Fantasy Rhapsody - Fantasia 2000

Paris 2022-11-02 11:04:23

By reading novels with fluent writing, we can rely on the author's description to create our own imagination of the novel's environment, background and characters.

Movies visualize these words, and the director uses his own interpretation of the words to visualize the characters, stories, and scenes. Music is also a film language, which is usually used to express emotions, but when it becomes the subject and the main thread of thinking, the understanding and fantasy of pure emotional thinking will be able to play freely.

Disney's "Fantasia 2000" is a film that completely visualizes musical emotions. Traditional hand-drawn animation can freely express both abstract and real scenes. The most stylized of the seven chapters are The Sorcerer's Apprentice and Rhapsody in Blue.

"Fantasia 2000" should be said to be a renovation and remake of the classic "Fantasia" created by the old Walt Disney more than half a century ago. In addition to paying tribute to the form and style of "Fantasia", there is also a sense of its creative spirit. inherit. In terms of form, the seven accompanying animations of "Fantasia" are connected in series by Deems Taylor, who is a composer, music critic and writer. The introduction to the connotation of music and the animation story is more than that of college music appreciation. The class is more than fun. The in-depth interpretation method allows the audience who lacks the understanding of music to easily and concisely accept the musical ideas conveyed by the picture.

As a kind of inheritance, "Fantasia 2000" recruited James Levin, the music director of the Metropolitan Opera House, and the scene of shaking hands with Mickey Mouse is a classic scene of Leopard Stokowski shaking hands with Mickey Mouse in the 1940 version of "Fantasia" pay tribute. Compared with Deems Taylor in "Fantasia" where Deems Taylor explained each paragraph of music alone, "Fantasia 2000" has a strong commentary team including actors and musicians, in order to create stronger musical persuasion. Will" Steve Martin's commentary is particularly gracious.

"Rhapsody in Blue" by the American composer George Gershiwin is my favorite among the seven pieces of music in the film. The jazz style has a smooth rhythm and is integrated into the performance of symphony music to make it more classical and grand. Accompanied by the strong imagery of Jazz, it tells a passionate story of the struggle between thought and reality. "Rhapsody in Blue" is a song with a visual sense of expression. Following the vein of music, we can still generate rich plot imaginations without pictures.

The source of inspiration for "Fantasia", "The Sorcerer's Apprentice" has been faithfully inherited and reproduced in "Fantasia 2000". The popular, funny and interesting cartoon animation, accompanied by a melodious symphony, is itself a kind of popular and A wonderful combination of elegance. Compared with the previous work, the animation has a new restoration. Although it has not been reborn, it is still a gorgeous transformation.

The core of "Fantasia 2000" is still in music. Although "Fantasia" is in front, it is difficult to catch up with the classic status of the previous work, but it can still be called a wonderful audio-visual feast of painting and dubbing.

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Extended Reading

Fantasia 2000 quotes

  • James Earl Jones: [introducing the Carnival of the Animals] These drawing boards have been the birthplace of some of the most beloved animal characters of all time. So it's no surprise that they choose for our next segment, "The Carnival of the Animals" by Camille Saint-Saëns. Here the sensitive strains of impressionistic music combine with the subtle artistry of the animator to finally answer that age old question: "What is man's relationship to nature?"

    [is handed a piece of paper]

    James Earl Jones: Oh, sorry... That age old question: "What would happen if you gave a yo-yo to a flock of flamingos?"

    [turns to look off-camera]

    James Earl Jones: Who wrote this?

  • Mickey Mouse: Mr. Levine! Okay, Mr. Levine, everybody's in place for the next number.

    James Levine: Thanks, Mickey. When...

    Mickey Mouse: But we can't find Donald. So you stay here and stall for time, and I'll be right back.

    [Exits]

    Mickey Mouse: [Offstage] Donald! Oh Donald!

    James Levine: When we hear Sir Edward Elgar's "Pomp and Circumstance" we think of a graduation ceremony.

    Mickey Mouse: Donald, where are ya?

    James Levine: Actually, Elgar composed it for many kinds of solemn events.

    Mickey Mouse: Donald!

    James Levine: This march inspired the Disney artists to recreate the age old story...

    Mickey Mouse: Donald, are you hiding in...

    Daisy Duck: Aaaah!

    Mickey Mouse: Oh, sorry, Daisy!

    James Levine: ...of Noah's Ark, with one slight twist.

    Mickey Mouse: [Knocking on door] Oh, Donald Duck!

    Donald Duck: Who is it?

    [Mickey and Donald's shadows are projected against a panel; Donald is in the shower]

    Mickey Mouse: Donald, it's me, Mickey. You're on in 30 seconds, hurry.

    Donald Duck: What? You gotta be kidding! I'm not even dressed...

    [Mumbles angrily as he leaves the tub]

    Mickey Mouse: [Peeking behind a wall] Psst! Okay, Jim. He's on his way. Go to the intro.

    James Levine: Ladies and gentlemen, "Pomp and Circumstance," starring Donald Duck.