Back in May, my brother graduated from college. When I peeked out the
door that morning to see how the weather was shaping up, storm clouds
loomed ominously, making Pomp and Circumstance from Fantasia 2000
feel doubly appropriate for the day. Not only is the song instantly
associated with graduations, but in Disney’s 38th animated feature, it
serves as the backdrop to a quirky riff on the story of Noah’s Ark, and
we seemed to be in for a similar soaker. I’m not sure what happened to
those rainclouds; by the time we got to the ceremony, the weather was
gorgeous. Still, I’ve had that Disney segment rolling around in my head
ever since, so I was happy to rewatch Fantasia 2000 recently.
When Walt Disney first conceived of Fantasia,
which became the company’s third animated feature film, he intended to
revive it periodically, retaining some segments and inserting new ones.
That concept died after the rather unconventional movie using animation
as a means of exploring classical music failed to prove as popular as
he’d hoped, but six decades later, a sequel finally hit theaters. All
new material except for the iconic Sorcerer’s Apprentice, the
movie also features introductions by several celebrities and glimpses of
the Chicago Symphony Orchestra, which performed the music. Some of the
presenters, particularly Steve Martin and magical act Penn and Teller,
are comical, while others, like Quincy Jones and Angela Lansbury, give
more serious introductions. Bette Midler’s is perhaps the most
educational of the intros, while James Earl Jones’ thwarted dignity in
his amuses me, as does Mickey Mouse’s panicked conversation with
conductor James Levine.
As with the original, some segments
stand out more than others, but each has a distinct style and tells a
compelling story without the need for dialogue. The Sorcerer’s Apprentice
remains just as engaging all these years later as Mickey, apprenticed
to glowering wizard Yen Sid, seizes his chance to try on his boss’s
magical hat and calamity, mostly involving multiplying, marching brooms
carrying buckets of water, ensues. Exciting and entertaining with a
built-in lesson on the dangers of meddling in complex matters without
permission or assistance. Meanwhile, Pomp and Circumstance
becomes a showcase for Donald and Daisy Duck as these two lovebirds sail
on Noah’s Ark, each unaware that the other has survived the flood until
they reunite at last once the boat strikes land. The familiarity of the
song, the sweetness of their relationship and the humor involved with
having so many different types of animals contained in one place makes
this a standout segment, starting with the glorious animation of the Lion King-like summons that draws the creatures to the ark.
Carnival of the Animals
does not have the diversity of animals one might expect from the name,
but it is a delightful romp involving a serious, well-coordinated flock
of flamingoes troubled by a prankster with a yoyo. One of the shortest
and funniest segments, it shows the havoc a yoyo would wreak amidst a
flock of these otherwise elegant birds. Instead of birds, butterflies
and bats are the subject of the abstract short set to Beethoven’s Symphony No. 5.
Colorful and stylized, it does not feature any distinct characters but
weaves a joyful tale nonetheless. This first segment makes a nice match
for the final segment, Stravinsky’s Firebird Suite, as they both involve the tug of war between light and dark, creation and destruction. In Firebird,
a vile volcano sends magma rampaging through a tranquil wilderness as
an elk and a gentle wood sprite watch in horror. This segment reminded
me quite a bit of the forest fire portion of Bambi, and it is probably the darkest part of the movie, though the scenes of restoration are quite lovely.
Another harrowing tale is Hans Christian Andersen’s The Steadfast Tin Soldier, set to Shostakovich’s Piano Concerto No . 2 in F Major-I.
I was familiar with this story as a child but always found it terribly
depressing; Disney gives it a much more conventional happy ending. One
of the most strictly narrative of the segments, it features a plucky toy
soldier, a beautiful toy doll and a hideous jack-in-the-box that would
give just about any kid nightmares. Gershwin’s Rhapsody in Blue
has a bit of a down tone to it, filled as it is with hard-luck cases
wandering the streets in economic despair; after all, this is the
Depression. The characters have a very interesting look to them, all one
flat color or another, a reflection of the cartoons of Al Hirschfeld, a
contemporary of Gershwin. Despite the air of disappointment and
agitation hanging over New York City throughout much of the segment,
there is also life and excitement, which we largely see from the
perspective of one zesty character who is entirely too confident in his
ability not to fall off of scaffolding. Ultimately a very fun piece.
My hands-down favorite, however, is The Pines of Rome,
composed by Ottorino Respighi. In this mystical short, a family of
humpback whales traverses the arctic by air rather than sea – though
they never venture far from the water until the gloriously animated
finale. The little whale who hasn’t quite mastered the newly acquired
gift of flight prompts some laughter with his clumsy movements, but
generally this segment feels solemn, with a beauty that almost brings
tears to the eyes, particularly when the family joins with the larger
pod. The short begins in disaster, yet there is the sense that these
majestic creatures are moving toward something greater. Truly epic.
I’m not exactly an aficionado when it comes to symphonic music. I think
I’d only heard about half of these songs in other settings, and as much
as I enjoy them in this context, I haven’t sought the others out
elsewhere. Still, it wouldn’t surprise me at all if some of those for
whom Fantasia 2000 serves as an introduction to this type of
music ended up immersing themselves in classical music. A triumph of art
and silent storytelling, this is also a movie that can serve as a
powerful introduction to some of the most notable composers of the last
few centuries. Here’s hoping it won’t take another 60 years to see the
next one.
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