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• The King and Queen of Arendelle (parents) • (younger sister) Queen Elsa of Arendelle is a fictional character who appears in ' 53rd animated film. She is voiced primarily by actress and singer. At the beginning of the film, she is voiced by as a young child and by Spencer Lacey Ganus as a teenager. Created by directors and, Elsa is loosely based on the title character of ', a Danish fairytale. In the Disney film adaptation, she is introduced as the princess of the fictional kingdom of Arendelle, heiress to the throne and the elder sister of (). Elsa has the magical ability to create and manipulate ice and snow. She inadvertently sends Arendelle into an eternal winter on the evening of her coronation.
Throughout the film, she struggles first with controlling and concealing her abilities and then with liberating herself from her fears of unintentionally harming others, especially her younger sister. The Snow Queen character, neutral but cold-hearted in the original fairytale and villain in numerous adaptations of the character, proved difficult to adapt to film due to her transparent depiction.
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Several film executives, including, attempted to build on the character, and a number of scheduled film adaptions were shelved when they could not work out the character. Buck and his co-director,, were ultimately able to solve the dilemma by depicting Elsa and Anna as sisters.
As much as Anna’s struggle is external, Elsa’s is internal. This led to Elsa being gradually rewritten as a sympathetic, misunderstood character. Elsa has received largely positive reception from reviewers, who praised her complex characterization and vulnerability. Menzel was also widely praised for her vocal performance of Elsa, especially that of her performance of the song ', with critics frequently calling her a 'powerhouse'. An illustration of, the character Elsa is based upon. Attempts were made as early as 1937 by to adapt Hans Christian Andersen's fairy tale, 'The Snow Queen', into a film.
The tale focuses on two children, one named Gerda, who served as the basis for Princess Anna, and the other named Kai, who is 'cursed with negativity' after his heart is pierced with a shard of glass from an enchanted mirror and is later kidnapped by the Snow Queen. However, Disney struggled with creating a believable, multi-dimensional adaption of the fairy tale's title character, who was intended to be a villain. In the story, she is described as 'a woman, dressed in garments of white gauze, which looked like millions of starry snow-flakes linked together. She was fair and beautiful, but made of ice—shining and glittering ice. Still she was alive and her eyes sparkled like bright stars, but there was neither peace nor rest in their glance.'
Disney was unable to find a way to make the Snow Queen more real and eventually abandoned film plans. Several film executives later made efforts towards the project, including, Dick Zondag,, and Dave Goetz.
In 2011, director began work on another attempted adaption and also faced challenges with the Snow Queen character. Producer Peter Del Vecho explained that this was primarily because she was not relatable and too isolated, having no personal connections. As a result, they could not explain her motivations. After several changes were proposed, someone on the writing team suggested making the Snow Queen Anna's sister. 'Once we realized that these characters could be siblings and have a relationship, everything changed,' Del Vecho relayed. The Snow Queen, now given the name Elsa, continued to be cast as a villain, and Disney released the following synopsis for Frozen in May 2013: When Anna is cursed by her estranged sister, the cold-hearted Snow Queen, Anna's only hope of reversing the curse is to survive a perilous but thrilling journey across an icy and unforgiving landscape.
Joined by a rugged, thrill-seeking outdoorsman, his one-antlered reindeer and a hapless snowman, Anna must race against time, conquer the elements and battle an army of menacing snowmen if she ever hopes to melt her frozen heart. Earlier manuscripts included more antagonistic actions by Elsa, such as intentionally cursing Arendelle with an eternal winter. Additionally, she is shown creating an army of snowmen similar to the original Snow Queen's army of snowflakes; the comedic character of was at the time written as a smaller snowman who was cast out by Elsa for being too unintimidating. Within two months, however, scripts were altered to give emphasis to her lack of control over her powers.
Olaf was reduced to the only snowman created by Elsa, and he instead serves as a reminder of the sisters' childhood friendship. In the final version, Elsa creates a single giant snow creature that Olaf nicknames 'Marshmallow' to act as a guard after being branded as a monster for her powers. According to director Jennifer Lee, the character ultimately became more of a composite of both Kai and the Snow Queen, enhancing her increasingly sympathetic portrayal. Del Vecho added, 'There are times when Elsa does villainous things but because you understand where it comes from, from this desire to defend herself, you can always relate to her.' Early concept art depicting a darker version of Elsa inspired. Elsa's appearance had to be redesigned following her transition from antagonist to protagonist. She was originally drawn in a style similar to other Disney villains, with blue skin and spiky black hair.
A few months after the film's release, visual development artist Claire Keane (the daughter of Glen Keane) published early concept art of Elsa that was modeled after the singer. At the time, she was imagined as having blue ' hair as well as 'a deep, soulful voice and dramatic mood swings'. Lasseter reportedly influenced the creation of the character's much softer final appearance, particularly in regards to her very thick platinum blonde hair, which animators found difficult to design. Art director Michael Giaimo said that while a number of strategies were proposed for Elsa's hair, Lasseter would push the animation team to continue making improvements, saying, 'It's not aspirational enough. We want people to feel like this hair is a beautiful statement.' During a research trip, producers found that 'there are lots of ' worn by women in Norway; they then hired a stylist from New York named 'Danilo' who helped to create a style that would reflect that while still being 'a little different'.
A new animation program called Tonic was invented to assist with the task, and the character's hair ultimately required 420,000 CGI threads. By contrast, Anna was given roughly 140,000 hairs while from Tangled had only required 27,000 CGI threads for her hair. Abilities [ ]. Elsa's ice castle Since Elsa is introduced as a young child at the beginning of the film, animators wanted the first glimpse of her powers to reflect her innocent and fanciful state of mind at the time. This included giving her first a simple design. Her snow and ice patterns later become more intricate and complex when she is an adult. Co-effects supervisor Marlon West elaborated, 'When Elsa finally lets go and really starts owning her cryokinetic abilities, we wanted the ice and snow that she make to get across the idea that Elsa has now grown up and become this beautiful, elegant, confident and powerful young woman.'
Her ice castle, which she creates while singing 'Let It Go', was designed to illustrate the maturing of her powers as well as to be 'a manifestation of her feelings to the world'. The palace is initially beautiful; however, after she is made aware of the destruction she has inadvertently caused, and as she is increasingly vilified and hunted by others, it becomes darker and more distorted, with jagged icicles forming on the walls. The film's design team was uncertain about how it should look and drew out designs for various ice castles filled with snow. Lasseter suggested basing the structure and patterns on snowflakes. For example, an enormous snowflake would serve as the foundation, and the palace would be hexagon-shaped.
Lasseter also wanted snowflake patterns to influence the manner in which Elsa creates the palace. 'Snowflakes are these tiny little ice crystals that form in mid-air.
And when there are changes in temperature and humidity, these snowflakes start growing in a pattern that's known as branching and plating,' said co-effects supervisor Dale Mayeda. '[Lasseter] said 'You know, when Elsa builds her ice palace, it would be so amazing if—every step of the way as this castle forms out of thin air—it's just branching and plating, branching and plating all along the way.' Fifty animators worked on the scene in which the castle is built, and one frame required 30 hours to.
They later extended similar techniques to Elsa's clothing. While the traditional Norwegian was the inspiration for her costuming early in the film, her ice gown was designed similarly to her palace, with snowflakes heavily influencing the style. Her cape itself is a large snowflake. Appearances [ ] Frozen [ ]. Main article: Elsa, princess of Arendelle and heiress to the throne, is born with the.
As a child, she uses her abilities to create a winter wonderland to play in with her younger sister and best friend, Princess Anna. One night, Elsa accidentally harms Anna with her powers. The king and queen of Arendelle hurriedly take Anna to a tribe of to be healed. While healing Anna, the trolls inform the royals present that Elsa's abilities will grow, becoming both beautiful and very dangerous so she must learn to control them. While the trolls erase Anna's memory of the incident and of her elder sister's powers in general, Elsa is traumatized by the event. The king and queen take steps to control and hide Elsa's ice powers: the castle gates are locked, Elsa is shut away in her bedroom for most of the time, she is given gloves to help suppress her powers and is told to hold in her emotions as well. Nonetheless her powers continue to grow even stronger and so she becomes fearful of harming those she cares about most.
Meanwhile, her sister Anna is less happy and confused by the loss of contact with her elder sister and tries, without success, to coax her out of her room. When the sisters grow into teenagers, the ship in which the king and queen are sailing is capsized in a storm and they drown, leaving Anna and Elsa feeling even more lonely. Three years pass, and Elsa, now of age, is set to formally succeed her father as the monarch of Arendelle. Though she is afraid of opening the castle to the large crowds, her coronation goes on relatively peacefully.
However, at the reception party, Anna asks for Elsa's blessing to marry Prince Hans of the Southern Isles, whom Anna had met earlier that day. Elsa refuses to bless Hans's offer to marry Anna; he is someone she barely knows, prompting an argument between the two.
Being so upset Elsa accidentally reveals her power. Upon the guests' and her subjects' horror and being accused of and called a monster, Elsa flees the castle and retreats into the icy mountains. In the process, her emotions unleash an 'eternal' winter throughout Arendelle. While there, she decides to embrace, finally, all her powers and builds an enormous ice palace where she believes she can live freely without fear of hurting people. She also rebuilds her childhood snowman, Olaf, and unknowingly brings him to life. Anna, determined to find Elsa and bring her back, travels through the mountains, encountering Olaf and a mountain man named Kristoff.
They reach the ice palace, where Anna attempts to persuade Elsa to return home and mend their relationship. When Elsa ultimately resists (due to her memory of hurting Anna as a child with her powers resurfacing) Anna tells her about the state that Arendelle and all its people was left in.
Horrified, Elsa lashes out and accidentally freezes Anna's heart. Now even more horrified at the prospect of hurting her sister and people with her powers, Elsa forces Anna, Kristoff and Olaf out by creating a gigantic snow creature (called Marshmallow by Olaf), that is a symbol of her desire to be alone so as to be able to use her powers without hurting anyone. After this, her ice castle evidently becomes darker and more grotesque, reflecting her torment and re-ignited fears. Meanwhile, Anna becomes weaker day by day and Kristoff takes her back to the trolls, who tell them that only an 'act of true love' can save her life. Hans and a group of soldiers attack the now ugly ice palace.
Elsa seizes two soldiers who attempt to assassinate her. Hans convinces her to spare them to prove that she is not a monster. However, she is knocked unconscious and taken to her castle's dungeon. Hans visits her and urges her to end the winter; Elsa admits that she has no idea how to do so. After he leaves, she is able to break free from the chains by freezing them and escapes the cell, though her fears trigger a massive blizzard. Anna returns to the castle, believing that a romantic kiss from Hans will be the 'act of true love' to save her.
Instead, he informs her that his offer of marriage (engagement) had been the first step of a plot to get him the throne of Arendelle. Olaf tells Anna that Kristoff is in love with her and she believes that his kiss will cure her. They rush to find Kristoff. Hans confronts Elsa and tells her that she has killed Anna. Devastated, Elsa collapses and the blizzard stops suddenly. Hans approaches her and swings his sword to kill her, but Anna turns away from an approaching Kristoff with her last bit of strength and blocks Hans' attack as she freezes solid. Moments later, Anna begins to thaw, as her choice to save her sister rather than herself constituted the necessary 'act of true love'.
Elsa realizes that love is the key to controlling her powers and is able to end the kingdom's eternal winter. Summer returns to Arendelle, Elsa regains the throne and is able to use and safely control her powers, while the sisters' bond is restored. She exiles Hans back to the Southern Isles to face punishment from his family and cuts off trade with the Duke of Weselton's town for his earlier behavior towards her. Frozen Fever [ ]. Main article: Nearly a year after the events of the first film, Elsa tries to make Anna's 19th birthday as perfect as possible a way of making up for the years they spent apart. To do so, she works heavily with Kristoff, Sven and Olaf to make this a reality.
Upon making sure that her surprise party in the palace courtyard is ready, she leaves Kristoff in charge while she goes to get Anna. However, Elsa starts to come down with a cold as she leads Anna on a treasure hunt to find all the gifts that have been made for her. Without realizing it, each sneeze she makes creates small snowmen called 'snowgies', which create trouble for Kristoff, Sven and Olaf. As Anna notices Elsa's cold getting worse, she tries in vain to get Elsa to stop exerting herself, even taking medicine from Oaken in case Elsa gets sicker. Unfortunately, Elsa's cold cause her to become very tired and behave in a seemingly intoxicated-like manner, and she nearly falls from Arendelle's clock tower only for Anna to save her. Upon finally admitting to Anna that she is indeed sick after the previous incident, she allows Anna to escort her home feeling she has ruined everything, and finds that the party has gone off successfully for Anna (as well as discovering her snowgie creations), and still slightly intoxicated, she ends the party by accidentally sneezing into the birthday bugle horn, which inadvertently sends a gigantic snowball all the way to the Southern Isles and hits the now-demoted Hans, causing him to fall into a pile of horse manure.
Afterwards, Anna tells a now bed-ridden Elsa that she has given her the best birthday ever by letting her take care of her. Olaf's Frozen Adventure [ ]. Elsa meet-and-greet at in in 2013. Yigal Mesika Exploding Light Bulb Pdf To Excel there.
In November, before the release of Frozen, Anna and Elsa began making appearances at in and through. In, the attractions were set up in the of in recognition of the Scandinavian cultural elements that went into the film's design.
In, a winter-themed cottage was set up in the section, with a talking Olaf sitting on the cottage roof. In February 2014, these meet-and-greet sessions were extended indefinitely, with wait time to meet the princesses frequently exceeding two hours, which is longer than any previous Disney characters. Additionally, Elsa, Anna, and Olaf were given a Frozen-themed float for '. On March 9, 2014, the three made appearances again on their own Frozen parade float in at theme park. On April 20, 2014, Anna and Elsa moved from Epcot to the at Magic Kingdom, with wait time to see the characters amounted to three hours, compared to 's and Rapunzel's 15 minutes. Elsa's performance of 'Let It Go' became the central feature in 's, a 30-minute, winter-themed adaption of the nighttime show, which showcases scenes from Disney films. Disneyland Paris' nighttime spectacular,, also added Elsa's performance of 'Let It Go' to their attractions, and she was given a similar role during the Magic Kingdom show,, with her singing interspersed with scenes from the movie.
On May 16, 2014, it was announced that would debut a Frozen pre-parade featuring Elsa, Anna and Olaf. It premiered June 13, 2014, and preceded performances of. From July 5 to September 1, 2014, as part of 'Frozen' Summer Fun show at, Anna and Elsa will appear in a horse-drawn sleigh making their way down, alongside Kristoff and skaters, skiers and ice cutters in the section.
The sisters also made appearances in, where they were joined by royal historians to retell the history of Arendelle; and 'Frozen' Fireworks Spectacular alongside Kristoff and Olaf, a fireworks display set to the music of Frozen. In response to strong demand, Disney Parks subsequently announced on August 7 that Frozen Summer Fun would be extended to September 28.
On August 19, 2014, it was initially announced that Elsa & Anna's Boutique (replacing Studio Disney 365) would open mid-September in at the. The opening date was later changed to October 6, 2014, and the store name was changed to 'Anna & Elsa's Boutique'. The location includes products inspired by Anna, Elsa, and Olaf. While there had not been any official announcements from Disney regarding a coronation for Anna and Elsa, it had been announced in late August 2014 that a special character meal would be held by a group of travel agents in the morning of September 24, 2014. While not officially organized by Disney, the event, called My Royal Coronation, would feature the official Anna and Elsa characters owned by Disney with assistance from the company. On September 12, 2014, Walt Disney World announced that a was scheduled to open in early 2016 at Epcot's World Showcase in the Norway pavilion, replacing the park's ride. The attraction features the kingdom of Arendelle with music and scenes from the film, as well as meet-and-greets with Anna and Elsa.
Anna, Elsa, Kristoff, and Olaf will make appearances in Mickey’s Once Upon a Christmastime Parade, offered during Mickey’s Very Merry Christmas Party at Magic Kingdom in November and December 2014 (from November 7 to December 31). Also starting from November, every night Elsa will use her powers to transform Cinderella Castle into an ice palace. On November 13, 2014, prior to 'A Sparkling Christmas' Evert, Anna and Elsa began meet-and-greet sessions. Beginning December 20, 2014, the Anna and Elsa meet and greet at Disneyland Resort was moved from Disneyland park to a new location in the called 'Anna and Elsa’s Royal Welcome' in. In addition, the at Disneyland were updated to include the village of Arendelle from the film, including Anna and Elsa's castle and Elsa's ice palace. Officially starting January 7, 2015, Elsa began making appearances alongside Anna and Kristoff at Disney California Adventure in ' in as part of the park's 'Frozen Fun' event. Also starting January 7, Anna and Elsa made appearances in a Frozen play at the Royal Theatre in Disneyland park.
Beginning May 22, 2015, Disneyland debuted a new nighttime parade called ', which includes a Frozen float featuring Anna, Elsa, and Olaf, as part of the park's 60th anniversary celebration. Cosplay [ ] Elsa has become very popular in the community. Cosplayer is well known for cosplaying as Elsa at charities, comic-cons, and other events. Broadway musical [ ] will originate the role of Elsa in the, which is scheduled to open spring 2018. Reception [ ] Critical reviews [ ] 'Not content to merely turn True Love into a cautionary tale, [the writers] doubled down and made Elsa into [a] flawed hero warped by her upbringing and parents' heartfelt but damaging desire to keep their children safe. Manual Calculation Of True Position Tolerance. Elsa is aloof. And over-protective. And insecure.
And full of guilt. Because people—even animated people—are the sum total of their personalities combined with their experiences. Which is something even live action films forget at least 63% of the time.' —Donna Dickens, entertainment editor. The character of Elsa was widely praised by reviewers for her multifaceted, evolving personality.
Matt Goldberg of Collider.com commented that she was 'an incredibly sympathetic character', while Deepanjana Pal of praised the decision to rewrite her as a protagonist and said, 'Elsa is no evil, frosty vision of twisted and toxic maternity like the original Snow Queen. She's a young woman in difficult circumstances, frightened, trying to understand her abilities and burdened by expectation and convention. It's easy to sympathise with her and marvel at her ability when she builds her spectacular palace in the mountains.
Next to her, Anna is very much a child who needs to grow up and she does in the course of the film.' 's James Croot compared her 'humiliation and exile' to that of in. Katherine Webb, a reviewer for Wall St. Cheat Sheet, said that the scenes depicting Elsa gaining confidence and individuality delivered 'an exciting message to send to young girls looking for a new princess role model'.
Gary Wright of Rotoscopers state 'Her mental anguish and uncontrollable powers define modern feminism. Elsa represents the boundless female spirit- strong and graceful, with the power to change the world.' Travis Bean of Cedar Falls Times suggested that Elsa's ice powers, a 'personal oddity' that made her self-conscious, as well as her selflessness in withdrawing into isolation in order to avoid hurting others allowed children to connect more with the plot of Frozen. Laurie Levy from wrote that her young grandchildren 'admired Elsa for being smart, strong, magical, and powerful' and did not care that she had no romantic subplot. Magdalena Lachowicz, a film critic for, opined that Elsa's relationship with Anna was the most important part of the movie, and Stephen Holden of liked that, in departure from traditional Disney formula, it was a sibling's love rather than romantic love that was able to 'thaw the icy heart of the frightened Elsa'.
Tony Hicks of wrote, '[Anna's] confusion and Elsa's anguish as she shuts herself away from the world—and her sister—is palatable.' Emma Koonse of opined that together the sisters were Disney's 'most lovable and charismatic characters yet', and Debbie Lynn Elias of Culver City Observer commented, 'Elsa and Anna are like two sides of a coin, both strong, albeit one through power and confidence and the other through clumsy sticktuitiveness and love.' Several reviewers commented that Elsa was more interesting than Anna, Frozen 's primary protagonist. Writer Fred Hawson described Elsa as 'an incredible character with a unique and interesting predicament because of the powers she possessed' and expressed the opinion that Frozen should have focused more on her rather than Anna. Samra Muslim of wrote that it was her presence that kept viewers 'hooked' throughout the movie, elaborating, 'Her character is complex and sympathetic and deserved to be explored even further.
Instead the story revolves more around the relationship of the two sisters and Anna who is the typical, feisty, charming Disney heroine and her love trysts—instead of the alluring Elsa.' The character was not devoid of criticism.
Charlotte O'Sullivan from the gave a more negative assessment of Elsa, saying that she 'resembles one of those brittle mentors on The X Factor. Purple eyeshadow, tiny waist, kitten heels'. Anna Smith of The Guardian disliked that both Elsa and Anna were drawn with slender figures and large eyes as is typical of Disney princesses. 's Dana Stevens wrote that 'it's impossible not to thrill to Elsa's surging sense of power' but criticized the choice to illustrate her growing confidence by changing her appearance; Stevens further expressed concern that the switch from the character's modest coronation gown to 'a slinky, slit-to-the-thigh dress with a transparent snowflake-patterned train and a pair of silver-white high heels' and a hairstyle that suggested 'come-hither bad-girl seduction' was overly sexual. Compared Elsa to, another well-known fictional female who unleashes magical powers when agitated. 'Let It Go' [ ]. Main article: Idina Menzel also received praise for her singing, with Amon Warmann of Cine Vue saying her voice 'positively soars in these musical ballads'.
Reviewers frequently focused on her performance of 'Let It Go', described by 's Marc Snetiker as 'an incredible anthem of liberation' in which Elsa decides to no longer fear her powers. Various critics said that Menzel had been a 'powerhouse' during the scene; Linda Barnard from The Star commented that Menzel 'can shatter icicles with her powerful voice'. Matt DeTruck of wrote, 'Menzel should be credited for providing as much power and passion to this performance as she did in her most famous role.' Donald Clark of added, 'Elsa's flight to the glaciers triggers a song that, in its defiant paean to self-reliance, could play comfortably beside camp showtune anthems such as I Am What I Am and Don't Rain on My Parade. The opening and closing choruses of Let It Go end with a sly, spat-out refrain: 'The cold never bothered me anyway!'
You go, girl.' Nasim Asl of continued, 'Menzel, especially, steals the show with her performance of 'Let It Go'. Her Wicked-esque belting out works perfectly with such an incredible animated sequence—the building of the ice castle really demonstrates the prowess of Disney animation, and results in, arguably, one of the most spectacular power ballads seen by any animated character, ever.' Accolades [ ] In December 2013, Elsa and Anna were both nominated for Best Animated Female by the, with only Anna winning the award, a few weeks later. Elsa won all three awards out of three nominations at the 2013 Visual Effects Society Awards, including Outstanding Animated Character in an Animated Feature Motion Picture, Outstanding Created Environment in an Animated Feature Motion Picture for her ice palace, and Outstanding FX and Simulation Animation in an Animated Feature Motion Picture for her blizzard.
Her signature song, 'Let It Go', won Best Original Song at the, the Phoenix Film Critics Society Awards and the, and also received, the, the Award, and the Award nominations. Ranked Elsa as the most influential fictional character of 2014. References [ ].
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