Vanquishing the Villain: The Taming of the… Mouse?

I have to admit, with all the hype, Disney’s Frozen (2013) left me wanting more. Judging by the appraisals it’s received worldwide, I’m afraid I appear to be of the minority here. I know very few people who share my own, dissenting opinion. But in actuality, Frozen is altogether rather weak. Sure, the soundtrack is decent enough, and the voiceover work and animation is top notch. But that’s about it. After Elsa’s ‘Let It Go’ sequence, the film just kind of fizzles out. It doesn’t exactly go downhill – there’s just no build-up, no climax, no real sense of threat. A substantial part of the problem is that the film ultimately lacks a compelling villain. Prince Hans’ turning on Anna is a surprise, yes, but barely makes any logical sense; why did he not turn ‘evil’ earlier on when he was left in charge of the kingdom? In addition, he’s simply too… ordinary, to be memorable.

But I digress. This isn’t just about Frozen. I’ve noticed, in recent years, that the animated Disney film, for the most part, has degraded itself in some respects, at least where international, family-oriented releases are concerned. Hans’ defeat is, frankly, one of the most pitiful I’ve ever seen. And this film was perceived to be empowering for girls and young women?! His demise is akin to that of a slapstick sitcom character. What happened to the powerful deaths of the Disney villains of old? What about Scar in The Lion King (1994), perishing in the flames beneath Pride Rock as ravenous hyenas devour him? Or how about Clayton in Tarzan (1999), left suspended by his throat from a tree vine, comprising a makeshift noose? I’m not even going to discuss Frollo from The Hunchback of Notre Dame (1996)! These villains, too, though arguably more ‘pantomime’ and stereotyped in their demeanour, maintain a certain menacing brood throughout their respective features; a certain charismatic villainy, and one which is noticeably absent from recent flicks. Compare them with the likes of King Candy from Wreck-It Ralph (2012). Though a damn good film with a surprisingly intricate and compelling plot, he’s not nearly as menacing, and his demise, though clever, is, by comparison, notably subdued. Even the best villain of the recent CG era, Mother Gothel from Tangled (2010), falls to her death in a rather clichéd and forgettable culmination.

But why does the animated feature appear far tamer than it used to? Some might argue that CG conveys far more realism than the average hand-drawn picture. Frankly I disagree. Though computer animation does indeed maintain a certain amount of realism, the hand-drawn, though noticeably artificial, is most often compelling enough to draw you in in the same respect. What’s more, visual improvements and technical aspects do not have any substantial effect on the design and demeanour of a villain – that emanates from expression, both vocal and visual, and can be accomplished via either medium. The trouble with recent villains is that they’re too ‘soft’, in manner and appearance. Again, why is this? Well, the truth is, their target audience is a young one – an unfortunate reality to my dismay. This is quite easily noticeable in Frozen. Traditionally (and stereotypically) speaking, little girls like princesses, and if there’s one thing Disney has that appeals to young audiences, it’s princesses. Frozen notably has two of them. Already, before the plot fell into place, Disney probably knew this film would be a box office smash, merely for this reason. And because of that reason, a compelling villain isn’t a necessity. In fact, if they wish to appeal to young girls specifically, it’s probably a good idea to refrain from including one altogether – which is precisely what they did.

Now, I’m not disrespecting Disney for this decision. It is, after all, a company that, like all companies, exists to make a profit. But you have to admit it would be refreshing to witness a solid, more universal Disney picture that appeals to a broader audience – one such as the likes of the ‘90s Renaissance batch. Of course, the likes of Frozen do not pertain *solely* to kids, and they’re not terribly low in quality, but they’re noticeably less intense and, as a result, less captivating for a more mature audience. It appears Disney’s strategy is working, else they wouldn’t be working on sequels to these features, not to mention that Frozen remains inexplicably popular. In fact, this was probably a somewhat sensible and ‘safe’ move following their unsuccessful string of more ‘mature’ films of the early noughties. Consequently, however, the world’s most famous mouse has been tamed, perhaps irredeemably, for the sake of profit. Which, don’t get me wrong, is good for them. But, though I can’t speak for everybody else here, it’s not so good for me.