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Disney Review Part 4: Fantasia
🕑 Added 2022-03-13 02:32:38 +0000 UTCWalt Disney Review Part 4
Fantasia
By The Walt Disney Company
1940
INTRO:
The next selection topic is Disney’s Classic Fantasia (1940). The magical exploration of abstract and surreal animation accompanied by classical composed musical pieces, where blend of hand drawn animations and live-action footage mended together into a symphony of imagination where Walt Disney did not pull the stops. Such portrayals of orchestra visual musical performances: Toccata and Fugue, The Nutcracker, the Rite of Spring, and A Night on Bald Mountain. The powerful illustration this work of vision strikes where the iron is hot in this Disney Classic such as Mickey Mouse to the demonic presence of Chernabog, and films main antagonist. However, this film isn’t without few bumps in the road to carve its eventual mark on the cult Disney classic.
Part 1: The Fantasmal Historic Outlook
Released November 13th, 1940 Fantasia was released several months after the Pinocchio was released, unfortunately due to the inspired events of Disney writer strikes and World War II conflicts made both movies flop at the box office. Moreover, the conflicts due the European decline of fiscal investments and Walt Disney Company decline hit hard with two failures in the box office. Previously inspired by 1797 Peom written by Johann Wolfgang Von Goethe, to aspire The Sorcerers Appreciate then eventually fuel movie plot of Fantasia 1940. However, production and financial loss of both Pinocchio (1940) & Fantasia (1940), and the animators at the company begin a strike. They marched for better treatment, pay and for the unionization of the industry. The echoes of the reverberation affected the employees of Disney being at the mercy of Walt Disney himself, and around the time of the McCarthy Trials later proceed in the 1950s didn’t show mercy.
The creative attributes of Fantasia’s 1940 animator was Oskar Fischinger came to Walt Disney to propose a feature-length abstract animated movie set to classical music. The Fantasia’s true genesis is when German American artist and animator whom worked creative outlet of oil paints and illustrate interesting concept of designs and colors, shapes bounced across the screen accompanied by musical scores. Their contributions toward the design and work of the movie Fantasia opening number, ‘Toccata and Fugue,’ however due to creative differences Disney Studios eventually altered the aspect of the film of a different direction, instead of abstract and more realistic direction.
Part 2: The Review
Delving into the nitty-gritty of this Fantasia review of this 1940’s Disney Classic. Once again I find myself in the tough seat of personal fondness for the Fantasia. Between the illustrationsand classical musical scores, would peak anyone’s interest in this Disney film. Moreover, the animation and live action cinematography accompanied by solid foundation for example of quality musical score for its time. Spending my adolescence in a household sharing a fondness for musical attributes and mother whose musician herself, it doesn’t surprise me why Fantasia (1940) was brilliant film. Furthermore, Fantasia is more about enhancing the music with good illustrations, and its presence like a live stage venue really aspire emotions.
Toccata and Fugue – Johann Sebastian Bach
The cinematic opening of the films build up was Toccata and Fugue, which is best known for the association of story of Vamperica Tale of the cult classic Dracula. Moreover, the bold approach of using a Orchestra take on a musical piece supposedly on a pipe organ. The animated sequence of this segment is based heavily on Oskar Fischinger’s work, which we can see with the dots floating around or the large masses of moving lines. Fischinger had gone and storyboarded the whole sequence but left after creative differences, Disney then incorporated his ideas into the final animation. The animation for the film was top notch, and orchestra itself plays with a very energetic feel of the classical approach of the musicians. If there’s one thing Fantasia has going for it, it’s the use of color and the simulation of light. Parts of this segment are lit so wonderfully that you’d forget that this is all just ink on celluloid.
The Nutcracker (Dance of the Sugarplum fairy, Tea, Coffee, Dance of the Reed Flutes, Trepak, Waltz of the Flowers) - Pyotr Ilyich Tchaikovsky
The next phase of the Fantasia classic by Disney film was the Nutcracker sequences. The illustrations incorporated one of kind iconography and fairies. The attention of cinematography as well as details of shots of morning dew, as well as the incorporation of the effects of lighting and shading, as the sequences of Dance of the Sugar Plum Fairies moved gracefully in animation. Notable interactions of the dew left by the fairies on the mushrooms (Tea), to the concept of the movement of the Bubbles (Dance of the Reed Flues), while also encompassing underwater shots (Coffee). However, my major critique of the original Fantasia (1940) before the revision in the 1990s, as the original submission dated depictions of crude imageries of Chinese culture stereotypes or attire, such as straw hats or unnecessarily exaggerated hair styles in the very dated scenes, during the sequence of the Tea segment. Personally, I feel this segment of the Tea was unnecessary and wished the illustrations been incorporated more friendly approach that was culturally friendly.
The Sorcerers Apprentice - Paul Dukas
Though Nutcracker sequence was memorable and stands out in the film to a degree, but next sequence of ‘The Sorcerer’s Apprentice,’ by Paul Dukas, with a classic animation of the Fantasia (1940s) stood out with stop motion animation of Mickey Mouse and hat animation still used today. The most notable cinematic animation of this classic was the water effects and rippling effects, where makeup effect is administered in careful attention. The brilliant colors and imagery is allotted to this sequence.
The Rite of Spring - Igor Stravinsky
Delving into the next segment, it illustrates a concept of scientific big bang and process of the evolution. The Disney’s Fantasia has an interesting, yet inventive portrayal of phenomenal sea creatures residing in the ocean, and then bioluminescent attention of glowing, while smooth transitions propel sequence change using atmospheric montage. The representation of human evolution and historical lapse of society, with a compelling cloud of ink, as one exhibition was dinosaurs. The illustrations were spot on for the time for these representations, and personal favorite of my own sister in the family. The subjectcation of the sequence is T-Rex, as the attention of reflective light and use of shadow was brilliant, as the scenes press forward build a amazing base line as the interpretation of the final moments of the prehistoric segment of final chapter of dinosaurs start to final chapter. Disney studios even in 1940s honestly didn’t hold back punches in the film, or articulation of intense scene that grips you, as the story shows destruction and slowly dying prehistoric period.
The Pastoral (the 6th Symphony) - Ludwig Van Beethoven
The musical interpretations of a mystical interpretation of a Walk in a Park bound in a mythological setting, while accompanied by the musical score of ‘The Pastoral (the 6th Symphony)’ composed by Ludwig Van Beethoven. Being as classical music is a personal treasure to myself, the composition of this interpretation of ‘The Pastroral’ of Fantasia 1940 original was probably a favorite, minus the animation of the ‘The Sorcerer’s Apprentice’ and its musical score as a tough tie. Moreover, the imaginative concept of simple activity and bond it into a illusive concept of master piece, but unfortunately its not without its controversies by older classic Disney films presented including Original Fantasia 1940, which later after lawsuits and taking a harder look at Walt Disney interpretations to reel back the damage effected the African American Community through a bitter portrayal of a young woman of color as a donkey centaur. Similarly as previously mentioned earlier the dated depictions of crude imageries of Chinese culture stereotypes or attire, such as straw hats or unnecessarily exaggerated hair styles in the very dated scenes, during the sequence of the Tea segment. As this case of ‘The Pastroral’ sequence did similar notion, but instead this character is a small donkey centaur named Sunflower. Moreover, this character is still very racist depiction of a little black girl. Who is placed on a role of servitude polishing a brighter coated centaur’s hooves in servitude fashion, which was in my opinion unnecessary and crude in nature. Though the scene was eventually scrubbed away by Disney, compelling to give a honest review it is worth mentioning I don’t condone it nor approve of Disney’s maneuver to sweep the incident under the rugs on a sensitive issue. Personally, moral depictions of ‘Yester Years’ or ‘Different Time’ can fully exit stage center left, and find a short walk off a even shorter pier. Furthermore, personally like the segments in the Tea, could have gone with more gentle approach, while correctly portraying family friendly notion while being respectful. With that being established, Walt Disney Company shouldn’t be able to sweep this under the rug and never address the injustice. Systematically we must take new approach and like these reviews with notion of inspiring change for everyone, because, ‘All lives can’t matter until black lives matter.’ We as a new generation, a modern voice need to help give a voice to those who can’t, and put a foot down on immoral injustice and meditate on why these depictions of these matters are wrong to attack people of a minority. I’ll explain this more during my review of Song of the South.
The Dance of the Hours - Amilcare Ponchielli
Delving forward with ‘The Dance of the Hours,’ by Amilcare Ponchielli; my personal observation I always get sidetracked writing these reviews on categorization order in these synopsis reviews. Personally, though this synopsis should have been sandwiched between ‘Pastoral and the Night on the Bald Mountain,’ however though themes of review be similar in nature it’s the aesthetic appeal that gets me. The coordination of ballet moves and sequences own this part, and attention to hair and facial details makes this animation superior. However, considerable gripe for the film was the lack of attentive care of detail on few animals, such as the reptiles being horrific in the sequences as I felt the quality was subpar. The Ballet moves were very good choice in this sequence.
Night on Bald Mountain - Modest Petrovich Mussorgsky
The main attraction of the Fantasia 1940s Disney Classic comes full attraction, carrying both enlightenment of darkness and brilliant concept of creep factor by the use of lighting and shadows. The design for the Chernabog, a Slavik god was phenomenal, as well as the illumination and attention to detail of the colors in segments of the ghosts and even smoke effects. Moreover, scene is where Disney becomes daring in nature as the illustrations of some iron clad gumption to articulate spectral of taboo subjects such as Demons, ghosts, dancing women, satanic rituals, etc. The powerful alluring ballets of the music and play on the scenes illustration of darkness was next level and thoroughly enjoyed it fully. The only critique was the ending of the films climax.
Ave Maria - Franz Shubert
The least favorable spectator part of the Fantasia (1940) was the rise of the climax of the ‘Night on the Bald Mountain,’ and slowly interlude of ‘Ave Maria,’ with the whimpering on the ending seemed the bigger let off than the conclusion of Final Destination Ending. The imagery is ploy on religious fundamental targeting, and imagery static with lack of luster made the great scene just wilt like a dying flower in grammas vase on the kitchen table. Furthermore, though lack-luster cinematic destination of this scene has little to be expressed, with a slow ending to a good movie.
Part 3 Cultural Impact
All the magic in Disney’s enterprise couldn’t save the theatrical flop at the box office during the events of World War II, for all of Mickey’s power in his hat to take a impact to companies wallet directly. Still not a bad movie, and I am glad the insensative scenes were later removed in decades. However, though a few snags and cultural inappropriate imagery of the original Fantasia 1940s is present, however this film was a big impact for multiple households like mine as a kid. The music was phenomenal and though the ‘Ave Maria’ composition was a bit of a snooze fest it was a good movie with a less than tasteful ending. This movie scored an 8/10. The historical impact of the magical mouse in his wizard costumes is prevalent to endless entries, theme park attraction depictions it’s the magic of hope that the mouse can continue to drive itself in a pivoted direction of better outlooks in the future.
Comments
Tate Shaw
its like any piece of classical music, give it the right tone and it becomes scary
I will forever associate the Ave Maria segment with a rather creepy sounding "Silent Night" from a 1988 Sing-Along Songs tape. Dope drawing of Chernabog, too.
