of you might have heard of an animated movie Fantasia which was
created by Walt Disney. This was the product that Disney wanted to
make this movie become an annual event which would be shown every
year. That was the original plan started by the Fantasia 1940.
However, Since the budget was short at the time, and also there were
not many theaters that were well-equipped. Therefore, this project
had to wait decades to actually have the 2nd one. As
everybody expected, this fantasia 2000 is fantastic and stunning.

2000 is not a movie for everybody. By that, I meant this movie is
hard to understand, it is quite boring because of the lack of actions
and dialogues, and it uses a different cinematic language to
communicate with the audience. Unlike, other animated movies that
Walt Disney has made, Fantasia 2000 is not for the vast majority of
children. I doubt that children would be sitting down for almost two
hours for a movie that mostly uses music to tell the story.
Furthermore, picture wide is not attractive to most people, and you
have to put together the music and the pictures in order to
understand the whole movie. Plus, the introductions at the beginning,
the middle of each scene, and the end are quite irrelevant. But
overall it did bring a little bit of joy to the audience. In term of
music, as Deems Taylor introduced in the film, there were three types
of music that would be played to define the story; or also known as
the programmatic music, to suggest images, and to make the movies
exist. Bach’s Toccata and Fugue
strongly focuses on form and style over the narrative. Historically,
this type of music, especially a fugue, might intimidate the audience
which Disney was trying to reach. It is an example of the type of
music which is popularly thought to require knowledge to be
understood. Pairing images with this piece certainly affect the
ability to be attentive to form, yet Disney and his production team
present a synesthetic performance of the piece through the addition
of colorful images. Fantasia 2000
contain seven pieces of great music, such as, Symphony No.5 ( first
movement) by Ludgwig van Beethoven, Pines of Rome by Ottorino
Respighi, Rhapsody in Blue by George Gershwin, Piano Concerto No.2,
Allegro, Opus 102 by Dmitri Shostakovich, the Carnival of the Animals
(Le Carnival des Animaux), Finale by Camille Saint-Saens, The
Sorcerer’s Apprentice by Paul Dukas, Pomp and Circumstance- Marches
1,2,3 and 4 by Edward Elgar, and Firebird Suite-1919 by Igor
Stravinsky. Symphony no 5. is a group of light triangles, which
represents butterflies, flying arround happily, until the dark
triangles, which represents the bats completely take over as the
light triangles try to run away, but the dark ones almost destroys
the light triangles. This idea was based on Pixote Hunt, one
depicting a battle of “good” multi-colored shapes against “evil”
dark ones and how the conflict resolves itself. The picture really
captures the essence of the song really well. Specifically, the fifth
symphony is remarkable in that compelling energy of the entire first
movement is derived from only a short opening motive of four notes.
Literally, every element is derived from this motive. Even the
“contrasting” second subject is built upon the melodic outlines
of the first bars and is accompanied by the motive itself. The
development section makes use not only of the motive as a whole, but
also of the individual parts. The rhythm alone drives the movement
relentlessly. After such an outburst, the ear and mind long for a
respite. Beethoven offers one by providing a simple second movement
consisting of two alternating themes in the unexpected key of A-flat
major. Even here, however, some of the first movement’s fury is
present, as evidenced by the fact that the second theme is hammered
out by trumpets and drums. Formally, the third movement is a scherzo
in a minor key.


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