This sequel to Disney's
1940 classic, “Fantasia,” appeared in 1999. It's entirely fitting
that the original, breathtaking fusion of animation and classical
music should be updated with brand-new material and animation
techniques in time for the New Millennium. Here, for your reading
pleasure, is a blow-by-blow of each segment.
“Beethoven's Fifth
Symphony:” “Fantasia 2000” hits the ground running with this
energetic, well-directed piece. Its abstract visuals lead me to call
it “Butterflies vs. Bats”--scores of butterflies descend from
Heaven and do their thing. But trouble looms on the horizon when two
butterflies stray too far and end up in the World of Bats, which
emerge from the ground and injure one of them. The bats swarm toward
the butterflies, who repel the marauders with power and light from
above. Everyone returns to their respective homes...including our
injured “hero.”
“Pines of Rome,” by
Ottorino Respighi: This one is by far the weirdest one, even weirder
than “Beethoven's Fifth.” This absolutely beautiful piece
features a trio of flying whales—a mother, a father, and a baby.
Yes, you read that right. Flying. Whales. They start out in the sea,
and pick up enough momentum to reach the clouds and set off for
starry skies. It's dreamlike in its simplicity, grace, and utter
strangeness. I don't know what else to say except, “it's art.”
“Rhapsody in Blue,”
by George Gershwin: My favorite of all the pieces, this one combines
Gershwin's musical stylings with the caricatures of Al
Hirschfeld...it even goes as far as adding a few of Hirschfeld's
trademark “Ninas” (his daughter's name) into the lines. The
storyline follows the lives of several strangers—a down-and-out
man, an aspiring jazz drummer, a lonely little girl, and a henpecked
guy and his wife—as they go about their lives in Depression-era New
York City. I love that it gives us the details of the characters'
lives in just a few short, simple movements each—the Blue Man just
wants a job; the Drummer wants to quit construction work; the Girl
wants to have a day without being dragged from lesson to lesson and
just be with her parents; the Husband wants to be away from his rich,
domineering wife. The whole thing is structured like a Rube Goldberg
machine: through a series of amazing coincidences, everyone gets a
happy ending at the end.
“Piano Concerto No. 2
in F Major,” by Dmitri Shostakovich: This one sets Hans Christian
Andersen's “The Steadfast Tin Soldier” to music. Basically, a
Ballerina is in love with the one-legged Tin Soldier. Meanwhile an
incredibly creepy Jack-in-the-Box keeps coming after her. Jack gets
rid of the Tin Soldier for a while, but Tinny comes back, defeats the
foe, and gets the girl. I'm not entirely sure this one works all that
well. It is a good fusion of traditional and CG animation, yes,
but...it feels like a stumble, though a minor one. I can't explain
it—something about it seems “off.” I think I know why: it's a
little too old-hat. Nothing stands out to me as “ORIGINAL!” about
it. Maybe it's just me, but it just falls flat.
“The Carnival of the
Animals (Finale),” by Camille Saint-Saëns:
Now this is more like it! While the overall conceit is borrowed from
Helen Lester's “Tacky the Penguin,” the treatment is refreshing
and hilarious after the leaden “Steadfast Tin Soldier.” The
simple story follows a flock of graceful flamingos...and one clownish
flamingo, who just loves to play with his yo-yo and throw the others
off. The others get furious with him. They peck at him and finally
get rid of his yo-yo...but he comes back with a dozen more.
“The
Sorcerer's Apprentice,” by Paul Dukas: It's good to see a familiar
face once in a while, and that it's pretty much the way it was in
1940 is better still. Its grainy, cel dust-covered look and
watercolor aesthetic are a welcome contrast to the clean,
drawn-on-computer look of the 21st
Century. The story is pretty much as everyone remembers it: Mickey,
the apprentice, tries his master's magic book on a broomstick, and it
all goes downhill from there. It still holds up after all these
years...amazing.
“Pomp
and Circumstance,” by Edward Elgar: Finally, Donald Duck gets his
turn in the limelight as he takes the role of Noah's apprentice. He
ushers hordes of animals aboard the Ark and keeps missing his
girlfriend Daisy by a hair's breadth. It should be corny and stupid,
but no—by the end, the reunion of Donald and Daisy just melts the
heart. Loads of cute touches abound: the Elephants are Hathi and
Winifred from “The Jungle Book;” a pair of chameleons change
color while walking across a rock; dragons and a unicorn are seen to
not make it aboard (but two ostriches from the earlier “Fantasia”
do); and where only two rabbits climbed aboard, a flock of babies
accompanies them on dry land. Wonderful, wonderful!
“The
Firebird,” by Igor Stravinsky: This one does for “2000” what
Mussorgsky's “Night on Bald Mountain” did for the original. This
time, a curious naiad journeys into a volcano and accidentally
awakens the Chernabog-like Firebird, which lays waste to the forest.
Somehow, the Firebird is less frightening to my eyes than Chernabog,
but the wasteland it leaves behind is shattering to look at. So much
destruction; so much ash...but wait! The naiad emerges once more and
restores the beauty of the forest. Even that volcano gets a fresh
layer of green! (Knowledge of basic science makes it less
frightening: volcanic soil is extremely fertile.)
...So,
is “Fantasia 2000” a worthy supplement and successor to the
original? I'd say yes. Personally, I felt that some of the celebrity
introductions took me out of the moment—Steve Martin's in
particular—but its heart is in the right place. The orchestra set
nicely conveys a futuristic, 2000 theme without overdoing it, and it
does an awesome job of showing how far animation has come since 1940.
I feel as though I've posted this one already. Maybe yes; maybe no. If I have, please tell me. I think when I took the original pictures back in January, I wasn't happy with them. This retake, from late February/early March, is much better.
This fine pin, with a now slightly
yellowed enamel finish, bears Mickey Mouse reclining above stylized
icons representing Disney/MGM Studios, EPCOT, the Magic Kingdom, and
Animal Kingdom. The back of the pin features Disney World’s “2000”
logo (note subliminal Mickey Mouse shape), and reads
“Celebrate the Future Hand in Hand: Walt Disney World.”
March 24, 1999: Pop
princess Britney Spears sets out to conquer music. (Oh, how the mighty have fallen in the years since...)
Also: CNN's Y2K specials
March 24, 2000: Advocacy
Group: Poor children need to be counted in census
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