233 points
Well, maybe it's true that nobody likes Fantasia. But if that's the case, then we all, at least, hold a grudging respect for it. Regardless of how you feel about Fantasia, though, you have to admit, it stands the test of time as an incredible artistic achievement. As much as we might say this about all of the early Disney films, I find it
really hard to believe that this one came out in 1940. And, of course, it's considered by many historians to be one of the greatest films of all time, animated or otherwise.
I was thinking about ranking the seven short films contained within Fantasia, but it turns out, the chronological order in which they appear is pretty much in line with how cool they all are. Toccata and Fugue in D Minor starts things off, and it's a nice enough amuse-bouche (I guess, amuse-oreille, in this case), all abstract colours and shapes. It fires up the imagination. The Nutcracker Suite is pleasant and doesn't overstay its welcome. Then comes the Sorcerer's Apprentice, which is basically the proof of concept.
We don't need no stinkin' dialogue!, it says. Also the wizard's name is Yen Sid, and that's boss. From there, we're treated to quite a wide array, everything from the dinosaurs going extinct, to ballet dancing hippos, to adorable little baby unicorns. Then the grand finale, when a chilling vision of the devil
Chernabog summons a bunch of demons up a mountain, and the film closes with
Ave Maria. Like many of us, I'm sure, Fantasia was a real slog for me to get through as a kid, but watching it now, it's kind of astounding.
About the film, Rotten Tomatoes 'super reviewer' Christian C says, "This is a pretty boring film, and not an effective vehicle for getting kids interested in classical music. There's no coherent story. It's just not interesting." He gives it only two stars. Oh. Well then. Shows what I know.
Choice quote: "The symphony that Beethoven called the "Pastoral", his sixth, is one of the few pieces of music he ever wrote that tells something like a definite story. He was a great nature lover, and in this symphony, he paints a musical picture of a day in the country. Of course, the country that Beethoven described was the countryside with which he was familiar. But his music covers a much wider field than that, and so Walt Disney has given the "Pastoral Symphony" a mythological setting, and the setting is of Mount Olympus, the abode of the gods. And here, first of all, we meet a group of fabulous creatures of the field and forest: unicorns, fawns, Pegasus the flying horse and his entire family, the centaurs, those strange creatures that are half man and half horse, and their girlfriends, the centaurettes. Later on, we meet our old friend Bacchus, the god of wine, presiding over a bacchanal. The party is interrupted by a storm, and now we see Vulcan forging thunderbolts and handing them over to the king of all the gods, Zeus, who plays darts with them. As the storm clears, we see Iris, the goddess of the rainbow, and Apollo, driving his sun chariot across the sky. And then Morpheus, the god of sleep, covers everything with his cloak of night as Diana, using the new moon as a bow, shoots an arrow of fire that spangles the sky with stars." - Narrator