10.08.2014

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These are 15 videos result for the Lirik come get her rea sremmurd, hit the "Play This Video" to watch streaming the Lirik come get her rea sremmurd online. Confession: I love pop culture, particularly as it’s expressed through the films of Walt Disney Studios. Another, more dangerous confession: when I left the theatre after watching Frozen with my sweet little six-year-old niece, I was ambivalent. Diplomatic armchair film critic that I am, I figured that there might in fact be something wrong with me (wouldn’t be the first time), and that I needed to give the movie another shot.
Anyone who has ever watched a movie, Disney or otherwise, is well aware of the power of music.
At this point, it may help to remember that, when “Let It Go” was written, Elsa was actually intended to be the villain, so it makes sense for the song to celebrate the good girl gone bad because, well, she originally was the bad guy… girl. Unfortunately, no one sings about this, and without another powerhouse song to serve as a counterweight to “Let it Go” and present the ultimate moral truths of the film, audiences are left with the one breakout musical number that tells only half of the story. But please keep in mind that reporting images that are not abusive is against our terms of service and can get your account blocked. Films like Aladdin, characters like the Yzma and Kronk from The Emperor’s New Groove, iconic images like the sun piercing the clouds over Pride Rock as a baboon holds aloft the future Lion King—these are some of the greatest expressions of American pop culture ever produced.
I was not joyously floored as I had been after seeing Beauty and the Beast or The Lion King or The Princess and the Frog for the first time. Watching Frozen a second and even third time, I noticed some delightful elements that I had failed to appreciate fully in the first viewing. Music helps to tell the story of the film in a way that enhances the narrative, even transcends the actors’ performances. While the melodies are unbelievably catchy, the lyrics range from hilariously ironic (“In Summer”) to mildly pedestrian (“For the First Time in Forever”).


Most distressingly, it seems that Elsa has decided to embrace the perception others have of her as some sort of monster, belting unapologetically near the song’s climactic moment: “That perfect girl is gone.” Is this message what we really ought to be taking away from the film? Oddly enough, it was this song that inspired the film’s writers to change the trajectory of the story, recasting Elsa as a tortured protagonist instead of the villain.
This is irresponsible of the writers on one level, and even dangerous to the audience on another, considering that young children are the ones for whom Frozen was intended.
It differs from other fairy tale adaptations in its complexities and temporary ambiguities, but ultimately, its message is one that audiences of all ages can and should strive to emulate in their own relationships. Initially, I kept my thoughts to myself, mostly because I didn’t want to upset my niece or my family and friends who loved the movie, but also because it seemed that any ambivalence or (heaven forbid) critique regarding Frozen was met with dismissal, rejection, or just plain outrage.
Example: the clever way that Disney essentially makes fun of its previous films by critiquing the “love at first sight” trope with tongue planted firmly in cheek.
Without music, we’d never know that a great white shark was lurking just beneath the water’s surface, and Forrest Gump would just be a guy on a nice long run.
So, instead of the definitive turn from virtue to vice, this song becomes, in the context of the rest of the film, a moment in Elsa’s journey toward conversion. These films leave a deep and lasting impression, and it’s critical that children come away from them with an impression that will form their moral imaginations for the good.
In the end, its only shortcoming happens to be the one thing that everyone remembers about it. Or the beautifully moving depiction of love in its familial, platonic, and yes, romantic forms. Movie musicals harness this power on an even higher level as the characters themselves break into song, and Disney movie musicals on a level still higher than that, for in Disney films, there is always that one song that stands out above the rest—that one song that distills the narrative into a singable form, enriches the central message with melody and harmony, and makes a merely memorable story truly unforgettable. In point of fact, that one song serves as a musical icon—it enables us to enter into the film, even without sitting down to watch it. Put simply, Frozen’s signature song, the now-ubiquitous pop culture phenomenon “Let It Go,” doesn’t bear the moral weight of the powerful theme conveyed in the rest of the film, which is that love sacrifices the self for the good of the other. The problem is, we aren’t given another iconic anthem that crystallizes (sorry—couldn’t resist) the rest of the story. All I can say is, when my sweet little niece leaves home for college someday, I hope she’s forgotten “No right, no wrong, no rules for me” and remembers instead the ultimate point of Frozen, that, to quote Olaf, “Love is about putting someone else’s needs before your own.” Think of the iconic song that could have been created to body forth such a powerful, formative message.


Or, most importantly, the affirmation that true love puts others’ needs before its own.
Think for a moment about the great Disney songs from just the past 25 years: “Part of Your World,” “Beauty and the Beast,” “You’ve Got a Friend in Me,” “Colors of the Wind”—all of these songs present the foundational narrative of the film in miniature form. After she ostensibly breaks free, Elsa learns that, despite her previous assertions, there is a right and wrong, and that her magic does have consequences (as magic always does), not only for herself but also for her subjects and especially for her sister Anna. Chesterton, “[This] is the one eternal education; to be sure enough that something is true that you dare to tell it to a child” (What’s Wrong with the World, 254).
This assertion is, in the final analysis, the gift of Frozen, an assertion that, one could argue, find resonances in Scripture.
These songs convey the essence, the heart of their respective films: when you hear the lyrics of “Circle of Life,” you know that The Lion King is about finding, accepting, and living out who you were created to be. In the end, Elsa embraces the rules she was so willing to ‘let go’ of, because she learns from Anna—the true heroine of the film and, one could even argue, a kind of Christ figure—that self-giving love is the only rule by which she ought to live. Thus, in the Wonderful World of Disney, as in the world of musicals (and really just the world in general), when there is something really important to say, you never *just* say it. If you’re going to sing it, make sure you’re singing the truth, especially if you’re going to sing it to little ones. Yet, despite this message of self-giving love, and despite the stunning visuals and the breathtaking animation, something still didn’t quite ring true for me, and recently I finally realized what it was: the music. And if you’re going to sing it in a Disney film, you have to make sure that it’s a message that rings true by upholding virtues in the hero or heroine and alerting us to the vices of the villain.



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