The Pastoral Symphony segment suffers from being the most childish of
all the sequences. The humor suffers from too much slapstick. It is not
as innovative as in The Sorcerer's Apprentice or Dance of the Hours.
Furthermore, the animation is bland and not particularly memorable. Walt
Disney had originally intended for the centaurs to be much more wild
and beastlike, but concerns by the studio and censors ended these plans.
As a result, the centaurs are merely pretty. There are some good
moments, such as the storm scene, but this ends before it can become too
threatening. The segment is cute, but not much else.
6. Nutcracker Suite
This
second piece of Fantasia is extremely beautiful, but that is about all
there is to say about it. Scenes such as leaves falling, ice fairies,
and Russian flowers are beautiful to look at, but because there is no
story, they are ultimately forgettable. This number is gorgeous to look
at, but when one is done watching the film, it is hard to remember. This
is still better, however, than being geometrically animated and
forgettable, like the flamingo with a yo-yo in Fantasia 2000.
5. Toccata and Fugue in D Minor
This
opening piece is meant to represent what the audience imagines while
hearing a piece. At first the viewer can plainly see the instruments.
Then one can see images that could be perceived as instruments. Finally
the instruments disappear completely.
This is one of the reasons I
like Fantasia. This sequence does not have a story; rather it
introduces the audience to the concept of Fantasia, for example, when
the strings' moving bows become an abstract. The sequence does not
pander to children and put in a story, as Fantasia 2000 did with its
"abstract" number, Beethoven's Symphony No. 5. Yet the earlier opening
number has more educational interest because it introduces the
orchestra.
This sequence has beautiful animation and I admire the
ambition of it, but ultimately it lacks the emotional power of the final
four on the list.
4. The Sorcerer's Apprentice
This is
probably the most famous sequence from Fantasia, and justifiably so.
Making Mickey Mouse a sorcerer in the first place is funny. Then we see
how badly he botches his simple task of mopping the floor, and while
we're laughing, we also sympathize.
We've all probably messed up
some simple job, but not spectacularly as he does. The juxtaposition of
his fantasy of ruling the universe with the out of control flood
inspires sympathetic pity and anxiety, but also laughter at the
ridiculous grandiosity of his aspirations. When the brooms multiply so
dramatically, it's funny, but also terrifying because they are trying to
drown poor Mickey. Likewise, the sorcerer's return is frightening,
reassuring, and funny all at once. Mickey has been caught, and everyone
can identify with the fear that inspires. At the same time, he puts an
end to the madness Mickey started. And the ease with which he does so,
as well as the bop on the bottom he administers with the broom, is
comical.
While it is entertaining, however, this sequence does not
have the fast-paced humor of the next entry on this list or the
beautiful animation of the final two entries. It is excellent, but the
final three here are great.
3. Dance of the Hours
This is
arguably the high point of humor in Fantasia. The dance between the
hippo and the alligator is the ultimate anti-Ginger Rodgers and Fred
Astaire. While that pair personified grace, the hippo smushes the
alligator, who nevertheless retains his romantic drive and debonair
aplomb. The humor comes from the fact that both seem to think that they
are graceful. In fact all the animals seem to believe that they are
great dancers.
Though this sequence is highly amusing, the final
two on my list combine drama with masterful combinations of animation
and music that tell memorable and moving stories.
2. Night on Bald Mountain and Ave Maria
Night
on Bald Mounta
in is my favorite part of Fantasia. The animation,
showcasing the dead returning to the devil captures the insane evil
evoked by the music. Bela Lugosi modeled for the animation of the devil,
and his smile can be seen as the devil revels in torturing the souls in
his hands. There can be no mistaking who he is as soon as he emerges
from the mountain.
Why is this sequence on the number 2 spot then?
For one reason: Ave Maria comes after it. Ave Maria is nice, but it is
blandly, even sentimentally, good. The choral introduction and
accompaniment emphasize the goody-ness with syrupy, inappropriate
slides, and the personal, pleading quality of the prayer in the piece is
reduced when the choir soars over the high parts of the solo, implying
that heavenly balm will smooth over actual, human troubles. This is
replicated in the animation, which reduces people to faceless lights in
the beginning, then soars to saccharine heavenly vistas by the end.
Night
on Bald Mountain, as good as it is, has the major flaw of being
followed by an unmemorable number. But I believe that the final entry on
this list encapsulates everything good about Fantasia and has no flaws.
1. Rite of Spring
This
sequence manages to contain all the aspects that make Fantasia good. It
has powerful, abstract visuals, such as the opening lava storm. It also
has the same terrifying, raw almost primitive might as Night on Bald
Mountain. This time, however, it is not softened by a feel-good Ave
Maria choir; rather the dinosaurs just die. It does not explain why to
children, thus allowing them to draw their own conclusions. The films
Dinosaur, and more recently Walking with Dinosaurs, could have taken a
lesson from this sequence. One does not have to put in dialogue and
frame things as good versus evil for children to be interested.
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