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 Post subject: Frozen (2013)
PostPosted: Tue May 23, 2017 2:08 am 
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Saturday, May 31, 2014
The Truth Behind “Frozen”
By Stefan Molyneux, Host of Freedomain Radio –

The movie “Frozen” is about the most opaque and difficult movie I have ever tried to understand. The surface story – a dangerous girl shunned as a child has her frozen heart thawed by a loving sister – seems innocuous enough, but like a powerful dream that wakes you in a cold sweat of self-revelation, the movie has a near infinite set of layers that go right down to the beating and beaten heart of modern life.

The story was inspired by "The Snow Queen," by Hans Christian Andersen, but was altered to reflect a girl power theme, in which the heroine is rescued not by a man, but by a woman, her own sister.

The movie is enjoyable, entertaining and gloriously symphonic, with some of the best music I've heard in a musical for years. It has a freshness, a wittiness and a depth that has literally had me tossing and turning at night to unwind its myriad meanings. The depths are bound up in its ancient fairy tale origins; stories rarely stand the test of time unless weighed down by the meaty ballast of deep experiences and up-drafted by the myths that keep us alive.

“Frozen” is the story of two sisters, Elsa and Anna. Elsa is born with the magical power to control ice and snow, create life, summon clothing, control weather, you name it. Magic is so often taken for granted in stories – whether in traditional fairy tales, or as “the force” or “mind melds” in science fiction – that it has just become another kind of alternative physics. However, there is much more to magic than childlike wonder and narrative convenience.

Magic by definition is irrational, and thus cannot exist in the objective, empirical universe. Therefore it must exist within the mind, which unlike reality is capable of error, delusion, fantasy and superstition. Irrational people generally project their craziness into the people around them – and the world they live in, and thus cannot be cured of their illusions, since their madness has become “physics” and “human nature.” In stories, magic always escalates because madness – itself a pathological story – always escalates, as a hysterical pushback against a stubbornly rational universe. Like a woman screaming at an indifferent man, hoarseness, tears and assault are the inevitable eruption. Reality is Rhett Butler to the Scarlet of madness – “Frankly my dear, I don’t give a damn.”

Magic in stories is always and forever a metaphor for madness; it stands for psychosis and delusion and the violence that inevitably results when madness is challenged by prosaic reality. “Harry Potter,” for instance, is the story of a violent and psychotic young boy who ends up in a mental institution – called "Hogwarts" – and surrenders to his delusions of grandeur. Ditto “Star Wars.”

Madness can result from significant trauma as an infant or toddler, but it can also result from being born with great ambitions and capacities into a tiny, narrow-minded and bigoted tribe. From Frodo Baggins to Luke Skywalker, great souls often escape a petty world into violent fantasies – this is not meant to describe actual people or events, but is rather a description of the writers, since the stories are fiction. Great intelligence is a prerequisite for great imagination; fantasy writers seek to escape the dullness and predictability of their everyday acquaintances – particularly as children, when imagination first flowers – by creating heroes who leave boring childhoods for intergalactic adventures. This violent rejection of the writer’s early environment contains a base hatred against the culture he grows up in – this hatred is projected into the blackened heart of the usual arch-villain. The hero destroys the villain, because the act of story-telling must destroy the writer’s dangerous hatred of those around him. In this way, the storyteller survives his hatred of the tribe by providing entertainment to the tribe, by telling a hidden story that appeals to the bored and narcissistic desire for adventure without personal risk.

In other words, fantasy stories were the first video games.
(Continued) ... rozen.html
Not a review ... an analysis.

Analyzing a fairy tale ... hmmmm.

I enjoyed the movie.

Sent from my Acer Linux Mint 19.1

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