Film Name: 魔发精灵 / Trolls
If DreamWorks Animation had previously engaged in much “uglifying,” this time they executed a brilliant commercial beautification for the “Ugly Dolls.” They linked the “Ugly Dolls” with rich colors and appearances, connected them to themes of joy, paired them with moving songs, and tied them to the boundless imagination sparked by flowing long hair.
The film’s most captivating moment comes when several elves transform into vibrant locks of hair, adorning a once-insecure, melancholic girl and infusing her with a newfound radiance. This scene moves not only the prince across from her but anyone in life who struggles with self-doubt, fear, or avoidance. This ordinary dishwasher girl embodies the simple aspirations of many ordinary people.
The film’s narrative stems from a tragic legend. It is said that the Bo’ken tribe can only find happiness by consuming the magic hair fairies. Thus, the towering Bo’ken tribe imprisons the diminutive fairies, confining their Tree of Life within a cage. This legend, seemingly meant to guide the Bo’ken tribe toward joy, is in fact a curse that seals their happiness away. Only when the closed cage shatters and the Tree of Life is reborn does their true happiness finally arrive.
The film states that happiness originates from within each person. In truth, the Tree of Life mirrors the human heart—only by opening one’s heart can one savor the joys of song, embrace, and dance. Without this openness, one becomes numb like the Bo-Kens wandering aimlessly through the streets, lifeless like the young prince despite his exalted position, or consumed by vengeance like the wicked chef. Even the colorless Troll, trapped in the abyss of his grandmother’s death, couldn’t open his heart to others. But when he finally opened his heart, spread his arms wide, and raised his voice in song, his life was once again filled with color.
In terms of plot, the first half of the film is relatively childish, while the latter half takes on a more adult tone. In the first half, the evil of the Bokun tribe contrasts sharply with the joy of the elves. After the elves find a new home, a lengthy period of song and dance unfolds, lacking conflict and serving purely as visual symbolism. However, once the elves return to the Bo-Ken tribe’s kingdom to rescue people and begin interacting with the tribe, the film takes on adult characteristics. Transactions emerge—you do this for me, and I’ll do that for you—and betrayal surfaces—an elf appears as a traitor, never finding redemption until the very end. The binary opposition is completely shattered: villains begin harboring good intentions, while heroes show signs of corruption.
This duality is a hallmark of many recent animations. They use childlike language to introduce the plot, gradually infusing it with adult themes. “Zootopia” follows this pattern: it begins with a child’s stage performance and the simple dream of a rabbit wanting to be a police officer. Yet once they enter Zootopia, it becomes a thoroughly adult world.
We also observed audience reception patterns during screenings: children were more engaged with the first half, while adults became more immersed in the latter part. Adults might feel slightly drowsy during the earlier scenes, while children might find the latter plot elements somewhat confusing. This family-friendly formula essentially blends two distinct groups—young children and adults—then has the younger group influence the older one. However, “Trolls” excels at this intergenerational celebration through its vibrant magical hair and rich musical score.
Additionally, as a relatively rare musical among DreamWorks animations, this film still manages to deliver a refreshingly delightful experience.
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