Film Name: 青蛙王国 / The Frog Kingdom
Thank goodness for “The Frog Kingdom,” which, alongside “Jungle Master” earlier this year, bookends 2013 with two brilliant highlights for domestic animated films!
Setting aside the frog theme and character designs, this film already possesses the makings of a Hollywood blockbuster. Particularly in its first half, the smooth storytelling and technical execution left me completely immersed—or rather, the only moment I felt jarred was wondering, “Am I watching an American animated film?”
The film’s most Hollywood-esque quality lies in its pacing—from the rhythm of character movements to the progression of the plot—all masterfully executed. Take the opening fight sequence as an example:
The protagonist’s fight to protect his friend, the little fly, not only showcases the film’s action-movie credentials through its rapid-fire sequences but also reveals the deep bond between the fly and the protagonist. Though this friendship isn’t particularly explored later in the film, and the mystery of why a frog that should have eaten the fly became its friend might only be explained in a sequel, we clearly sense the protagonist’s compassionate and loyal character. Moreover, this fight scene marks the first encounter between the male and female leads. The camera frequently cuts to the female lead’s expression upon seeing the male lead, hinting at their inevitable future connection. In short, this sequence, lasting less than five minutes, is exceptionally rich in content—a rarity in domestic animation.
Another Hollywood-esque quality lies in the performances. Every character’s expressions and movements reveal meticulous refinement, with particular emphasis placed on their acting. This Hollywood flair likely stems from the involvement of veteran Hollywood animator Nelson Shen, former president of the World Animation Association, who joined as director.
Of course, when considering the frog theme and design, we might be nitpicking. First, there are few frog-themed animated films worldwide, largely because frogs have long been regarded as an inauspicious species. In fairy tales, princes are often cursed to turn into frogs, and this creature can sometimes trigger an instinctive aversion in audiences. Audiences might prefer stories about sea creatures (like the concurrently released “The Reef 2: High Tide”), pandas (“Space Panda”), or even monsters and vampires—but frogs rarely capture their interest.
Second, while the film features a diverse array of frog designs, they lack distinction, particularly in cuteness—save for the adorable little tadpole. Compared to other animated films released around the same time, its characters lack appeal. The male protagonist isn’t handsome enough, and the female protagonist isn’t sexy enough. While the film leans toward an adult audience, it seems to have deliberately avoided incorporating adult themes or gimmicks to cater to children, leaving viewers feeling somewhat unsatisfied.
The perceived gap between the film’s first and second halves, particularly in terms of narrative coherence, is more pronounced in the latter part. This discrepancy likely stems from an underdeveloped world-building foundation. The first half barely establishes the Frog Kingdom’s setting, thus avoiding logical inconsistencies that might break immersion. The serpent’s introduction is treated merely as a plausible final antagonist. However, as the relationship between the python and the frog kingdom is revealed, the world-building begins to unravel, and problems start to surface.
First, how did the frog king defeat the python in the past? This seems implausible. The disparity in size and strength between the python and the frogs is too great. Even with its tail severed, wouldn’t it still be unbeatable? Secondly, the python possesses numerous abilities—venom, hypnosis, physical attacks, and more. Yet the film reduces its venom to a mere tranquilizer, and its hypnotic effect is relatively easily broken, making the portrayal feel oversimplified. Furthermore, how did the python acquire the freezing machine? Is it some kind of inventor? Why did it believe the freezing machine could help it defeat the frog? Did it spend all those years biding its time just to develop a freezing machine to take on the frog? In my view, its physical attacks against the frog would have been several times more effective than the freezing machine.
Regarding the theme, I believe the female protagonist’s powerful speech on family values is quite compelling. However, it’s worth questioning whether the film aims to portray a “Mulan-style” female hero or a “Lone Ranger-style” male hero. I find the film ambiguous on this point—it seems to want to present both. While each of these archetypes could independently form a complete spiritual framework, when combined, the framework becomes incomplete.
In the “Mulan” narrative, the male figure should be a supporting element. The film depicts the female protagonist’s archery prowess, it is she who earns the title of hero, it is she who awakens the male protagonist’s consciousness in his moment of peril, and most crucially, it is the female protagonist who delivers the fatal blow to the serpent—a deeply symbolic act.
In the “Lone Ranger” narrative, the female figure should be a supporting element. The film highlights the male protagonist’s agile prowess, his loyalty and righteousness tempered by a free-spirited nature. It is he who severs the serpent’s tail with the king’s sword, just as the old king once did—every detail signaling his succession to the throne. Ultimately, he departs like a wandering knight, stealing the spotlight from the female lead.
Thus, the film presents a seemingly fragmented narrative focus. When a Mulan meets a Lone Ranger, their “rivalry” transcends the plot itself, leaving audiences uncertain which hero the story ultimately champions.
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