FANTASIA

US, 1940, 125 minutes, Colour.
Leopold Stokowski, conductor; Deems Taylor, narrator.
Directed by James Algar and Samuel Armstrong.

Fantasia was an animation breakthrough in 1940. During the 1930s Walt Disney had developed animation and had created the character of Mickey Mouse. His first feature was Snow White and the Seven Dwarfs and he went on to make Pinocchio, Bambi and Dumbo at this period. However, a lot of Disney creativity went into the creation of Fantasia. However, it was not as well received on its first release as in subsequent years. (A revamped version including some of the old material as well as some new material was released in 2000.)

The film is a blend of visual delight as well as the relationship of the images to the classical music. There is comedy with Mickey Mouse appearing in Dukas’ The Sorcerer’s Apprentice. There is also solemnity with Stravinsky’s Rite of Spring. Other music includes Bach’s Toccata and Fugue in D Minor, The Dance of the Hours by Ponchielli, Beethoven’s Pastoral Symphony. The culmination of the film is with Mussorgsky’s Night on Bald Mountain followed by Ave Maria.

The film is a visual delight – and shows the possibilities which were developed over the succeeding decades by animators in relating images to sound.

1. How do you account for the popularity of this film over the decades? Status as a Disney classic? A classic of animation, of musical entertainment for popular audiences? The appropriate combination of both?

2. The title and its implications and meaning? Fantasy? the role of the animation, the invitation to audiences to respond to music, light, colour, design?

3. The importance of the concert format? A frame of mind for audiences to accept the visualisation of music? The style of the introduction to the music, the orchestra tuning up? Taylor and his introduction and explanation - how appropriate? The role of Leopold Stokowski? The vivid impressions of colour? silhouettes? Even Mickey Mouse entering into the impact of the concert? How acceptable for audiences? To make them feel comfortable?

4. The importance of the explanation of the three kinds of music? Story music with plot and pictures? Secondly, music that was just pictures? abstract and pure music? How well were these types illustrated? Appropriately and in good taste? Did the images compare with the music or enhance it? purpose of visualising and its aid for appreciation?

5. The appropriate use of abstracts: movements, colours, patterns? What was the basic response to the sound? To the combination of both? Any insight into the nature of pure and abstract music?

6. The enjoyment of the Nutcracker Suite? As an illustration with the variety of pictures? Did some of them seem too cute or Disney-like? How appropriate for Tchaikovsky’s music? Comment on the varying styes of animation? How well they corresponded to the sounds? The romanticism? The realistic and imaginative style of the animation?

7. The Sorcerer's apprentice? An entertaining story with Mickey Mouse? how well animated, the importance of the moral? The sorcerer? The humour of the ambitions of the apprentice?

8. The Rite of Spring and pictures and abstract music? The images and evolution of creation? The insight into creation? evolution? The music corresponding to the images? The style used for communicating pre-historic movements and evolution?

9. How appropriate was the pretty images mythology for Beethoven's Pastoral Symphony? A popular work of Beethoven - with people having their own response? Did the visuals clash? Was the imagery too pretty? How well did it illustrate the tones of the music? Aspects of story?

10. Was the Dance of the Hours appropriately humorous? The music comic? Comic pictures, comic story? the use of animals and the way they were moving? The importance of the choreography for the music and the animation?

11. Was the Ave Maria and Night on Bald Mountain an appropriate climax for the film? The message of good and evil and their clash? The animation style for the visualising of evil: images of hell, the devil? The contrast of the pilgrims and the lights for the singing? Emotional impact of this presentation of good and evil?

12. The importance of the interval for the enjoyment of the film? For audiences to compare notes?

13. How appropriate was the interlude with the sound track? Illustrating the visual techniques? As a relief? Some kind of explanation of what was being seen In the whole film?

14. Comment on the success of this technical achievement for 1940. The success of the film and popular entertainment for all ages?