Another general weakness in the newer film is its aversion to “pure” imagery, to imagery without narrative. The original made a point of interpreting “pure music” like the opening piece, Bach’s “Toccata and Fugue,” with abstract imagery—shapes and masses of color and light. In other pieces, from the “Nutcracker Suite” to Beethoven’s “Pastoral Symphony” with its riot of classical mythology, there’s action to follow, but not necessarily a “story” as such.
Fantasia 2000 opens with a selection from Beethoven’s Fifth Symphony, but the abstract geometrical shapes quickly resolve into a quasi-narrative depicting colorful butterflies fleeing dark batlike pursuers. (The...READ MORE