Segments: "A Rustic Ballad," a story of feuding hillbillys; "A Tone Poem," a mood piece set on a blue bayou; "A Jazz Interlude," a bobby-soxer goes jitterbugging with her date at the malt shop; "A Ballad in Blue," dark room, rain and somber landscapes illustrate the loss of a lover; "A Musical Recitation," the story of Casey at the Bat; "Ballade Ballet," ballet dancers perform in silhouette; "A Fairy Tale with Music," Peter and the Wolf; "After You've Gone," four musical instruments chase through a surreal landscape; "A Love Story," about the romance between a fedora and a bonnet; "Opera Pathetique," the story of Willie, the Whale Who Wanted to Sing at the Met.Written by
Paul Penna <firstname.lastname@example.org>
There are various theories that Sergei Prokofiev created the original "Peter and the Wolf" (1936) as a political allegory. According to one of them, Peter is named after Peter the Great and represents Russia. The Wolf represents the enemy on the horizon, Nazi Germany and/or its Führer Adolf Hitler. The name "Adolf" means "noble wolf". See more »
[Willie impaled by a harpoon by Prof. Tetti-Tatti]
Now Willie will never sing at the met. But don't be too harsh on Tetti-Tatti; he just didn't understand. You see, Willie's singing was a miracle, and people aren't used to miracles.
[to Willie's seagull friend who mourns the whale's loss]
And you, faithful little friend, don't be too sad, because miracles never really die. And somewhere in wherever heaven is reserved for creatures of the deep, Willie is still singing, in a hundred ...
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In 2000 Disney cut the entire "Martins & Coys" sequence from the film due to the comic gunplay which they feared could be confused with reality by children. See more »
Chocolate-box potpourri of Disney-animated shorts became Walt Disney's eighth animated theatrical feature, one that plays like a middling excuse to allow the studio's animators to blow off some creative steam. Divvied up into separate musical suites (utilizing pop, jazz, Big Band, and the Russian classical piece "Peter and the Wolf"), "Make Mine Music" is musically of its time, featuring the talents of Benny Goodman, Dinah Shore, Nelson Eddy, etc. In that regard, it dates far worse than "Fantasia", and comes to a virtual halt in the middle of an overstretched slapstick baseball satire, but there are incidental pleasures. The popular "Peter and the Wolf" segment, which was later serialized on Disney's TV program and found a large following, is the only segment that feels fully thought-out (and has involving animation), while "The Whale Who Wanted To Sing At The Met" is an interesting idea (with beautiful flourishes) in search of a narrative (the hero actually ends up in Heaven...complete with angel's wings!). Followed by "Melody Time", which featured more storytelling and less abstract whimsy. ** from ****
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