Moana 2 Review: Disney's Polynesian Hero Repeats The Magic
In Moana 2, when Moana, Maui and their team is about to hit Nola the God in search of the hidden island Motufetu, the Demigod tells Moana “Go get ‘em Princess”. To which, Moana responds “still not a princess”. That is the advantage of Walt Disney Animation Studios’ Moana franchise. The movies, which had been planned as a TV series, is the story of a Polynesian hero who ventures out to make sure the life surrounding the ocean safe and protected from powers that could harm the people. Moana 2 is not as effective as the first edition of the franchise, but it is still able to carry forward the legacy of one such cartoon character who is not blonde or white, and not a princess.
The distinctiveness of Moana is what the character represents in the cartoon and animation movie world. The 2016 introduction of the character provided many young girls in the world a hope to see a hero who is common among them but not a princess. Unlike Disney’s other characters from Frozen – Elsa and Anna, or Barbie, another famous animation character, Moana, the titular character of Disney’s Moana (2016) and Moana (2024), stands apart as a heroine deeply rooted in Polynesian heritage. The music, the myths and the story in Moana is elevated based on this heritage.
Moana 2 takes up the same celebration of the traditions, mythology, and wayfinding legacy of Pacific Island cultures, offering a vibrant portrayal of a community often underrepresented in mainstream media. Moana’s design, featuring darker skin, wavy hair, and a strong, athletic build, challenges the traditional “princess” aesthetic.
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Like Moana, Moana 2’s narrative is one of self-discovery and leadership, free from the constraints of a romantic subplot, emphasising independence and the importance of reconnecting with her ancestral roots. It is not surprising that the positioning of Moana as “the human who got all the Gods talking” and also the “bravest and greatest wayfinder” is motivational to many, especially youngsters.
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There is a possibility that as it happened with Moana, Moana 2 will also face critiques for simplifying the diverse histories of thousands of Pacific Island peoples into a generalised pan-Pacific narrative.
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But, this Moana has a base to beat Barbie, as a cultural icon, representing a globalised and historically Eurocentric ideal with her original blonde, blue-eyed image has long symbolised Western beauty standards, and Elsa and Anna who are again white, blonde heroines whose appearances align with mainstream beauty standards, reinforcing the dominance of whiteness in animated storytelling. This is because, Moana’s portrayal challenges traditional beauty standards and provides a narrative steeped in cultural authenticity, while Barbie and Frozen focus on themes that, while universally appealing, prioritise marketability over cultural specificity.
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Moana 2 has the same ability of its first edition to inspire the viewer. Though at times the musical shifts its gear to a motivational speech made into an animated feature, overall presentation of the story helps it to float well in execution and potency to keep the viewer glued into the screen.
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Moana 2 has another advantage in the story telling. If Moana (2016) showed how the protagonist finds her destiny as a wayfinder and saviour of her people, Moana 2 gets more characters and plots to spread its wings. In this edition, Moana has a team along with Maui, and Kakamora, a tribe of savage coconut-like pirates, also joins her.
