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Moana has two animal sidekicks, but they are framed in unconventional terms. Most obviously, Moana is populated by familiar elements that are pointedly dysfunctional. However, there is something intriguing in how Moana chooses to put these elements together. Any observer could make a very strong case that it is “of a kind” with the bulk of the animated canon from Cinderella to The Princess and the Frog.
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It contains virtually all of the requisite elements. Given that Moana is the central character in the film, it makes sense that the movie’s emphasis on her archetypal qualities plays into the idea that Moana is very much a stock Disney animated adventure. The musical numbers are infectious, to the point that the only thing the movie is missing is a true “villain” song in the style of “Be Prepared” or “Gaston.” Of course, depending on one’s reading of the film, “You’re Welcome” or “Shiny” might fit the bill. The animation is top notch, particularly during imaginatively choreographed action sequences. The movie has a lovely texture and dynamism to it, moving very quickly and energetically. The ocean stops just short of taking the form of a writer’s hand overtly guided the narrative to where it needs to go. The very ocean itself appears as an arbitrator that enforced the logic of the plot it provides Moana with her heroic journey and then directs her every step of the way. Maui dismissively refers to her as a “chosen one”, but the script is quite explicit. There is a physical barrier ( reef) that Moana must cross before she can begin her adventure. There is quite literally a cave of forgotten knowledge buried beneath the surface of Moana’s island. Indeed, Moana is remarkably explicit and candid about framing its narrative in symbolic terms. She is drawn into a gigantic adventure with colossal stakes that has a very archetypal quality to it. As the demi-god Maui teases, “Y ou wear a dress and have an animal sidekick, you’re a princess.” He might not have a constitutional case, but he clearly understands how Disney narratives work. However, while Moana might not actually be a princess, she very clearly serves as a princess in the narrative sense. Moana seems almost playful on the point, inviting debates about whether it might technically be described as a “princess” movie. Although her father still seems to govern the tribe, Moana is shown to make crucial decisions about the future and direction of her people. In fact, she goes out of her way to stress that she is actually a “chieftain’s daughter.” More to the point, the opening act of the film makes it clear that Moana is more than just the heir apparent to the kingdom. Of course, the central character of Moana is not technically a princess.