Frozen without Olaf

I saw Disney’s Frozen just before Christmas, and it’s a pretty good film. I enjoyed it a lot, and particularly liked its subversion of the traditional Disney “true love” trope.

What I didn’t quite enjoy so much was the character of Olaf, the talking snowman. Now, I know these films are targeted at kids, and there’s nothing wrong with putting in these goofy characters for comic relief. I personally just found him a little annoying, and not all that important to the plot.

Anyway, I was idly thinking about this and I decided I’d try to use it as an exercise in building a story, and write down how I’d change Frozen to remove Olaf without significantly altering the story. Here’s what I came up with.

Note: Spoilers to follow. Obviously.

The way I see it, there is one key scene in the movie where Olaf played a significant role such that his removal would cause problems. That scene is toward the end, when the protagonist Anna is locked in a room to die by her fiancé Hans, having just revealed his true nature. Olaf arrives comforts Anna, starts a fire to try to keep her from freezing, and ultimately leads her to realise it was Kristoff she should have gone to, not Hans.

Without Olaf, Anna dies in that room. To make that part work, someone needs to come to her aid. The question is, who could? What other character could help Anna at that time, in that place, without significantly altering the story?

It would help if the film had included some other character in the palace who knew Anna and was close to her, but no such character has been established, and introducing one would require significant changes earlier on that might undermine the image it made of her isolated childhood.

After thinking about this for a while, the solution that finally came to me was to redeem the Duke of Weselton.

The Duke is introduced on the day of Queen Elsa’s coronation. He’s established as a greedy and selfish man whose only interest there is money: the kingdom has been isolated since the King and Queen died, and he wants the newly crowned Queen Elsa to reopen trade with Weselton. When things don’t seem to be going his way, he even instructs his men to kill Elsa, considering Prince Hans more likely to give him what he wants if he becomes King. At the end of the film, he is disgraced, sent home with the news that Elsa is severing all ties with Weselton because of his actions. He is a pretty clear cut villain of the film.

My idea would be to take a slightly different direction with the character. The differences would come in small.

When Hans suggests a search party to retrieve Elsa, he offers his men to help – but the audience would not see him instruct them to kill her. Their attempt on her life would come as a surprise, then, but not an unexpected one, as the Duke seems very much like a villainous character. Most likely the viewer will assume he has evil intentions regardless of whether they are shown.

But later, when Elsa is imprisoned by Hans, he would reveal that he had not intended to bring her back alive – he had, in fact, bribed the Duke of Weselton’s men to kill her, thinking to keep his own hands clean and blame it on the Duke.

Around the time of Anna’s return, when Hans announces that she has died after speaking her wedding vows, the Duke, ever looking to his own self-interest, would attempt to broach the subject if trade with Weselton. To his dismay, he would find that Hans intended to favour his own family’s kingdom, and had no interest in the Duke’s offer.

And thus it is that the Duke, his efforts to gain Hans’ support having been for naught, somehow comes across the room where Anna lies dying. Here, the Duke of Weselton’s true nature is revealed: he is horrified that Hans has left her to die. My Duke is still a weasel of a man, but not a murderer. He is too much a coward to confront the new King and his supporters alone (though he may promise to challenge his rule later, after gathering support), and in any case, Anna asks him to stay with her, believing that she is going to die regardless. So he lights a fire, and tries to comfort her – perhaps he even has daughters of his own, back home – and somehow his words cause her to realise that it is Kristoff she needs to find.

And so the ending proceeds as it did, and the kingdom is saved. And in the end, the Duke of Weselton is granted trade agreements with the kingdom by Queen Elsa (though perhaps not quite so favourable to him as he’d prefer).

The Duke is redeemed while keeping his essential character intact, and with very little difference to the remainder of the story.

And not a single talking snowman was needed.

***

If you’ve read all this, thank you for indulging my nonsense. I’ll just say again that Frozen was great, and I’m not claiming these changes needed to be made. I just thought it was a fun exercise to go through.

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2 thoughts on “Frozen without Olaf

  1. Fun exercise indeed.

    I was actually against seeing the movie at first because Olaf was just so damn annoying in the trailers, but I liked what he brought to the movie. It is a traditional Disney movie aimed at kids, so it was good to have the talking snowman and the trolls to keep the fantasy focus there.

    While your substitution totally make sense to me, I wonder if it would have played well with the target audience. Not against your ideas, just curious. Children have the ability to pick up very subtle things that we often forget, so who knows!

    1. Yeah, I do get what they intended with it. It’s not like these characters detract from the story, really. And at least they let Olaf do something important, rather than just be there for laughs.

      I was about the same with the trailers – I was a little interested in Frozen from things I’d heard about it online, but then the ads all focusing on Olaf and Sven almost put me off it.

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