“Frozen” breaks with tradition
《冰雪奇缘》:颠覆迪斯尼童话定义
A beautiful princess with magical powers, an adorable snowman withbuck teeth and a carrot for a nose, and a picture-perfect prince. These characters, from the new Disney 3-D animated movie musical Frozen, may sound conventional, but the film still manages to do something Disney animation films don’t often do — break stereotypes.
拥有魔力的幸福公主，用胡萝卜做鼻子、长着可爱兔牙的萌雪人以及一位白马王子。迪斯尼最新3D动画电影《冰雪奇缘》中的这些角色听上去可能有些老套，但该片仍能成功突破迪斯尼动画的传统，为影迷带来惊喜。
The combination of the words “Disney” and “princess” used to mean one thing: a film targeted at the little-girl market. But Frozen is evidence of how things have changed.
“迪斯尼”加“公主”这个搭配往往意味着：这是一部专攻“萝莉”市场的电影。而《冰雪奇缘》则证明了这一切已有所转变。
Loosely based on Danish author Hans Christian Andersen’s 1845 story The Snow Queen, the film focuses on two princesses, Elsa and Anna, who live in the fictional Scandinavian land of Arendelle. Since the plot is quite simple, we won’t give any more spoilers.
该片改编自丹麦作家安徒生于1845年创作的童话故事《冰雪皇后》，主要讲述了来自虚构的北欧阿伦黛尔王国的两位公主艾莎和安娜的经历。由于该片情节简朴，我们在这里就不做剧透了。
Indeed, Frozen looks like just another Disney princess movie. It has all the glorious settings, the storybook characters, and songs fit for a classic musical. The animation is simply great — ice has never looked so good and everything is made with attention to detail.
《冰雪奇缘》看上去的确就是平常的迪斯尼公主片。炫目场景、童话角色、经典音乐剧配乐一应俱全。动画效果令人表扬——冰雪风光叹为观止，片中到处透出对细节的专注。
But quite unlike its Disney forerunners, Frozen has characters that are a little more psychologically complex, and is more feminine in its ideas and themes.
但与迪斯尼前作相比，《冰雪奇缘》的最大不同在于角色心理活动变得更为复杂，立意和主题上也更突出女性。
This may largely be attributed to co-director and co-writer Jennifer Lee, who is the first female director of a Disney animated feature film. This is a bigger shift than it sounds. After all, Disney is defined by its iconic female-centric fairytale adventures. Who could do a better job telling a story from a woman’s perspective than a female director?
这很大程度上或许要归功于作为编剧之一的联合导演詹妮弗李，她也是首位执导迪斯尼主题电影的女性导演。这种改变要比听上去更明显。毕竟，迪斯尼最擅长的就是其标志性的女性题材童话冒险。而谁能比一位女导演更擅长从女性角度来讲故事呢？
If a part of Frozen still hangs on to 19th century children’s literature, it’s the not-so-clear-cut line between good and evil. In the original story, the title character is evil. Her 21st-century version is just confused and scared.
即便《冰雪奇缘》的一些情节仍忠于写于19世纪的童话原著，但也没有“非善即恶”的明显界限。在原著中，书中同名角色是邪恶的。而在这部21世纪的翻拍版本中，这一角色则变得困惑而害怕。
As always, love is the solution to everything. When it seems as if nothing can melt the icy heart of the frightened Elsa, love proves everyone wrong. But in this case, it’s sisterly loyalty and devotion rather than romance.
同往常一样，爱是解决一切的不二法门。当我们以为仿佛没有什么能够融化艾莎那颗受到惊吓的冰雪之心时，爱再一次证明所有人都错了。而从这点来看，片中提及到姐妹情深和奉献精神，而非风花雪月。
With Frozen, Disney seems to know what kind of movies it should be making, and how to separate itself from Pixar, DreamWorks and all the other animation studios. It’s both a declaration of the company’s renewed cultural relevance and a reaffirmation of its own identity.
凭借《冰雪奇缘》一片，迪斯尼仿佛弄清了未来拍片的方向，并懂得如何在皮克斯、梦工厂等一系列对手的竞争中彰显自己的与众不同。这不仅标志着迪斯尼公司在文化关联上的与时俱进，同时也是对迪斯尼自身特色的又一次肯定。
As far as animated movies go, it doesn’t get much better.
对于动画电影而言，没有什么比这更好了。
