I simply wrapped up the mainstream Disney film, “Solidified”, for the subsequent time. The promotion encompassing the film was unsavory and everybody was stating that, “‘Frozen’ is probably the best film ever.” Watching it my first time around, it wasn’t extraordinary; the bar was set truly high and my desires didn’t get together to the truth of the film. In any case, after my subsequent time watching it, it has cemented in my mind that this film is one of the most exceedingly terrible Disney has ever created. ดูหนัง
There’s really an entertaining history encompassing this film. Walt Disney needed to make this film right in 1943. “Solidified” should be Disney’s adjustment of the mainstream fantasy, “The Snow Queen”, composed by Hans Christian Anderson (Get it? Hans, Kristoff, Anna, Sven. Great job, Disney). “The Snow Queen” really has, what might be Elsa, as the scoundrel. They concluded they couldn’t make the film during the 40s since they couldn’t figure out how to adjust it to a cutting edge crowd. They attempted again in the late 1990s, however the undertaking was rejected when one of the head illustrators on the task, Glen Keane, quit. In 2010, they rejected it again on the grounds that they despite everything couldn’t figure out how to make the story work. At that point, in 2011, they at last chose making Anna the more youthful sister of the Snow Queen, which was sufficient for them to make “Solidified”.
“Solidified” was coordinated by Chris Buck (known for “Tarzan”) and Jennifer Lee (known for “Wreck-it-Ralph”). The bar was set really high for me seeing as both those films were well over the principles of a “child’s film”. The story would have been much the same as the fantasy, however at that point, Christophe Beck created the hit tune, “Let it Go”. The creation group went insane; rather than attempting to fit the melody into the film, they revised the whole plot and Elsa’s whole character to fit the tune. I have never known about a whole film being changed to fit one melody. Along these lines, it’s explicitly clear that nobody could settle on anything in this film. Since Elsa isn’t the foe, there truly was no genuine underhandedness power. The Duke of Weaselton is raised to be the lowlife to start with when he states, “Open those entryways so I may open your insider facts and adventure your wealth. Did I say that for all to hear?” Why would you like to open the insider facts and adventure their wealth?
The Duke has positively no advancement to where he doesn’t have a name. He scarcely even gets screen time. So on the off chance that he isn’t the lowlife, who is? All things considered, over the most recent 15 minutes of the film, Anna’s life partner, Prince Hans, is raised to be the lowlife, expressing he needs to administer a realm and he can’t due to his 12 different siblings. This comes out of totally no place. There were no insights, no underhanded looks, no sidebars or monologs, nothing. He even gives out covers and hot soup to each individual in the realm of Airendale. Sovereign Hans even says, he will ensure Airendale on the grounds that Anna left him in control and “won’t stop for a second to shield Airendale from conspiracy” when the Duke states he needs to dominate. I can’t stand it when they get so lethargic as to simply toss in a miscreant at the most recent couple of minutes since they couldn’t really raise a genuine reprobate. Ruler Hans expresses that he needed to dominate and he was going to execute Elsa and this other poo, yet Elsa was going to be slaughtered and he spared her life. For what reason would he spare her life on the off chance that he needed her dead? None of it appeared well and good and it enraged me the whole film.
Solidified reuses activity and character models from their past hit, “Tangled”. The principle characters, Elsa and Anna, utilize a similar accurate model as Rapunzel from “Tangled”. This discussion has been immense around the web, calling Disney “lethargic” and the such. By and by, I approved of this. Disney is known for reusing livelinesss (which can be seen here). Despite the fact that it was extremely bizarre that Elsa and Anna had the equivalent precise face and body structure and the main distinction between them were the spots and their hair, it didn’t trouble me to an extreme. However, during the crowning liturgy scene, Elsa says to Anna, “You look lovely.” Pretty amusing in the event that you ask me.
The film begins with Elsa and Anna playing along with Elsa’s ice enchantment. It’s charming from the outset, yet then Elsa strikes Anna in her mind and they need to “defrost the ice” or something like that. So they request that the trolls recuperate her and they wipe Anna’s recollections of Elsa having enchantment. At that point, they lock the château entryways so nobody can ever observe Elsa and lock Elsa away in her space to never address her sister again. This is the place everything begins to go downhill. None of it appeared well and good. For what reason would you wipe Anna’s recollections of Elsa having enchantment? In the event that it was effortlessly fixed, why not simply disclose to her that they can’t play with Elsa’s enchantment any longer since it’s wild? She would’ve known the results a short time later. It resembles in the event that you contact a hot oven; you’re interested, you contact it, you consume yourself, you never contact it again. The dread sets subliminally. Regardless of whether you could clarify why she required her recollections deleted, for what reason was Anna bolted inside the manor entryways as well? Anna had no memory of the occasions, even toward the finish of the film, so for what reason was Anna being rebuffed for something Elsa did? They could have effectively permitted her to converse with the townsfolk and make some great memories outside the stronghold while Elsa was bolted away.
There’s this theme all through the film about bolted entryways; they lock the château entryways, Anna thumps on Elsa’s entryway and she never replies, Anna and Prince Hans sing the melody, “Love is an Open Door”, Anna says to Elsa, “All you know is the means by which to close individuals out.” I found the theme entirely shrewd until they constrained it down my throat. At the point when Anna arrives at the ice palace, she thumps on the entryway. At the point when the entryway opens, she says, “Well that is a first.” It’s a monster punch in the chest when you think you’ve broke down a theme and you can continue forever about how astounding the chiefs were for placing it in there, however then the executives hold your hand and commandingly state, “Hello! This a theme! You ought to absolutely adore us for this!” I would’ve approved of it as well in the event that they simply didn’t place that one line in the film. At the point when you read a book and you dissect it, the writer is attempting to let you reach the resolution yourself and let you examine it. It’s the equivalent with motion pictures. There was no compelling reason to powerfully reveal to us this was a theme. Doing so was really counterproductive. It popped my air pocket.
This lead me to the inquiry, “For what reason was Anna the fundamental character?” Here’s an agenda of each plot-moving occasion in the film:
Elsa strikes Anna so they need to bolt the palace entryways and Elsa can never converse with anybody until kingdom come
Elsa is turning out to be sovereign
The whole realm gets solidified over due to Elsa
Elsa ostensibly has the best tune in the whole film
Anna needs to discover Elsa so that Elsa can spare the whole realm
Hans needs to execute Elsa to become ruler
Everything bases on Elsa. So why have Anna be the primary character? Anna didn’t have any genuine character advancement in the film while Elsa was totally fleshed out in each scene that she’s in. Simply watch the scene from her tune, “Let It Go”The whole melody is about her “giving up” of her dread and grappling with her forces and acting naturally. This would’ve improved a for a plot; a lady at long last dealing with herself, society attempting to close her down, and her battle to be acknowledged as who she seems to be. Rather, it’s about Anna attempting to discover her sister so her sister can spare the realm. It resembles Phil being the principle character of Hercules or Mushu being the fundamental character for Mulan. It doesn’t bode well. Anna isn’t as fascinating as Elsa. Of course, she’s clever and relate-capable, yet that could without much of a stretch have been Elsa. Everybody can identify with not fitting into the normal practices. So I emphasize, why have Anna be the principle character?
Talking about Anna, they said the best way to spare her was “one genuine demonstration of adoration”. There were many “genuine demonstrations of affection.” Kristoff carrying her to the trolls, Olaf giving her that motivational speech, Kristoff carrying her to Hans to spare her. These were “genuine demonstrations of affection”, however none of them tallied on the grounds that it didn’t “fit the dynamic of sisterhood.” The entire dynamic among Elsa and Anna felt so compelled to where I quit caring part of the way through the film. For the most part since Anna doesn’t really develop as a character until the finish of the film. And, after its all said and done, the advancement isn’t that major.Olaf is something else that felt so coercively fed. It was adorable that the snowman Elsa and Anna made when they were youthful turned into a genuine living being and gotten Anna out on her mission, yet he didn’t do a lot. By any stretch of the imagination. He sings a tune about the mid year, makes a huge amount of jokes, gives Anna a motivational speech toward the finish of the film, more jokes, at that point that is it. He doesn’t generally confront a lot of misfortune, making him very 1 dimensional. It’s conspicuous they put him in there just to be charming and to focus on a more extensive crowd. There’s a test that I use to clarify 1 dimensional characters; on the off chance that you can supplant the character with a light, and the plot could at present development, at that point the character didn’t should be there. I guarantee you, in the event that you watch the film again and follow that test, you’ll see precisely what I saying. What’s more regrettable is that he could’ve really been an impetus to Anna recovering her recollections of her sister lastly acknowledging why she feels the manner in which she does. In any case, rather, he’s only a comedic help that has no part in the plot at all.
The entire film and plot felt so hurried and like nobody could concur on anything. From the scalawags to the plot to the characters; it’s totally surged. It felt like they stated, “Hello, “Tangled” was incredible! We should simply take the stuff we utilized from “Tangled” and get this film off our agenda following 70 years.” But, there is one thing that surprised me; the soundtrack. The music was marvelous. Each melody felt very broadway-esque and fit the scenes consummately. “Release It”, “Love is an Open Door”, and the remainder of