Fantasia 1940 123movies

Watch: Fantasia 1940 123movies, Full Movie Online – Disney animators set pictures to Western classical music as Leopold Stokowski conducts the Philadelphia Orchestra. “The Sorcerer’s Apprentice” features Mickey Mouse as an aspiring magician who oversteps his limits. “The Rite of Spring” tells the story of evolution, from single-celled animals to the death of the dinosaurs. “Dance of the Hours” is a comic ballet performed by ostriches, hippos, elephants, and alligators. “Night on Bald Mountain” and “Ave Maria” set the forces of darkness and light against each other as a devilish revel is interrupted by the coming of a new day..
Plot: Walt Disney’s timeless masterpiece is an extravaganza of sight and sound! See the music come to life, hear the pictures burst into song and experience the excitement that is Fantasia over and over again.
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Ratings:

	7.7/10 Votes: 97,231
	95% | RottenTomatoes
	96/100 | MetaCritic
	N/A Votes: 2601 Popularity: 34.364 | TMDB

Reviews:

5 stars ⭐️⭐️⭐️⭐️⭐️

My personal icon for classical music and the source of famed 20th Century conductor Leopold Stokowski being my idol due to his shadowy leading image!!!

Where to start with this wonderfully evocative interpretation of seven timeless pieces of classical music that accompany perhaps not Disney’s most detailed, but still wonderful animations. It is essentially a series of short stories – each as different from the other as you can imagine. I think that’s the most important principle when enjoying this – you must use your imagination. The representations try, with varying degrees of success, to put more defined, ambiguous and occasionally abstract imagery alongside the music – some with humour (frequently using animals, birds, insects etc.) through to far more sinister and challenging imagery, that at times reminded me of something Fritz Lang might have produced in the 1920s. It is a little too episodically presented – and the intermission needlessly robs it of flow but as a colourful introduction to classical music it takes some beating. (Mickey Mouse as the Sorcerer’s Apprentice was my favourite!)

The secret of Walt Disney: we saw him as the ultimate Sorcerer, he saw himself as the eternal Apprentice…
After “Snow White”, who could ever underestimate animation? The new art form was definitely there to stay, embarking with bold confidence in the VIP wagon of Hollywood and promising to throne over the box-office for the decades to come. To think that it all started with a mouse!

And Walt Disney movies all pay tribute to that aspect of his success, that the simplest things can lead to the most extraordinary achievements, all it takes is to believe in… or to wish upon a star. “Fantasia” is also an allegory of Disney’s miraculous triumphs, an extraordinary achievement that also started with a mouse, THE mouse actually.

After years of declining popularity, it was time for Mickey to make a glorious come-back in a ‘Silly Symphonies’ cartoon, one of Oscar-caliber fitting his legacy. It was “The Sorcerer’s Apprentice” adapted from Goethe’s story of the same name. Today, the vision of Mickey enchanting the broom, making it fetch the water with Paul Lukas’ playful tune and the dream sequence over the cliff, where he controls stars, comets, waves and the whole universe, are some of the most iconic moments of Disney’s canon and American film-making history. And unconscious or not, there was something self-referential in that short.

Indeed, Disney was like Mickey during the dream, he could make anything possible with that magical hat called a ‘vision’, and like Mickey realizing the mayhem caused by the hundreds of brooms flooding the whole place, he saw the budget leak the short could have caused and things going easily out of control if he didn’t decide to enlarge the scope and ambitions of the project. Instead of a short masterpiece, how about one big masterpiece made of little ones? So he made “Fantasia”, an animated anthology, made of eight unforgettable segments set up to classical music pieces, each one having as much to say about music as they have about life.

From the enchanting ‘Dance of the Plum Fairy’ with Tchaikovsky’s ‘Nutcracker’ and the adorable ‘China dance’ with the mushrooms, to the horrifying Mussgorsky’s ‘Night on a Bald Mountain’ and penetrating Schubert’s ‘Ave Maria’, from the poetic to the droll, the antique to the modern, Disney took the world to a journey of such an unprecedented narrative it couldn’t match the usual seventy minute-format. The two-hour run-time, long even by today’s standards, says something about his urge to reach the mature age of animation. “Snow White” and “Pinocchio” were landmarks but the general perception of animation as an entertainment for children was a barrier to cross. “Fantasia” did it, showing with frames whatever classical music communicated with notes.

It is perhaps the greatest tribute to the power of music ever made in animation, an odyssey in the universal and timeless meaning of the word that can be easily compared to Stanley Kubrick’s “2001”. And watching the silhouette of the conductor Leopold Stokowski during the “Toccata and Fugue in D Minor” by Johann Sebastian Bach has the same impact than the ‘Zarathustra’ opening, an ominous moment of religious intensity, and with a point: music doesn’t set the tone, doesn’t get us in the mood, it IS the mood, the tone, the focal point. The purpose of the opening sequence, as explained by the Master of Ceremonies Deems Taylor (who lets us see the Philadelphia orchestra play the instruments) was to acknowledge music’s self-sufficient value and not take it for granted. And the film starts with abstract moving forms in gold and blue moving in harmony with the music.

We “visualize” the sound if that was ever possible. But who said anything was impossible with Disney? In the intermission; Taylor even introduces music as a character! And rightfully so because music also happens to be the storyteller, or a narrator helping us to appreciate our cultural heritage. With Stravinsky’s “Rite of Spring”, we follow the reign and then the extinction of dinosaurs, what a long way since Gertie in 1914! T-Rex penetrated children’s imagination, three generations before Spielberg. Beethoven “Pastoral Symphony” is a recollection of little Greek vignettes with fauns, angels and oddly sensual centaurettes. And Ponchielli’s catchy “Dance of the Hour”s with the hippos, alligators and ostriches is the perfect little interlude before the nightmarish climax and its quiet and peaceful ending, whose religious undertones might make up for the use of evolutionist elements.

Without being controversial “Fantasia” did break a few grounds of censorship, venturing into themes hardly explored by movies such as details of female anatomy or depictions of Satan. Maybe Disney was too ahead of his time and some critics judged the film a bit too pretentious, too uneven, which can be argued since some parts are definitely standout masterpieces while the “Dance of the Hours” is of ‘Silly Symphonies’ level, but the point is that Disney, like I said before, was the sorcerer’s apprentice whose delusions of grandeur were reflected by Mickey’s dream, he wanted to push the edge of the envelope and experiment the newest framing and stereophonic sounds. Maybe what the film says is that any director must be a sorcerer’s apprentice.

And there is something in the criticism faced by “Fantasia” that reminds of “2001” with people praising Mickey’s part like they acknowledge Hal 9000 was the best thing about the film, as if they were afraid to admit they were bored a little. But how many movies owed their ticket to posterity because of some ‘boring’ parts? Geniuses doesn’t just have visions of art, they challenges the viewers’ own visions.

During the poignant handshake between the two silhouettes of Stokowski and Mickey, like a torch-passing moment between the past and the future, don’t get it wrong, there’s a third man out there, it’s Disney, he’s the voice and the Maestro, the one who conducted our eyes, our ears and our hearts to the infinite limits of imagination… and beyond. His secret: we all saw him as the Sorcerer, but he saw himself as the eternal apprentice.

Other Information:

Original Language en
Runtime 2 hr 5 min (125 min), 2 hr 4 min (124 min) (2000 roadshow restoration) (USA), 1 hr 20 min (80 min) (1942 cut) (USA), 2 hr (120 min) (1991 VHS release) (USA), 1 hr 55 min (115 min) (1946 cut) (USA)
Budget 2280000
Revenue 76411819
Status Released
Rated G
Genre Animation, Family, Fantasy
Director James Algar, Samuel Armstrong, Ford Beebe Jr.
Writer Joe Grant, Dick Huemer, Lee Blair
Actors Leopold Stokowski, Deems Taylor, The Philadelphia Orchestra
Country United States
Awards 8 wins & 1 nomination
Production Company N/A
Website N/A

Technical Information:

Sound Mix 3 Channel Stereo (RCA Sound System) (as Fantasound)
Aspect Ratio 1.37 : 1
Camera Bell & Howell 2709 (animated sequences), Technicolor Three-Strip Camera (live action sequences)
Laboratory Technicolor, Hollywood (CA), USA (color)
Film Length 7,360 m
Negative Format 35 mm (2D animated sequences), 35 mm (Three-Strip Technicolor) (live action scenes)
Cinematographic Process Technicolor (live-action scenes), Spherical (animated scenes), SuperScope (1956 re-release)
Printed Film Format 35 mm