Fantasia 1940

Fantasia begins with captivating live-action scenes showcasing members of an orchestra assembling against a stunning blue backdrop, as they tune their instruments amid a blend of light and shadow. The stage is graced by the master of ceremonies, Deems Taylor, who introduces the enchanting program. This unique musical experience unfolds through three distinct storytelling forms: one featuring clear narratives, another relying solely on vivid visuals, and a third offering an abstract musical journey that celebrates sound for its intrinsic beauty. The eight animation sequences are a feast for the eyes, bursting with color, and presenting a free-flowing, often surrealistic experience.

The first piece, Toccata and Fugue in D Minor by Johann Sebastian Bach, seamlessly transitions between live-action shots of the orchestra bathed in blue and gold, and stunning abstract visuals. Animated lines, shapes, and cloud formations dance in harmony with the music’s rhythm and melodies.

Next, we delve into The Nutcracker Suite by Pyotr Ilyich Tchaikovsky, where selections from the beloved ballet depict the transformation of the seasons—from summer through autumn and into winter. This segment features a delightful array of dance performances showcasing fairies, fish, flowers, mushrooms adorned in Chinese costumes, and vibrant autumn leaves. Notable dances include the enchanting “Dance of the Sugar Plum Fairy,” the lively “Chinese Dance,” the exotic “Arabian Dance,” the spirited “Russian Dance,” the graceful “Dance of the Flutes,” and the elegant “Waltz of the Flowers.”

The story continues with The Sorcerer’s Apprentice by Paul Dukas, inspired by Goethe’s 1797 poem “Der Zauberlehrling.” Here, we meet Mickey Mouse, the eager young apprentice of the wizard Yen Sid. Mickey attempts some magical tricks, but his lack of control leads to chaos. He brings a broom to life to fetch water, only to forget the spell that would halt the enchantment, resulting in a disastrous flood that engulfs the entire castle.

Next, Rite of Spring by Igor Stravinsky takes us on a visual journey through the planet’s origins, showcasing the formation of Earth and its first inhabitants. This sequence elegantly transitions through time, illustrating the reign and eventual extinction of dinosaurs, showcasing how these “terrible lizards” roamed the Earth for millions of years, only to vanish due to drought.

After a brief intermission, during which the Fantasia title card is introduced, a lively jam session of jazz music unfolds, led by an enthusiastic clarinetist as the orchestra musicians return. A light-hearted animation follows, demonstrating how sound is rendered on film, featuring a “sound track character” that morphs into various shapes and colors in response to the music.

Continuing with The Pastoral Symphony by Ludwig van Beethoven, we are swept away to a dreamy Greco-Roman landscape inhabited by colorful centaurs and “centaurettes,” cupids, fauns, and other mythological beings. A heartwarming Greek odyssey unfolds with baby Pegasus learning to fly, while the centaurs and centaurettes engage in playful flirtations. Zeus adds to the spectacle by hurling lightning bolts, while Apollo majestically rides his chariot, transitioning the day into night as the goddess Morpheus spreads her dark cloak across the sky.

The entertainment further escalates with Dance of the Hours by Amilcare Ponchielli, a whimsical ballet divided into four unique sections. It features Madame Upanova and her ostriches representing Morning, the charming Hyacinth Hippo and her entourage symbolizing Afternoon, the delightful Elephanchine with her bubble-blowing elephant troupe for Evening, and finally, Ben Ali Gator leading his alligators for Night. The vibrant ballet culminates in an energetic dance-off, even as crocodiles disrupt the performance, the other animals unite to reclaim the stage, resulting in a spectacular finale.

In the haunting conclusion, we experience Night on Bald Mountain by Modest Mussorgsky, where the sinister Chernabog awakens at midnight to summon twisted spirits and restless souls from their graves to dance atop Bald Mountain. As the spirits whirl through the night sky, they are ultimately driven away by the sound of an Angelus bell, signaling the arrival of dawn. This segment then transitions into the serene Ave Maria by Franz Schubert, depicting robed monks carrying torches through a forest towards the remnants of a cathedral, concluding this magnificent blend of music and animation with a sense of spiritual renewal.