These two competing forces are as strong as those that control the tide itself, as her dad demands that she remain on land, while Moana dreams of setting sail on a quest to return to its rightful owner the “heart of Te Fiti,” a carved, jade-like stone stolen years earlier by Maui. Much as “Moana” means “ocean” in Maori, effectively reinforcing the bond between the two, Miranda discovers a near-perfect rhyming connection between “daughter” and “water.” As if witnessing Buzz Aldrin stare out into space as a child, we’re afforded the opportunity to see an explorer make first contact with her destiny, and if there’s any doubt that this is something special, the film front-loads her story with two exceptional original songs: The first conveys her father’s play-it-safe mantra, “Where We Are,” while the other gives voice to Moana’s own horizon-challenging desires, “How Far I’ll Go” - both the result of an inspired collaboration between “Hamilton” composer-lyricist Lin-Manuel Miranda, longtime Disney music guru Mark Mancina, and Opetaia Foa’i, the lead singer of South Pacific fusion band Te Vaka.

It’s a magical moment, and one that endears us to both Moana and the ocean for the rest of the film. But the only force Moana answers to is the ocean itself, which behaves quite unexpectedly in an early scene, pulling back the water’s edge so that she can amble in over her head, peering at the sea life all around her as if staring into a giant aquarium. Sure, there are men in Moana’s life, big hulking men shaped like Samoan rugby players with egos of a similar size: Maui wants mortals to adore him, and Moana’s father enforces a rule that no one from their tribe is allowed to venture beyond the shallow reef that encircles their island, Motunui.

More than “Tangled,” more than “Frozen,” “Moana” keeps with the tradition that made Disney the leader in animated fairy and folk tales, and yet, showing a thoroughly modern touch, it’s the first to do so without so much as suggesting a love interest.

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