is interpreted as a critique of traditional gender norms and societal expectations. Elsa's character was compared to cultural attitudes toward mental illness. Elsa's insecurities in her teenage years are portrayed as anorexic, engaging in self-destructive behaviors concerning eating disorders. Holmes highlighted this as the film's socially constructed nature of female identity and the media's role in promoting thinness as beauty.[108]

Laili said that Frozen challenge traditional gender norms and promote feminism. Unlike traditional Disney films where women are often portrayed as weaker and reliant on men for rescue, Frozen showcases strong female protagonists who are empowered to fight crime and solve problems.[109] Anna and Elsa's actions challenge traditional stereotypes including rational thought, meritocracy, and various aspects of socio-political life.[110] They work together to thwart the antagonist, Hans.[109] Elsa assumes her role as queen, emphasizing the importance of understanding and managing her powers while determining her own future.[109] She displays rationality by articulating logical concerns about Anna's marriage.[111] Anna displays her independence and resilience by venturing alone into the Fjord forest to find Elsa, demonstrating her ability to face adversity without male companionship.[112]

According to Benhamou, despite the supposed freedom from realism, superheroes' bodies in films like Frozen are confined within a traditional gender binary.[113] She said that superheroines are measured by voluptuousness, while superheroes are defined by musculature. Elsa, in this case, is contained through patriarchal control as shown through her parents' efforts to conceal her powers. Her powerful moment of freedom and agency in "Let It Go" is short-lived. She defends herself from attackers using her powers in a subdued way and is stopped when she becomes too threatening.[114] Topalović said Elsa's parents' patriarchal control over her powerful abilities symbolizes society's apprehension toward strong women. Even after Elsa rescued her sister, the story still somewhat suggests that women require saving, showcasing family-oriented values and traditional gender roles.[115]

Streiff and Dundes said despite the emphasis on feminism, Frozen implies a limited message for young girls, suggesting that female empowerment and heterosexual romance are mutually exclusive.[116] The song "Frozen Heart" sung by the icemen encapsulates these themes, warning of the dangers associated with empowered women and highlighting the fear of emasculation.[117] Elsa's struggle with controlling her emotions aligns with stereotypes of women as temperamental.[118] Her lack of romantic pursuits reflects societal double standards concerning women's sexuality, and her powers are depicted symbolically to emphasize her dominance and threat to male characters. They compared Elsa to a power-hungry female villain who finds redemption through gender-stereotypical compassion.[116]

Geal described female homosexuality as an eroticized element catering to the male gaze while male homosexuality is depicted negatively.[119] Elsa's transformation from a constrained individual to a confident and sexualized one represents the awakening of her sexuality and homosexuality.[120] Her sexualized objectivity and magical powers reflect gender differentiation and empathize the erotic aspects of femininity.[121] Conversely, Oaken's same-sex relationship and family are depicted as non-aesthetic, disavowed, alterable, and of masochistic sexuality, reinforcing stereotypes and promoting heteronormativity.[122] His outsider status and brief violent outburst represents the film's repression and marginalization of male homosexuality.[123]

Geal said Frozen challenges traditional fairy tale norms by breaking away from the conservative binary of active male and passive female roles. Initially, Anna entertains the idea of being rescued by a handsome prince, but these desires are debunked and mocked within the narrative. When she hastily becomes engaged to Hans, her confession is met with disbelief from Kristoff, contradicting Disney's instant and inevitable "true love" fairy tale narrative. Later, when Hans reveals his villainous intentions, the earlier romantic duet between Hans and Anna is exposed as a mere illusion, further shattering the conventions of traditional Disney fairy tales.[119] Linando said that Elsa's lack of a romantic partner subverts the prominent Disney "happily-ever-after" convention. In addition, when Anna selflessly saves Elsa, the story departs from yet another traditional Disney trope of a prince and a princess's "true love's kiss".[124]

Bunch said the film departs from the passive princess narratives whose fulfillment comes through marriage in traditional Disney princess tropes and subverts gendered expectations by focusing on sisterly bonds over heterosexual romance.[125] The opening song "Frozen Heart" establishes the film as one that adheres to established Disney musical tropes with a princess being imprisoned narrative. Its doors and windows symbolize the separation between the sisters, representing their confinement and Elsa's fear of hurting others, especially Anna. While Elsa and Anna follow the tradition of the trapped princess narrative, their character arcs add complexity to the themes of restraint and freedom. Anna is open and eager to explore the world, whereas Elsa seeks security in confinement and isolation.[126]

The song "Do You Want to Build a Snowman?" illustrates Anna and Elsa's relationship during their period of separation, showcasing their growth from childhood to adolescence and depicting the death of their parents. An enthusiastic Anna repeatedly tries to persuade Elsa to come out and play, while Elsa remains confined and distant.[127] This demonstrates Anna's deepest desire to be close to her sister and establishes a poignant emotional connection for the audience. The song incorporates traditional 'I Want' tropes from traditional Disney films, reflecting Anna's desire to escape confinement with her longing for romantic love.[128] However, unlike traditional Disney heroines whose longing for adventure typically evolves into heteronormative romance, the song collapses both desires into one. Initially, Anna expresses excitement about open doors and windows, and being around people, but her fantasies later shift toward meeting her true love. Bunch said that the song capitalized on these themes, mirroring motivations seen in previous Disney films. This intentional emphasis leads viewers to believe it is the primary 'I Want' song setting up expectations for a typical Disney narrative. However, the song subverts these expectations later in the film when Anna's desire for romantic love takes a backseat to her profound desire to be reunited with Elsa.[129]

Frozen was released for digital download on February 25, 2014. It was subsequently released by Walt Disney Studios Home Entertainment on Blu-ray Disc and DVD on March 18, 2014.[146] Physical copies contain behind-the-scenes featurettes, deleted scenes, the film's teaser trailer, a "Let It Go" music video, and a short film Get A Horse![147] Following an announcement on August 12, 2014, a sing-along reissue of Frozen was released via DVD and digital download on November 18, 2014.[148][149] It was re-released on Ultra HD Blu-ray and 4K digital download on October 1, 2019.[150]

Upon its home media release, Frozen became a massive success. It sold 3.2 million units on its first day, setting records as one of the biggest home video sellers and Amazon's best-selling children's disc ever.[151] The digital release also became the fastest-selling digital release of all time.[152] In its first week, it outsold 19 other titles combined, with 3,969,270 Blu-ray units sold, totaling $79,266,322.[153][154] It dominated the U.S. home video sales charts for six out of seven weeks.[155] In the UK, it debuted at No. 1 and sold over 1.45 million units in three weeks, becoming the country's top-selling video title in 2014.[156][157] In Japan, it sold 2,025,000 Blu-ray Disc/DVD combo sets in four weeks, setting records for fastest-selling home video and highest number of units sold in the first day and week.[158] By the end of 2014, it earned $308,026,545 in total US home media sales and had sold over 18 million units by March 2015.[159][160] As of July 2018, Frozen remained the biggest-selling Blu-ray in the U.S., with over 7.5 million units sold, narrowly surpassing Avatar (2009).[161]

In late December 2013, The Walt Disney Company filed a trademark infringement lawsuit in California federal court against Phase 4 Films, seeking an injunction against the continued distribution of the Canadian film The Legend of Sarila, which had been retitled Frozen Land in the United States and had a logo similar to the Disney film.[162] By late January 2014, the two companies had settled the case; the settlement stated that the distribution and promotion of The Legend of Sarila and related merchandise must use its original title and Phase 4 must not use trademarks, logos or other designs confusingly similar to Disney's animated release.[163][164][165] Phase 4 was also required to pay Disney $100,000 before January 27, 2014, and make "all practicable efforts" to remove copies of Frozen Land from stores and online distributors before March 3, 2014.[163][164]

Frozen earned $401 million in North America, and an estimated $883.5 million in other countries, for a worldwide total of $1.285 billion.[4] Calculating in all expenses, Deadline Hollywood estimated that the film made a profit of over $400 million.[166] It became the fifth-highest-grossing film,[167] the highest-grossing animated film,[168][169] the highest-grossing 2013 film,[170] the third highest-grossing Walt Disney Pictures release, and the eighth-highest-grossing film distributed by Disney.[171] The film earned $110.6 million worldwide in its opening weekend.[172] On March 2, 2014, its 101st day of release, it surpassed the $1 billion mark, becoming the eighteenth film in cinematic history, the seventh Disney-distributed film, the fifth non-sequel film,[173] the second Disney-distributed film in 2013 (after Iron Man 3), and the first animated film since Toy Story 3 to do so.[174]

Bloomberg Business reported in March 2014 that outside analysts had projected the film's total cost at somewhere around $323 million to $350 million for production, marketing, and distribution, and had also projected that the film would generate $1.3 billion in revenue from box office ticket sales, digital downloads, discs, and television rights.[175]

Upon its release, Frozen quickly became a major success. It broke records as Fandango's top advance ticket seller among original animated films and later became the top-selling animated film in the company's history.[176][177] The sing-along version of the film also dominated ticket sales.[177] After its limited release at the El Capitan Theatre in Hollywood, it earned substantial amounts, setting records for pre-Thanksgiving Wednesday openings.[178][179] When it opened wide, the film made $67.4 million in its first three days,[180] setting an opening weekend record for Walt Disney Animation Studios films and becoming the second-largest opening weekend for films that did not debut at No. 1.[181][182] It primarily drew a female audience, and approximately 81% of the viewers were families.[182][183] Frozen also set records for three-day[181] and five-day[184] Thanksgiving gross among films released during the holiday season.[185][186]

During its second weekend of wide release, Frozen declined 53% to $31.6 million, but jumped to first place, setting a record for the largest post-Thanksgiving weekend, ahead of Toy Story 2 ($27.8 million).[187] Frozen became the first film since Avatar to reach first place in its sixth weekend of wide release.[188] It remained in the top 10 at the box office for sixteen consecutive weekends[189][190] (the longest run by any film since 2002[169]) and achieved large weekend grosses from its fifth[191] to its twelfth weekend (of wide release), compared to other films in their respective weekends.[192] On April 25, 2014, Frozen became the nineteenth film to gross $400 million in North America and the fifteenth to do so without a major re-release.[193]

In North America, Frozen is the twenty-sixth-highest-grossing film,[194] the third-highest-grossing 2013 film,[195] the fifth-highest-grossing animated film,[196] the highest-grossing 2013 animated film, the twelfth-highest-grossing 3-D film,[197] and the second-highest-grossing Walt Disney Animation Studios film.[198] Excluding re-releases, it has the highest-grossing initial run among non-sequel animated films (a record previously held by Finding Nemo)[199][200] and among Walt Disney Animation Studios films (a record previously held by The Lion King).[201] Box Office Mojo estimates that the film sold over 49 million tickets in North America.[202]

Frozen is the fifth-highest-grossing film,[203] the highest-grossing animated film,[203][204] and the highest-grossing 2013 film.[205] It is the highest-grossing animated film in South Korea, Denmark, and Venezuela.[206][207][208] It is also the highest-grossing Walt Disney Animation Studios film in more than 45 territories,[200] including the Latin America region (specifically in Mexico and Brazil), the UK, Ireland, and Malta, Russia and the CIS, Ukraine, Norway, Malaysia, Singapore, Australia and China.[209][210][211][212]

The film made its debut outside North America on the same weekend as its wide North American release and earned $16.7 million from sixteen markets.[182] It topped the box office outside North America for two weekends in 2014; January 10–12 ($27.8 million)[213] and February 7–9 ($24 million).[214] Overall, its largest opening weekends occurred in China (five-day opening of $14.3 million),[215] Russia and the CIS ($11.9 million, including previews from previous weekend), where the film set an opening weekend record among Disney animated films (ahead of Tangled),[216] and Japan (three-day opening of $9.73 million).[217][218] It set an opening weekend record among animated films in Sweden.[219] In total earnings, the film's top market after North America is Japan ($247.6 million), followed by South Korea ($76.6 million) and the United Kingdom, Ireland and Malta ($65.7 million).[220][221] In South Korea, Frozen is the second-largest foreign film both in terms of attendance and gross,[222] the largest Disney release[169] and the first animated film to earn more than ten million admissions.[223] In Japan, it is the third-highest-grossing film of all time, the second-highest-grossing imported film (behind Titanic) and the highest-grossing Disney film.[224] It topped the country's box office for sixteen consecutive weekends[220] until being surpassed by another Disney release, Maleficent.[225]

Frozen's immense success was attributed to its ability to capture the spirit of classic Disney animations, offering strong female characters, catchy songs, and a unique plot twist where the traditional villain role was subverted.[226] The absence of a typical villain, relatable sibling relationships, and themes of self-acceptance and sacrifice also resonated with audiences globally.[226] The film's popularity in Japan, where it became a phenomenon,[39] was attributed to its appeal to teenage girls,[227] the strong reputation of Disney's brand, and the careful selection of voice actors for the Japanese version.[227]

Frozen has an approval rating of 90% based on 251 professional reviews on the review aggregator website Rotten Tomatoes, with an average rating of 7.7/10. Its critical consensus reads: "Beautifully animated, smartly written, and stocked with singalong songs, Frozen adds another worthy entry to the Disney canon."[228] Metacritic (which uses a weighted average) assigned Frozen a score of 74 out of 100 scores based on 43 critics, indicating "generally favorable reviews".[229] Audiences polled by CinemaScore gave the film a rare "A+" grade on an A+ to F scale.[230] Since its release, several publications have named Frozen as one of the best animated films ever made.[231][232][233]

Critics praised Frozen's emotional depth and innovative storytelling. The Wall Street Journal, The New Yorker, and Vulture said that the film's visually stunning animation resonated deeply with the story's poignant emotions including loneliness, fear, and struggle for self-control, and it expertly captured Elsa's pain of isolation and Anna's endearing free spirit.[234][235][236] The Observer, The Guardian, and The Telegraph said that it delightfully combined "The Snow Queen" fairytale with heartwarming moments, captivating songs, and compelling storytelling. The Telegraph said its nostalgic and forward-thinking storytelling embraced classic Disney elements while emphasizing the strong bond between the sisters, and The Guardian called it a testament to Disney's enduring magic.[237][238][239] The Irish Times and The Washington Post described Frozen's compelling narrative and animation as Disney's resurgence to the modern animated music genre,[240][241] which RogerEbert.com and The New York Times said is marked by the departure from traditional princess movie conventions, emphasizing sisterly loyalty and love over romantic attachment.[242][243]

Todd McCarthy, among others, praised the film for its clever combination of traditional fairy tale elements from "The Snow Queen" while addressing modern attitudes and female empowerment themes.[244] Alonso Duralde said that the film subtly addresses these themes without being overly didactic, which through its engaging characters, humor, and catchy songs, convey a strong message about embracing one's abilities and inner strength.[245] In The New York Times, Stephen Holden said that it challenges the traditional Disney princess formula with unconventional characters and a more complex, empowering storyline. He praised the coherent storytelling and visually captivating scenes and described it as a dreamlike world of snow and ice.[243]

The story and message were criticized. The Seattle Times and Variety said that it falls short of a compelling narrative, failing to deliver a deep and engaging story.[246][247] Joe Williams said that the story lack a coherent story and sense and its emphasis on the theme of true love feels forced and repetitive.[248] Similarly, Christy Lemire said that it conveys a somewhat conflicted message, and its attempt to subvert traditional Disney princess conventions and promote feminism seem somewhat cynical.[249] Empire criticized the sidelining of strong female characters for a male supporting cast with the primary comedy source comes from the interactions between male characters.[250] Reviewers for The Austin Chronicle and The Globe and Mail cited the perceived lack of character depth, and warmth and catchiness, respectively.[251][252]

Allegations of sexism arose after Lino DiSalvo, the film's head of animation, made a statement about animating female characters being difficult due to the need to maintain their beauty.[253] However, a Disney spokesperson clarified that DiSalvo's comment was misunderstood, explaining it was about technical aspects of CG animation, not comparing animating male and female characters. Lee supported DiSalvo, stating he was discussing technical challenges in CG animation and emphasizing that gender was not the issue.[254] DiSalvo later expressed frustration, explaining that his words were taken out of context and that people didn't seek the truth before spreading misinformation online. He emphasized the difficulty of translating emotional range onto any character, regardless of gender.[255]

Some conservative Christian commentators decried the film as promoting homosexuality,[256][257] saying the themes of Elsa's being different from others,[256] her ostracism from society, and her independence and rejection of male suitors,[258][259] are metaphors for lesbianism.[260] Elsa's song "Let it Go" has been compared to the phenomenon of coming out of the closet.[257][258][260] Other viewers argued that Elsa represents a role model for LGBT youth.[257] These claims were met with mixed reactions from both audiences and the LGBT community.[257] In The Atlantic, Akash Nikolas writes that Disney films like Frozen have subtly resonated with queer children by featuring protagonists who defy societal norms, rejecting traditional ideas of marriage. These characters often find themselves as social outcasts due to their unconventional desires.[261] However, Robert Geal, writing in the journal Film International, argues that while the film may present a facade of progressiveness regarding homosexuality, it also reinforces conservative views on sexuality and gender.[262]

When questioned about the indirect homosexual themes in the film, Lee refrained from giving a direct response, stating, "I don't want to comment... let the fans discuss. I believe it's their interpretation," but she emphasized the film's perspective should align with the attitudes of 2013, distinguishing it from films of the past.[256][263]

On November 24, 2017, musical artist Jaime Ciero sued Demi Lovato, Idina Menzel, Walt Disney Animation Studios and others involved with the song "Let it Go", accusing them of ripping off his 2008 single "Volar". In May 2018, it was ruled in court that the original songwriters, Bobby Lopez and Kristen Anderson-Lopez, would be released from the lawsuit due to the three-year statute of limitations for copyright claims. Because each replay or new performance of the song restarts the statute of limitations clock, Ciero was told he could amend his original complaint to address only those infringements within the three-year timeframe.[264] Ciero dropped the suit in May 2019.[265]

Buck, Lee and Del Vecho at the 41st Annie Awards ceremony

At the 86th Academy Awards, Frozen received awards for Best Animated Feature, the first for Walt Disney Animation Studios,[266] and Best Original Song.[267] The film's other nominations include ten Annie Awards (winning five),[268] a British Academy Film Award (which it won),[269] two Critics' Choice Movie Awards (winning both),[270] and two Golden Globe Awards (winning one).[271]

Elsa and Anna cosplayers doing a Meet and Greet at Disneyland in 2013

In early 2014, many children in the U.S.[272][273][274] and the U.K.[275][276] became captivated by Frozen to an extraordinary extent. They watched the film repeatedly, memorizing all the songs and singing them incessantly, causing some distress to parents, teachers, and classmates. This phenomenon was noted by various journalists and even prominent figures like former UK prime minister David Cameron[277] and actors Amy Adams,[278] Ben Affleck,[279] Kevin Costner,[279] and Vince Vaughn, who found themselves dealing with their children's Frozen obsession.[280] When songwriters Lopez and Anderson-Lopez were asked about this in an NPR interview, they expressed surprise, emphasizing that they had no way of anticipating the immense popularity their work would achieve, stating they were simply focusing on telling a compelling story.[281]

In May 2014, Time columnist Joel Stein shared his son Laszlo's frustration with the ubiquitous presence of Frozen in his life, prompting a Skype call with Bell after Laszlo questioned him why the film was made. When Laszlo asked if Bell knew the impact the film would have, she humorously replied that she didn't anticipate people not "letting it go."[282] Lee also acknowledged the enduring popularity of Frozen, transitioning from gratitude to apologies as people expressed continued obsession with the film and its songs.[283][284] She used the film's strong female characters to inspire her daughter, who faced bullying, drawing parallels to the resilience of Frozen's characters Anna and Elsa, as Lee herself had experienced bullying in her childhood.[283]

In a 2014 mid-year report of the 100 most-used baby names by BabyCenter, 'Elsa' ranked 88th, making its first appearance on the site's chart. Sarah Barrett, managing director of BabyCenter, noted that while the film's popular heroine is called Anna, 'Elsa' offers a more unique and strong female role model name.[285] Parents revealed that their naming choices were influenced by the film's characters, particularly siblings. Disney UK's Vice President, Anna Hill, expressed delight that Elsa became a popular baby name, attributing it to the character's resilience and the powerful family bond depicted in Frozen.[285] It was the top entertainment Google Search of 2013. Additionally, on the Google Play Store, Frozen and its soundtrack album were named 'Movie of the Year' and 'Album of the Year', respectively, signifying their best-selling status in their respective categories.[286][287] Frozen was the second-most illegally downloaded film title of 2014 via BitTorrent, with approximately 30 million downloads.[288]

In January 2014, Disney CEO Bob Iger announced plans to adapt Frozen into a Broadway stage musical.[289] Within a single business quarter, Iger shifted his perspective on Frozen, initially acknowledging its "franchise potential" in February 2014, to later stating in May 2014 that it was "probably one of Disney's top five franchises".[290] The film's immense popularity led to a severe merchandise shortage in the United States[291] and other countries in April 2014,[292] with limited-edition Frozen dolls and costumes reselling for over $1,000 on eBay.[293] Disney sold over three million Frozen costumes in North America alone by November 2014.[294] Meet-and-greet wait times at Disney Parks exceeded four hours, leading to the extension of the film promotion and the introduction of a temporary event called Frozen Summer Fun at Disney's Hollywood Studios.[291][295] Disney later announced the closure of Epcot's Maelstrom ride and its replacement with a Frozen-based attraction, which opened in early 2016.[296] In May 2016, a live Frozen musical stage show premiered at Disney California Adventure.[297] Random House sold over 8 million Frozen-related books by August 2014,[298] and tour operators like Adventures by Disney added more Norway tours due to rising demand in 2014.[299]

The directors, composers, producers, and several of the film's stars at the "Frozen FANdemonium: A Musical Celebration" presentation at the 2015 D23 Expo to celebrate the film's songs

Meanwhile, the producers of Once Upon a Time (made by Disney-owned ABC Studios) independently conceived of and obtained authorization from both ABC and Disney for a Frozen-inspired crossover story arc in the show's fourth season, which was first revealed at the end of the show's third season in May 2014, and premiered in September 2014.[300][301] On September 2, 2014, ABC broadcast The Story of Frozen: Making a Disney Animated Classic, a one-hour "making of" television special.[302][303][304] At the end of the special, Lasseter announced that the production team would be reuniting to make Frozen Fever, a short film which debuted in theaters with Disney's Cinderella on March 13, 2015.[305][306] On September 4, 2014, Feld Entertainment's Disney on Ice presented the world premiere of a touring ice skating show based on the film at Amway Center in Orlando, Florida.[307][308]

During the broadcast of The Making of Frozen: Return to Arendelle on ABC, it was announced that a holiday special titled Olaf's Frozen Adventure was in production and set for release in winter 2017. Lasseter revealed that the 21-minute special would have a limited time theatrical release.[309] It premiered in theaters with Pixar's Coco on November 22, 2017,[310] and made its television debut on ABC on December 14, 2017.[311] In addition, Arendelle was featured as a world in the 2019 video game Kingdom Hearts III, which adapts the plot of the film. The film's voice cast reprise their roles for the game.[312]

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• Benhamou, Eve (December 1, 2014). "Freezing versus wrecking: Reworking the superhero genre in Disney's Frozen (2013) and Wreck-It Ralph (2012)". Animation Practice, Process & Production. 4 (1): 13–26. doi:10.1386/ap3.4.1.13_1. ISSN 2042-7875.
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• Geal, Robert (June 1, 2016). "Frozen, Homosexuality and Masochism". Film International. 14 (2): 99–111. doi:10.1386/fiin.14.2.99_1. hdl:2436/620365.
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• Linando, Stephani Inesia (2021). "The Ontological Rootedness of Cognitive Practices Linguistic Forms in Religious Socio-Cultural Traditions: A Comparative Approach". Communicology. 8 (3): 9. doi:10.21453/2311-3065-2020-8-3-138-148.