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Before long we had watched Frozen a second time, then a third. I could almost see the mental connections fusing, that weird human delight taking shape in the interplay between humiliation and amusement. We sat and watched the thing, and she surprised me, when the baddie did an embarrassing bad-guy dance, by gurgling out a laugh.

Photograph: courtesy of Disney Allstar Collection/Disney Walt Disney Animation Studios

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What could it hurt?Ī still from Frozen II, plus merchandise including soft toys and an Olaf backpack. We were days into a rained-off holiday in the countryside and the place had a DVD player plus a copy of the film.

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As it was, in the cab taking us home, the driver slapped on the radio, we got Fuck You by Cee-Lo Green, and that was that. The first piece of music her little ears would hear! I would play it as soon as we got her back from the hospital. Before my daughter was born, I had this idea it might be neat if I chose a pop song for her. We trick ourselves, any time we think we can curate a careful menu of things our kids will obsess over.

I went away intrigued, though not expecting to find out much more about Frozen for at least another 15 years, at which age my daughter, having been raised on a diet of leather-bound Dickens and Bunraku mime, would be allowed to watch her first Hollywood film. I was amazed at how much character was packed into one short, pert song how touching and unself-pitying it was. Anna, the fun sister, can’t wait: “Don’t know if I’m elated or gassy,” she sings, “but I’m somewhere in that zo-o-o-ne!” Elsa, secretly cursed with the power to shoot ice from her hands, is terrified: “Conceal! Don’t feel! Put on a sho-o-o-w!” In the song, the two sisters consider a glamorous upcoming ball from two perspectives. One of the tracks, For The First Time In Forever, caught my ear. This music, plainly, was as much a fixture of the home as the unliftable art books and nice rugs. When I arrived at his home he was running late, and I was parked in the kitchen with his children, who were playing the soundtrack on a loop. I had been sent to interview a footballer. My first exposure to the curious potency of Frozen’s soundtrack came that first summer after its release.

I hadn’t heard any of the songs which, people said, were wilier and more mischievous than the straighter, soapier, we’re-in-love-now ballads that defined Disney movies past. I didn’t know the specifics, nothing of the heroine-princess Elsa, her younger sister Anna, their gang of comic friends or their quest to save a frozen Scandinavian kingdom from ruin. In the tiny gaps between ninja nappy-wrapping and sprinting out on emergency Persil runs to the shops, I was vaguely aware of the arrival of a cultural phenomenon. I was the father of a new baby girl when the Frozen madness began, back in 2013. Though a sequel has been slow in coming – Frozen II is in cinemas later this month – it has been an absolute inevitability, ever since somebody, somewhere, bought the clinching ticket or disc and Frozen moved past The Lion King to become the most successful animated film of all time.

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And why not? Within weeks the movie had made more than $800m in worldwide bums-on-seats. At its premiere in 2013, Disney’s chief executive, Bob Iger, wept behind his 3D glasses. Andersen’s chilly fable, brightened for a modern audience with original songs and a narrative spin that put the relationship between two sisters at its core, was renamed Frozen. I f we go by Disney’s in-house lore, the idea of making a movie of Hans Christian Andersen’s The Snow Queen had been kicking around for more than 70 years by the time it was green-lit.