I just wrapped up viewing the well known Disney film, “Solidified”, for the subsequent time. The publicity encompassing the film was unpalatable and everybody was stating that, “‘Frozen’ is perhaps the best film ever.” Watching it my first time around, it wasn’t incredible; the bar was set pretty high and my desires didn’t get together to the truth of the film. Yet, after my subsequent time watching it, it has hardened in my cerebrum that this film is one of the most exceedingly awful Disney has ever delivered. Visit :- ดูหนังอเมริกัน
There’s really a clever history encompassing this film. Walt Disney needed to make this film right in 1943. “Solidified” should be Disney’s transformation of the famous fantasy, “The Snow Queen”, composed by Hans Christian Anderson (Get it? Hans, Kristoff, Anna, Sven. Great job, Disney). “The Snow Queen” really has, what might be Elsa, as the lowlife. They concluded they couldn’t make the film during the 40s since they couldn’t figure out how to adjust it to an advanced crowd. They attempted again in the last part of the 1990s, however the venture was rejected when one of the head artists on the task, Glen Keane, quit. In 2010, they rejected it again in light of the fact that they actually couldn’t figure out how to make the story work. At that point, in 2011, they at last settled on making Anna the more youthful sister of the Snow Queen, which was sufficient for them to make “Solidified”.
“Solidified” was coordinated by Chris Buck (known for “Tarzan”) and Jennifer Lee (known for “Wreck-it-Ralph”). The bar was set pretty high for me seeing as both those films were well over the principles of a “child’s film”. The story would have been much the same as the fantasy, yet at that point, Christophe Beck created the hit tune, “Released it”. The creation group went insane; rather than attempting to fit the tune into the film, they modified the whole plot and Elsa’s whole character to fit the tune. I have never known about a whole film being changed to fit one melody. Along these lines, it’s obtrusively evident that nobody could settle on anything in this film. Since Elsa isn’t the foe, there truly was no genuine fiendish power. The Duke of Weaselton is raised to be the scalawag in the first place when he states, “Open those doors so I may open your mysteries and endeavor your wealth. Did I say that so anyone can hear?” Why would you like to open the privileged insights and adventure their wealth?
The Duke has positively no advancement to where he doesn’t have a name. He scarcely even gets screen time. So in the event that he isn’t the reprobate, who is? All things considered, over the most recent 15 minutes of the film, Anna’s life partner, Prince Hans, is raised to be the scalawag, expressing he needs to lead a realm and he can’t as a result of his 12 different siblings. This emerges from totally no place. There were no clues, no abhorrent looks, no sidebars or speeches, nothing. He even gives out covers and hot soup to each individual in the realm of Airendale. Ruler Hans even says, he will secure Airendale in light of the fact that Anna left him in control and “won’t stop for a second to shield Airendale from conspiracy” when the Duke states he needs to dominate. I can’t stand it when they get so sluggish as to simply toss in a reprobate at the most recent couple of minutes since they couldn’t really raise a genuine scoundrel. Ruler Hans expresses that he needed to dominate and he planned to murder Elsa and this other poo, yet Elsa was going to be slaughtered and he spared her life. For what reason would he spare her life on the off chance that he needed her dead? None of it seemed well and good and it infuriated me the whole film.
Solidified reuses liveliness and character models from their past hit, “Tangled”. The fundamental characters, Elsa and Anna, utilize a similar accurate model as Rapunzel from “Tangled”. This debate has been enormous around the web, calling Disney “sluggish” and the such. By and by, I approved of this. Disney is known for reusing activitys (which can be seen here). Despite the fact that it was truly odd that Elsa and Anna had a similar careful face and body structure and the main contrast between them were the spots and their hair, it didn’t trouble me to an extreme. In any case, during the crowning celebration scene, Elsa says to Anna, “You look delightful.” Pretty unexpected in the event that you ask me.
The film begins with Elsa and Anna playing along with Elsa’s ice enchantment. It’s charming from the start, yet then Elsa strikes Anna in her mind and they need to “defrost the ice” or something like that. So they request that the savages recuperate her and they wipe Anna’s recollections of Elsa having enchantment. At that point, they lock the château entryways so nobody can actually observe Elsa and lock Elsa away in her space to never address her sister again. This is the place where everything begins to go downhill. None of it seemed well and good. For what reason would you wipe Anna’s recollections of Elsa having enchantment? On the off chance that it was handily fixed, why not simply disclose to her that they can’t play with Elsa’s enchantment any longer since it’s crazy? She would’ve known the outcomes subsequently. It resembles on the off chance that you contact a hot oven; you’re interested, you contact it, you consume yourself, you never contact it again. The dread sets subliminally. Regardless of whether you could clarify why she required her recollections deleted, for what reason was Anna bolted inside the mansion entryways as well? Anna had no memory of the functions, even toward the finish of the film, so for what reason was Anna being rebuffed for something Elsa did? They might have effectively permitted her to converse with the townsfolk and make some great memories outside the château while Elsa was bolted away.
There’s this theme all through the film about bolted entryways; they lock the palace entryways, Anna thumps on Elsa’s entryway and she never replies, Anna and Prince Hans sing the melody, “Love is an Open Door”, Anna says to Elsa, “All you know is the manner by which to close individuals out.” I found the theme pretty sharp until they constrained it down my throat. At the point when Anna arrives at the ice palace, she thumps on the entryway. At the point when the entryway opens, she says, “Well that is a first.” It’s a goliath punch in the chest when you think you’ve dissected a theme and you can continue endlessly about how stunning the chiefs were for placing it in there, yet then the chiefs hold your hand and strongly state, “Hello! This a theme! You ought to absolutely cherish us for this!” I would’ve approved of it as well on the off chance that they simply didn’t place that one line in the film. At the point when you read a book and you break down it, the writer is attempting to let you arrive at the resolution yourself and let you examine it. It’s the equivalent with films. There was no compelling reason to powerfully reveal to us that this was a theme. Doing so was really counterproductive. It popped my air pocket.