Holding Out for an Ogre: An Appreciation for Shrek 2's Delivery of One of the Most Suspenseful Sequences in Animated History

There are a handful of sequels in film history that may be viewed as superior to their predecessors. You may prefer watching the rise and gradual fall of the Corleone Empire in The Godfather Part II, you may feel more of a connection to Luke Skywalker's plight in The Empire Strikes Back, or maybe you're a die-hard lover of the Nice T-800 in T2: Judgement Day. As these titles show, it is more than possible for a sequel to potentially surpass its phenomenal first-parter if the stars align and talented individuals are on board.

Another key example in this debate is the 2004 sequel to the film that made Smash Mouth happen, Shrek 2—a film that contains a perfect amount of laugh-out-loud instances and intensely emotional moments.

There are plenty of aspects about the film I could gush about—the depiction of the relationship between Shrek (Mike Myers) and Fiona (Cameron Diaz), the introduction of the adorably fierce Puss In Boots (Antonio Banderas), or Pinocchio's choice of undergarments, just to name a few. What I'm here to praise is the climatic sequence former British PM David Cameron included in his Top 5 Films Of All Time.

The stakes are high.

A vital component of any good thriller is ensuring that there are real stakes involved for our protagonists. The climax of Shrek 2 poses the possibility of our beloved Fiona kissing the weasely Prince Charming (Rupert Everett) (and falling in love with him forever because implied consumption of love potion) under the guise of him being her one true love, Shrek, but in a douchey human form. Although Fiona notices various personality disparities in "Prince Shrek," she ultimately must set those doubts aside for the good of not only herself, but her family.

With the pressures placed on Fiona from her parents, Fairy Godmother, and vitriolic society, the idea that she will kiss and subsequently fall in love with Charming is not entirely implausible. As the music progresses and the tension continuously builds, we hold our breath with every beat, wondering whether Charming's lips will be able to woo their way onto Fiona's.

The pacing is done right.

The technical aspects of the sequence are executed flawlessly. As the stakes are already present, the filmmakers had the responsibility of delivering heart-pumping action while also striving to showcase the more intimate elements of the scene. When depicting any form of a chase on screen, particularly when it is so action-heavy, a film runs the risk of it becoming too emotionally stagnant or unbearably bombastic to the point where it becomes white noise. If the scene is paced effectively by featuring occasional moments of brief pauses, the viewer is given the fleeting chance to relish in the adrenaline-inducing moments of the past few minutes while anticipating what is to come next.

There are two moments that I believe perfectly encapsulate the idea of allowing the viewer to breathe while also maintaining a sense of urgency:

• When Fiona rejects Charming's attempted kiss by using a rose (3:17).
• Puss In Boots's iconic method of distraction (4:14).

Following the mutilation/death of the revered Giant Gingerbread Man, Mongo, which allowed Shrek to infiltrate the castle, Fiona's rejection comes after numerous attempts are made by Charming to achieve the kiss. This brief, intimate instance further illustrates Fiona's hesitation while the audience is actively aware and dreading the idea that the kiss is imminent with every passionate note the Fairy Godmother hits.

Puss In Boots's patented sad-eye-distraction is the second brief instance that highlights not only his invaluable tool during combat, it also provides a crucial assist for Shrek against the enemy knights. This momentary pause offers the audience a much-needed "aw" during the various simultaneous conflicts and ever-present threat of Shrek failing to arrive at the dance before it's too late.

Every moment builds on its well-established foundation, ultimately translating to a remarkably tense atmosphere that has an effective amount of impact and momentum leading up to the sequence's riveting finale. Filmmakers strive to have an active audience watching their works, and those involved in Shrek 2 masterfully achieved it with this sequence.

The music is incorporated perfectly with the action.

As the sequence progresses, you can truly hear the desperation in Fairy Godmother's pleas of anticipating a hero to "sweep [her] off [her] feet." The audience feels as anxious as they do because of the effective pacing and stakes that have been established.

Setting aside the adoration I have for Jennifer Saunders's gorgeous rendition of Bonnie Tyler's 1984 hit "Holding Out For A Hero," the action set pieces involving Shrek and crew is interspersed beautifully with Fiona/Charming's dance of impending doom. The further Shrek advances, the more impassioned Fairy Godmother becomes, as the kiss will most likely occur when her solo finishes, which ultimately heightens the tension of the sequence and suspense that the viewer has been feeling thus far.

The Fairy Godmother is a formidable opponent.

Lest we forget the other side of this equation, the Fairy Godmother herself. FG is undoubtedly the antagonist of the film and we, of course, want to see Fiona and Shrek end up together with their happily ever after...but I can't help but feel for her. Her son, who she loves more than life itself, was promised the daughter of King Herald and Queen Lillian in exchange for Herald's happy ending. When ogre Fiona showed up to Far, Far, Away with her ogre husband, FG had every right to be absolutely furious for this broken oath. While the means in which she carries out this injustice is wrong and it certainly isn't Fiona's fault for enduring a decision made by her parents on her behalf, FG's feelings toward them are justified.

The most compelling fictional antagonists have understandable motivations and possess some semblance of a threat against the protagonist, whether it be in a physical capacity or striving to ruin them emotionally. While I may not agree with her methods, FG has every right to seek vengeance against those who wronged her or her loved ones... Loved one, really. Her son.

For those familiar with Game Of Thrones, particularly that of the first three seasons, you'd know the tale of Walder Frey and the promise Robb Stark made to marry one of the Frey daughters or granddaughters in exchange for aligning with them against the Lannisters and crossing the bridge at the Twins.

SPOILER ALERT. Robb's broken oath didn't result in a happily ever after with his doting wife, it resulted in the graphically brutal death of himself, his bannermen, his mother, his wife, Talisa, and his unborn child. That's most likely what happens when you break an oath and then show up to the place wherein said oath was broken.

It truly is a spectacular sequence in an equally stellar film.

Despite my adoration for the Fairy Godmother character, I wanted to see her fail so that Shrek and Fiona could prevail. While there are tons of other films that feature excitable moments of action and heart (Reservoir Dogs's "Stuck In The Middle With You" sequence certainly comes to mind), the first one that usually pops into my mind is "I Need A Hero" from Shrek 2. The numerous components that make up this sequence are executed flawlessly and I truly never tire from re-watching it.

I'd like to turn your attention to the wild world of Twitter and shine a light on those who share a similar fondness for this fantastic sequence. These users manage to accurately sum up the feelings of many utilizing 280 characters or less.

A Fan Who Enjoys A Proper Action/Music Combo

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