The triumph of light over darkness, goodness over evil. They nevertheless did succeed in creating a beautiful allegory of Level of emotional force as in the Night on Bald Mountain,
Unfortunately unable in the Ave Maria to achieve the same In this last sequence, while Disney’s animators were Prehistoric times ( Rite of Spring) even ChristianĬoncepts of sacred and profane, heaven and hell (the climactic Seasons ( Nutcracker) legend and mythology ( Sorcerer’sĪpprentice and Pastoral Symphony, respectively)
Thematically, the imagery in Fantasia is drawn from aįar-ranging array of conceptual fields: nature and the four Including show-stopping musical numbers, cute animal sidekicks, Market in general is so homogenized that it seems a daringĭeparture if someone even makes a feature-length cartoon without The modernĭisney machine is just too wedded to formula and convention toĪpproach the likes of Fantasia indeed, today’s animation Imaginative and conceptual force of the original makes most (notĪll) of the newer film seem uninspired and pedestrian.
(not all) of the original look dated and primitive but the The slickest effects in the new Fantasia may make most Underscore the visionary brilliance of the original masterpiece. Nod with the inclusion of the classic Sorcerer’sĪpprentice sequence in last year’s IMAX sequel FantasiaĢ000 - an uneven film whose mediocrity serves only to Reception although sixty years later Walt’s vision did receive a New sequences replacing old ones and perhaps old favoritesĪny such possibility died with the film’s initial chilly With a repertoire that would be regularly updated and rereleased, Not as a single static film, but as a "new form of entertainment" Originally, Walt Disney boldly conceived of Fantasia With a dancing animated "soundtrack," and perhaps musicologistĭeems Taylor’s introductions with their studied casualness. The film comes to a halt only for an unnecessary intermission Who accompany Schubert’s Ave Maria, are not without power. Minor, and the serene world of the candle-bearing pilgrims Stravinsky’s The Rite of Spring (quaint-looking whenĬompared with Dinosaur’s computer animation, but farĮven the abstract imagery of Bach’s Toccata and Fugue in D Or the great stegosaurus-vs-tyrannosaur battle of Or the majestic winged horsesĪnd flirting centaurs and centaurettes in Beethoven’s Pastoral The film as an adult and the joyously whirling tall-hattedĬossack thistles and swirling-skirted orchids in the "Russianĭance" are almost as memorable). One another, made an indelible impact on me the first time I saw With its solemn, broad-hatted coolie mushrooms bowing gravely to Nutcracker Suite (the "Chinese Dance" movement especially, Take theīrilliantly rendered dancing flowers and fairies of Tchaikovsky’s Striking images abound in almost every sequence. Inexplicable, almost indescribable antics of the tutu-wearingīallerina hippos and ostriches, as well as the benign elephantsĪnd leering alligators who attend them, in the Dance of the Presiding over a riot of cavorting ghouls. To stand in for the role so the artists could study him) Literally haunting Night on Bald Mountain with itsĮnormous bat-winged Bela-Lugosi demon (Disney actually got Lugosi Practically everyone knows something about Fantasia.īest known, of course, is the beloved Sorcerer’sĪpprentice sequence with Mickey Mouse and that unstoppableīucket-wielding broomstick: a cautionary fable about the dangers Its undeniably glorious, groundbreaking, visionary animation,įantasia has taken its place as one of the unquestionedĪll-time great animated films, indeed, one of the all-time great Imagery and ultimately hailed by virtually all film critics for Of classical music (as well as the "science" and "culture"Ĭonceits of the Rite of Spring sequence’s primeval historyĪnd the Pastoral’s use of Greco-Roman mythology) thenĮmbraced by the 1960s counterculture for its dreamlike, nonlinear High-minded educators and culture critics for its popularization Of whimsical spirit) but with the passage of time it has Released in 1940, Fantasia was a critical and popularįailure in its own day (Roger Ebert blames a war-related shortage
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His popular musical shorts: an only occasionally silly symphonyĬoncert experience an audiovisual union of the music of Bach andīeethoven, Tchaikovsky and Stravinsky, with a full range of thenĬutting-edge animation techniques and effects. Tackled an even more ambitious project, a natural extension of Proved once and for all that audiences were ready forįeature-length cartoon films. White, Disney’s groundbreaking animated fairy tale that Then came the critical and popular triumph of Snow
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