Remember when "Shrek 2" referenced the popular "Cops" program by containing a TV show called "Knights"? When Shrek gets literally pepper-sprayed and they find a bag of catnip in Puss in Boots' pockets? This is one of the many ways a movie can create a connection with both older and younger audiences. When these types of multi-target sequences are done right, they can be interpreted in different ways —including social commentary— while also serving the purpose of driving the story forward. Now imagine how effective this can be when translated to musical performances in entertainment!
Music in movies can also serve as a way of creating a connection with multiple audiences by referencing previous popular works. The character can act in a way it that resembles certain artists, or the editing of the scene could be a callback to a famous music video. These actions pay homage to the art and its creators, either visually or musically. Viewers of all ages can appreciate not only the inherent melodrama and vocals but also the overall aesthetic of the sequence. Nostalgia also plays a big role in connecting with older audiences; it takes the audience back to a comfortable past. Nostalgia is a yearning for an idealized past that makes people remember fleeting feelings, emotions, and moments of glee, so companies take advantage of it through media. Why do companies take advantage of this? Because emotional connections can be monetized.
"Lost In The Woods"
Frozen II is an ideal example of how well music and pop culture references connect with viewers of all ages. In this movie, the Broadway and Glee star, Jonathan Gruff finally gets to enjoys his first solo number as the character Kristoff in the forest power ballad titled "Lost In The Woods." Here Kristoff shows his vulnerable and insecure side in a quasi-fantasy sequence, accompanied by a heartfelt piano, an electric guitar, and his trusty reindeer, Sven.
The sequence starts with Kristoff in the woods with his reindeer friend Sven. Kristoff expresses his doubts and insecurities after trying —and failing repeatedly— to propose to Anna, and then the music begins. The songwriters Robert Lopez and Kristen Anderson-Lopez had gotten inspiration from famous '80s power balladeers such as Journey, Bryan Adams, and Michael Bolton, so they had a specific aesthetic in mind. The music video lyric sheet had a scribbled note reading: "Feel free to take this to an '80s video kind of place;" that is what the animators did.
Throughout the music video, Kristoff flips his hair, strikes dramatic poses with pained expressions, akin to Bryan Adams, and sings to a pinecone while Sven and several other reindeer—also voiced by Groff—provide the harmonies and backup vocals, reminiscent of Queen's "Bohemian Rhapsody." This could also serve as a reference to the fact that Jonathan Groff had performed "Bohemian Rhapsody" during his time in "Glee." The band Journey is well-known for its posturing and character transitions. Kristoff's extreme close-ups and positioning (as seen in the picture below) resemble Journey's music video "Separate Ways (World's Apart)," in which lead singer Steve Perry and his bandmates stare directly at the audience and communicate what troubles them deep inside.
Jonathan Groff, the animators, and the Lopez siblings inspired their work based on previous popular ones to cater to both children and adults while also paying homage to the '80s. Furthermore, the sequence adds to the story by giving Kristoff character development while also serving as positive social commentary by showing young male audiences that it is okay to feel insecure and doubtful. Sequences like these are the ones that set apart movies from others; sequences like these are the ones that make their creators famous; sequences like these are an example of how effective music can be in connecting with audiences of all ages. In terms of relatability, performance, and cultural impact, "Lost In The Woods" is possibly the best song of "Frozen II."
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