The screenwriter of Frozen 2 is Jennifer Lee. When I watched the movie, I finally waited to see the screenwriter and director, just to see who the screenwriter was. I think this name is worth remembering. In the first part, I didn't pay attention to who the screenwriter was and who the director was. The first part was a very dynamic work and a fairly simple story. I just watched the movie and didn't want to think about it from the script level. The second one is much more complicated, which makes me care about the script.
In my opinion, this is an exquisite and magnificent movie. Exquisiteness does not mean that the pictures are exquisite, but the exquisite story structure and the inner meaning conveyed by exquisite metaphors. Magnificence does not mean the magnificence of the scene, but the magnificence of its inner spiritual world, the magnificent life perspective that supports the whole story. The whole film presents a script created with full enthusiasm and careful thought, which is very powerful without trickery or perfunctory.
The patriarchal humanistic knowledge structure is unable to interpret this movie. Because this is a fantasy world supported by matriarchal civilization and goddess civilization, and constructed by the true creativity of women. The movie talks about "the lost will eventually return", the return of the goddess, the return of women, and it points to a feminine-centric future.
The symbols of the Four Spirits in the movie have an ancient cultural background. Later, the clues of the film were unfolded by Aisha finding the truth and also the truth of her own life. From the relationship between Aisha and the fire spirit, it has been implied that Aisha (female) is the goddess who penetrates everything, that is, the symbol of nature itself, and the law of women is nature. According to the law, Aisha’s return to the throne is the return of women to the throne. Only when the world works can it conform to nature.
The later process of Aisha "conquering" the water spirit is a manifestation of this feminine principle. Aisha riding the water spirit horse to the truth of herself and returning to the natural scene also contributed to the impressive and magnificent picture of the film. The water is more It is a female symbol at the root of life. This connects Aisha's ice and snow magic by comprehending the origin of water. Water has memories, and I love this sentence very much. The essence of Aisha Ice Magic is not indifferent isolation but the water that nourishes all life. Aisha is uncomfortable in the role of the patriarchal queen inherited from her father. Her magical power and her life essence are misunderstood and accepted. Bondage. Because her pattern is nature.
Another closely related to the law of women and the laws of nature is earth spirits. The earth spirits in the movie are guided by Anna, a woman who has no magical powers, which is also very meaningful. Understanding Turin is also the key to understanding the meaning of another heroine Anna. The earth is the goddess itself in the cultural consciousness of the maternal age. All living creatures are attached to the earth. Later, when the patriarchal gods rose up, they used the god of the sky to overpower the earth and steal the power of the ancient goddess of the earth. The crisis in the kingdoms of Aisha and Anna was caused by the narrow male king (paternal grandfather) breaking the covenant with the Northlanders. It also implied that the relationship with nature was destroyed, the ecological environment deteriorated, the forest was covered by mist, and the goddess was missing. The four spirits do not have the natural operation led by the goddess.
Anna’s distress experience is mainly about encountering the giants of the spirits. She fell into the dark cave in order to avoid the giants of the spirits. When Aisha was frozen, she sent a signal to Anna, yes The sister’s deep love is the sister’s heart. Anna read Aisha’s message. After Aisha was trapped and Xuebao disappeared, she finally walked out of the dark cave and walked towards the earth spirit giant, bravely and firmly calling for the earth. The spirit goes to destroy the dam and remove the mistakes of the patriarch. This cave is the metaphor of the earth. It is the depths of the earth, where Xuebao disappeared as a spiritual life, where Anna struggled from sorrow and gained strength from love, which is a kind of strength from the earth. Metaphorically, the cave is death and rebirth. Anna, who walked out of the cave, could call the spirit of the earth, and she could also simply persuade the soldiers loyal to the royal power to face the truth and change their mistakes. At this time, she was a real queen. So when Aisha said that you were the queen, the result was a natural fit. I find it very convincing. When the story and the characters are there, everything is the best arrangement. So we can understand that Anna is actually another incarnation of the goddess.
In my opinion, a magical forest is a symbol of the natural way of life, and it is also a revelation of the female law and a reflection on the evil consequences of violating the female law. It can be said that the concept of the script is very ambitious and precise.
In this context, we can further see the principle of matrilineal power that the goddess world relies on in the movie. The two works of Frozen can be viewed consecutively, and the changes in the relationship of power and inheritance are very interesting. In the first part, Aisha's throne was inherited from her father. Aisha was arranged to become the queen. She must be anxious to maintain the dignity that a patriarchal queen should have. Then Aisha went from trembling to self-control and loss to power awakening. .
The second part traces the origins of Sister Aisha's mother, and from this, finds the answer to life and the world. According to the expression of the maternal power zone, this is looking back at the maternal relationship. In the end, Aisha not only awakened her power, but also awakened a greater consciousness of life. She was completely free. Aisha returned to nature, and Anna ascended to the throne. In the second part, Anna's throne is completely different from the first Aisha's throne. Anna's royal power was given by her sister, that is, given by the goddess. We can understand it as a natural power inherited by women.
In the second part, Anna is no longer a woman who yearns for true love and is waiting to be saved by true love, but a woman who stands up from the darkness to the light. In fact, she is through self-selection (destroying the dam and doing the right thing). , Take responsibility for everyone) and become the queen. Among them, the power relationship between nature and the world is a kind of maternal relationship (real kinship, not a fake paternal line). The root of Anna's power is her sister, nature itself.
When the goddess returns and the women return, everything is straightened out. The spell is lifted, the fog clears the forest and the blue sky is regained, and the magnificent scene of the reindeer running is the most stretched, free, magnificent and shocking place in the whole film.
Frozen and Pocahontas are two representative works of a new generation of female fairy tales. Generally speaking, Pocahontas will be regarded as a work that more highlights the independent power of girls, in which there is no prince, and Frozen arranges a romantic relationship for Anna. However, the two works are actually very obvious in the old worldview. Whether there is a romantic relationship is only superficial. At a deep level, they are all about the growth of girls in the background of a patrilineal marriage and family. Aisha Anna has a father, and Moana also has a father. Moreover, Moana’s father is still very prominent, and her mother’s existence is very weak. This is the weakest part of this movie, and the point that makes me dissatisfied the most. In the end, Moana inherited her father as a female chief, but her mother The weakened image is a lingering shadow. This actually reflects the shortcomings of the film's pattern, that is, Moana has no women's alliance and no female inheritance. Although there is some kind of inheritance given by grandma, the image of the mother is not right, which makes this inheritance quite nihil. (Actually, Moana is not the heir of the mother but the heir of the grandma. This is still the strong patriarchy in it. To). Therefore, the narrative pattern of Pocahontas is like this, basically because it has not thought deeply about the origin of female power. It seems that it is not easy to have a second part, and it cannot remedy this defect.
The existence of parents in Frozen is relatively weakened. The parents died soon after the movie opened, focusing on the sisters themselves (the women's league). This is the fundamental reason why Frozen can move to the second part of the grand pattern. In the first part, the father's existence is still more prominent than the mother's. His wrong restraint made Aisha suppress his own power, but his mistake has also been denied in the first part. The power of Frozen 2 is that it does not avoid that it came from the old world. It allows the root of female power to appear (female inheritance), thereby turning the old into the new. As soon as the film opens, it starts with the song of the mother (it’s so beautiful), re-establishing a new narrative background of the mother’s origins. The sisters traced their mother’s love and songs to the source, searching for the truth of their lives, and arrived in the world. The truth (the natural source of the law of women in life). Moreover, the logic of the two movie stories is not broken, and the transition from paternity to maternal relationship, from patriarchal castle to nature is completed ingeniously and naturally. When Aisha returned to her throne and Anna became the queen, the whole worldview of the story was greatly updated.
The two works should be regarded as a whole, which is why I think the second is the best sequel movie I have ever seen. In short, I think Frozen 2 won it. Just like Aisha and Anna, it is a movie that dares to face the difficulties, faces the shadows of the old world, and uses female creativity to bring new worlds and dreams for the future. , Is a brave movie.
The film reveals that the frame of reference for women is nature, life itself. Not a man, nor love.
Movies have great significance for women's life awakening and divine awakening.
Aisha’s becoming a goddess, discovering the truth of herself, has a meaning of finding a place. Her awakening is to understand that she should stand in her place. In the movie, it is shown that she is in the center of the four elements, and she is settled in the north. Earth, here is the motherhood, the hometown of the goddess. This is the return of the goddess.
The return of the goddess to the throne symbolizes the return of women to the throne. Anna became a queen with the incarnation of the goddess of the earth, which highlights this point. I think the movie has already issued such a fable that women belong to the first sex as the root of life, the gender order is attributed to nature, and the future of mankind is to move towards a female-centered world.
It can be understood as three levels of female awareness. The first level is to see that the movie interprets Aisha's divine awakening and becomes a goddess. The second level is to see that the movie not only played a goddess Aisha, but also another goddess Anna, deducting the divine awakening of Anna who has no magic power as the goddess of the world. The third level is to see that the movie is not only an interpretation of two fairy-tale goddesses in the fantasy world, but also tells every woman in the real world, speaking to us, that every one of us has a divinity. , Calling for women's divine awakening.
Every awakened woman is a living goddess.
Bless women.
(Scattered comments moved directly, with a few words changed. Please understand.)
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