Fantasia

Sara: 0:07

Hello, and welcome to Mouse Ears and a Movie, a Disney animation conversation. I'm Sara Farrell Baker, joined by my cohost, Chrissy Woj.

Chrissy: 0:16

We are two grown women, avoiding responsibility and watching cartoons. Every episode, we will watch a different Disney or Pixar animated feature chosen at random from The Bucket. Then we will reconvene here to share our thoughts, some behind the scenes knowledge and probably make some weird noises.

Sara: 0:32

This week we watched the 1940 Walt Disney Productions animated feature film, Fantasia. It's a whole lot of classical music, a whole lot of transitional mini -lectures from a man in unforgiving lighting conditions, a whole lot of naked boobies and Sorcerer Mickey! Featuring special guest, Satan. To refresh our memories, here's Chrissy with the Fantasia Olaf recap treatment.

Chrissy: 0:54

It began with an assembling orchestra. Hidden by bad lighting, the emergence of a new form of entertainment. The animated concert film. Some parts, a definite story. Others, music that exists for its own sake. Shadows dance in the background. Colors changing. Bows dancing in the sky. Strings flying through the air. I bet this is really fun to watch when you're high. Then, the Nutcracker suite. Fairies and flowers So many naked fairies. Then the mushrooms, so many mushrooms. And sexy fish. And now flowers, dancing. But wait, it's weeds. At least the flowers still have the fall. The flowers are dead. Winter is here. A new song. Hey, that's Mickey. And some scary wizard. Mickey doesn't want to work, so he casts a spell. Well, then have a nap. The broom floods the spell room. The broom is dead. No, the broom is a Hydra. Whirlpool. Can't bail yourself out of this one, Mickey. Yen Sid returns. Uh, here's your hat, sir. I got these here buckets to do some work. Dirty looks abound. Back to the orchestra. Bells are falling everywhere. Have they no editorial team? Life begins on Earth. Dino DNA. Meteors crashed into us. The dinosaurs are dead. An intermission? Meet the soundtrack. Now, to Mount Olympus. Baby Pegasus, and centaurs, and Cupid's, oh my! Look at them sachet. Bacchanal festival. Wild Zeus. Ballerina zoo. Do do do do, do do do do. Chernabog scares me. Doo doo, doo doo doo doo. Evil flying everywhere. Ave Maria. The world is calm. The end.

Sara: 2:38

Hoo boy. is a whole lot of music.

Chrissy: 2:41

This is a whole lot of movie.

Sara: 2:42

It's a whole lot of boobies.

Chrissy: 2:43

It's a whole lot of, a lotta.

Sara: 2:45

Fresh out the gate. Beginning of this movie. My first thought is, this would not get greenlit today. There is no way any film executive says, Hey, I'm going to make a all music movie. It's not going to have any dialogue aside from this weird guy with a like kind of spotlight at him, but he has a lot of shadows. Just kind of talking about music to us."

Chrissy: 3:05

It reminds me of this brilliant idea I had in high school. My best friend and I, we were determined to be the next Matt Damon and Ben Affleck. One of our ideas, was a movie that we were going to call Dogs Running Through Fields. And it was just going to be a series of random ass shit. And the premise was that it was basically going to be a make-out movie. Like you go to the theater to watch this, to make out. I think that's what Fantasia was. Think of the boobies.

Sara: 3:31

Oh, and all the butts.

Chrissy: 3:33

So many butts.

Sara: 3:34

Alright. We're going to get to boobies and butts in a second. So we start off and we have a dude come out. This is Deems Taylor. He's our master of ceremonies along with this orchestra. The orchestra itself is put together by Leopold Stokowski. He is the conductor of the Philadelphia Orchestra at the time, has been for something like 20 years at this point. And he is basically the face of classical music in the 20th century. The reason this movie came about. So Disney had a series of shorts called Silly Symphonies, putting music to animation. And then, Mickey Mouse has kind of waned in popularity in the mid 1930s when they're starting to talk about this. And so Walt says, I want to make a Silly Symphony short, but I want to turn it into a huge movie. We want this to be like his comeback. And he has this vision of an expansion on Silly Symphonies with Mickey. And then he ends up meeting Leopold Stokowski in a restaurant. They get to talking. Walt tells him his idea about this classical music based movie, and Stokowski is all in. He is so excited. To the point where he is like, yes, I want to work with you on this. I'll do it for free. I will just do it. Let me do it. He is so serious about this, on his train ride a couple of weeks later, he sees one of Disney's friends or collaborators and says, "Hey. That thing that I talked with Walt about, please let him know, like for real, I will do this for free. I am so excited. I want to do this." He ends up doing it for like $5,000, But he gets to put together his own orchestra for this film. This is how it begins.

Chrissy: 5:03

I loved the Silly Symphonies. When I was a kid, I remember watching a bunch of them.

Sara: 5:07

Whenever Disney channel would play the old Disney cartoons, I was so into those.

Chrissy: 5:12

I was a big fan of The Skeleton Dance. Which was the first Silly Symphony.

Sara: 5:16

I watched that every Halloween with the Disney's Halloween Treat special.

Chrissy: 5:20

Same, girl. Same.

Sara: 5:22

I love that. Love.

Chrissy: 5:25

My fav. Okay. So this was the third Disney animated feature. After Snow White. After Bambi. Then we get this.

Sara: 5:32

Yup.

Chrissy: 5:33

What.

Sara: 5:33

What is right. To be fair, this is very early in feature film history. And extremely early in animated film history.

Chrissy: 5:42

It's just fascinating to me that they did Snow White, then they did Bambi. Then this comes along and they're like, we're going to reinvent the whole animated feature. And I was like, wait, but you still haven't even like mastered the animated feature.

Sara: 5:54

At the time, Fantasia, did not make a ton of money. And that is because the world is in the middle of World War II. And that killed the ability to have overseas or international distribution for the movie. But they actually decided to make it into like a traveling road show in the beginning. You know how you go and sometimes orchestras will do like a movie night and they'll play all the soundtrack to like Jurassic Park while you watch the movie?

Chrissy: 6:18

Yes. I love those.

Sara: 6:19

That was how Fantasia was initially released. And then after it was rereleased, it eventually went on to become the 23rd highest grossing movie of all time, adjusted for inflation. Pretty amazing for a movie, this kind of almost avant garde. It also featured, they created what they called, fantasound. It is the first theater sound in stereo and is the precursor to what we now know as surround sound. As strange and weird and kind of off the cuff Fantasia seems, it is a significant part of film history and animated film history. The AFI ranked it as the 58th greatest American film in their 100 Years 100 Movies, and the fifth greatest animated film in their top 10 list. It was selected for preservation in the United States National Film Registry by the Library of Congress as being culturally, historically or aesthetically significant.

Chrissy: 7:11

And even like, after it had its, run in the early forties, it came back and found a new audience in the sixties.

Sara: 7:18

You don't say.

Chrissy: 7:19

I wonder how that came about.

Sara: 7:21

Seriously, the second I turn this movie on. I'm just like, oh, It'd be nice to be stoned right now.

Chrissy: 7:26

If I weren't pregnant.

Sara: 7:27

Which surprise audience.

Chrissy: 7:29

I don't think we've said it on here at all.

Sara: 7:31

Oh my God. So Chrissy, tell us, what is coming up on the Chrissy side.

Chrissy: 7:35

We gonna have a little baby mouse here.

Sara: 7:37

We're so excited.

Chrissy: 7:39

Lil dude's coming to town By the time this airs who knows he could be here.

Sara: 7:43

Oh, good Lord. He's so soon.

Chrissy: 7:45

Oh, my God.

Sara: 7:46

All the congratulations. You're going to have the cutest little Disney baby in the whole world.

Chrissy: 7:50

So let's talk about this movie. We start out and we've got this orchestra assembling. They're getting set up. They're not even ready yet. They're all walking in. In this like shadow lighting, that's just. Awkward to me. If you're going to feature the orchestra, feature the orchestra. Show these people.

Sara: 8:09

I agree. I would like to see kind of what all goes into this. And I feel like we lost some of the scope of the size of the orchestra that goes into a production like this.

Chrissy: 8:16

I mean, when you're watching an orchestra live, you see them I'll walk in and yes, the light goes dark and you mostly see the shadows eventually when the music starts playing, but you see them walk in. So we are introduced to this whole concept and they tell us that there are three types of music that we'll see in this concert film. And there's the music that tells a definite story. There's the music that paints a series of definite pictures. But has no plot. And then there's music that exists simply for its own sake.

Sara: 8:46

And we begin with music that exists simply for its own sake. I'm going to bastardize the pronunciation of this piece, unless you know it.

Chrissy: 8:54

It's Toccata and Fugue, in D minor by Johann Sebastian Bach. I actually really love this piece. But the animation behind, it just seems. Weird to me. Was it animation for animation sake or for music sake? It didn't fit with what I would have pictured for the music.

Sara: 9:13

I think that even if you've got music for music sake, you can animate it in a way that, maybe it wouldn't tell a story. But would still have some kind of, I don't know, wouldn't just be lines and wavy things. I get the point. I get the idea of, you know, we're going to show you music. We're going to show you how sound works. We're going to show you what's happening is going to get more abstract. But I really think this is the main reason why this found an audience in the 1960s. And in my living room on a dark Thursday night.

Chrissy: 9:41

After our Bach piece, we move into the Nutcracker Suite by Tchaikovsky, which. Fan favorite.

Sara: 9:48

It's such a great collection of pieces of music. It's gorgeous. It's something that, most of us recognize immediately. Zero nutcrackers in this one. And I dug it.

Chrissy: 9:58

I didn't necessarily need nutcrackers, but it just seemed like... eh.

Sara: 10:02

It was a neat way to reimagine this music that we're only used to hearing at Christmas time in this very specific show. We're used to Sugarplum fairies dancing bears and toys everywhere and like a big, scary rat and stuff. This is just showing us the seasons changing.

Chrissy: 10:20

Which I actually really do like that. I liked that the seasons change. But I wish that they spent a little more time on fall and winter because it's like here is spring, forever and ever, and ever, and then an endless summer. And then fall and winter, and then we're done. I'm in the middle of an endless winter over here in Chicago. So it does not track.

Sara: 10:38

I love the winter part at the end with the ice dancing fairies and how, when they're dancing across the ice, it's leaving these little frost, snowflake things around, and, oh my goodness. But good Lord. There's a whole lot of fairy boobs and butts.

Chrissy: 10:50

In the very beginning, we've got this fairy that climbs inside a flower and all you see is her butt. Bouncing. Naked fairies everywhere. No boys.

Sara: 11:00

Just boobies.

Chrissy: 11:00

Then we get to these crazy dancing mushrooms. I don't like the dancing mushrooms.

Sara: 11:05

I think the dancing mushrooms are the reason-- well, they're definitely part of the reason where we're getting that

Chrissy: 11:09

Disclaimer at the beginning.

Sara: 11:10

I appreciate the Disney disclaimer at the beginning about the cultural insensitivities in these older films. I appreciate that you can not fast forward.

Chrissy: 11:19

15 seconds.

Sara: 11:20

I like that they count it down. "Listen. We're going to let you get to this in a minute. But just think about how we were big, old pieces of shit for like 15 seconds, please."

Chrissy: 11:29

Then we get into like some spinning dancing Bellflowers, which they look really pretty and fun.

Sara: 11:35

My son August made a really astute observation. He goes, those look really similar to the dancing napkins in Be Our Guest.

Chrissy: 11:42

Oh, damn.

Sara: 11:44

I said, yes, you are correct.

Chrissy: 11:45

Way to go August. Is that okay if his name is in there?

Sara: 11:49

Yes. And he will be so excited because he is obsessed with the show. Obsessed.

Chrissy: 11:54

Then we got some sugar plum fairies, more fairies.

Sara: 11:57

During this part he goes, what is up with all the boobs? Why are there no wieners?" So. that's my child. Then we get down to the underwater with the sessy fish.

Chrissy: 12:10

The fish are so sultry and like all this makeup.

Sara: 12:14

They got the kissy fishy lips. We already got like butts bouncing out of flowers. So I don't feel like this is too much of a stretch.

Chrissy: 12:20

That's valid.

Sara: 12:22

I did love the hazy pastels of the ocean scenes. It made it look a little less polished and that makes the flowiness of underwater movement a little more realistic.

Chrissy: 12:31

That's true. And then we've jumped out of the water and we've got the Russian dancing flowers.

Sara: 12:36

Loved it. I Love this piece of music. I love that they're doing that little, down in a squat kick, kick, kick, down in a squat, kick, kick, kick. I love that dance.

Chrissy: 12:43

They're not even just like flower flower. Some of them are like weed flowers. I don't think weeds are bad. I like weeds. They're just local flora.

Sara: 12:51

So then we go into fall and the fairies are changing the leaves. I could have used more fall. I think you're right. We had a whole lot of spring and summer, and then, boop. Leaves are changing. And then boop. It's snowing.

Chrissy: 13:02

There should be more fun, wintery. Make it seem a little bit more charming than it actually is. After the Nutcracker ends, we get to our pièce de résistance. The one that everyone remembers. The Sorcerer's apprentice.

Sara: 13:15

This is a 2000 year old story.

Chrissy: 13:17

No shit.

Sara: 13:17

It's a real old. It is our first look at Sorcerer Mickey. He is animated much differently than we had seen Mickey previous to this. Before this we had the Steamboat Willie iteration of Mickey, where he's very round and bouncy and his face is much more pointy. For this debut we get a newly animated, newly designed Mickey from Fred Moore. And it allows for more expressive facial features and more freedom for his bodily movement. And he's like, I'm just going to point and get a broom to do my work for me.

Chrissy: 13:48

He's doing all this lazy stuff because his master, Yen Sid-- Disney spelled backwards-- puts him in charge and leaves and says, do your work. And Mickey's like, Ooh, he left his fancy magic hat. I'm gonna put that on. I'm going to do little spelly spell. And he gets this broom to do his job. He prances away to do whatever it is that lazy Mickey does. Sits in his chair. Feet kicked up on the table, takes a little nappy. But when he wakes up from his nap, the broom has totally flooded the place.

Sara: 14:18

Just filled buckets and buckets of water.

Chrissy: 14:20

And he can't remember the spell to undo his original spell. So, what does he do?

Sara: 14:26

He murders that broom.

Chrissy: 14:27

Mickey the ax murderer.

Sara: 14:29

This is violent as hell.

Chrissy: 14:30

And then the broom is bashed into a million little pieces, which all Hydra into a million little brooms with a million buckets.

Sara: 14:38

Not great.

Chrissy: 14:39

Mickey screwed.

Sara: 14:40

Very much.

Chrissy: 14:41

flooding abounds. Whirlpool, he's got the book. Things are getting crazy. Yen Sid shows up and he's like, What the heck did you do, man? Mickey looks at him all ashamed and is like, Here's your hat. Sorry."

Sara: 14:56

Daddy Yen Sid fixes it all.

Chrissy: 14:58

Thank goodness for that.

Sara: 14:59

So this ended up being three to four times the budget of any other Silly Symphony. And they had hoped that Fantasia itself will be a series of films and that they would be centered around stories like this. But that did not come to be.

Chrissy: 15:10

So then we move on from Fantasia's Sorcerer Mickey to the Rite of Spring by Igor Stravinsky. And this is another weird one.

Sara: 15:20

I don't remember this one existing. I feel like I'd seen a lot of these. And maybe I'd seen this film when I was a kid, but I do not remember this Rite of spring part.

Chrissy: 15:28

I don't like it.

Sara: 15:29

It's upsetting. This is around Earth's beginnings. We see the cosmos swirling around. Organisms starting to organism. And this leads to the dinosaur age. We've got dinosaurs roaming the earth, doing their thing. And the T-Rex comes and it's trying to chump up everybody. That fight is upsetting. And my whole thoughts for the rest of this piece are just like, oh God, that's stegosaurus is being eaten alive. Oh, no, there's no water. The dinosaurs are all going to die of thirst. Oh, God. Now they're all dying in quicksand or tar. I don't know what it is. And oh God. Now they're all dying of exhaustion.

Chrissy: 16:04

And then they die, and that's the end of The Rite of Spring, which just doesn't feel right. And then we get a 15 minute intermission? I guess it was a little long for people to sit through two hour movie. Don't drink any water while you're watching End Game.

Sara: 16:16

In this intermission we're introduced to soundtrack, which is just another line that is waving along with music.

Chrissy: 16:23

The 15 minute intermission is not actually 15 minutes when you're watching it on Disney Plus. So pretty shortly thereafter, we get The Pastoral Symphony by Ludwig Van Beethoven. We got the little baby Pegasuses.

Sara: 16:35

BB unicorns,

Chrissy: 16:37

little fawns. And they're swimming and they're so precious.

Sara: 16:41

The little Pegasuses. Pegasi? Pigasuse? I don't know. They are swimming like ducks.

Chrissy: 16:46

And then we start seeing the lady centaurs. The centaurettes.

Sara: 16:50

So many boobs.

Chrissy: 16:52

They're all colorful and there's little cherubs helping them get ready.

Sara: 16:56

And then we get so you don't see this part in the Disney Plus version. It's been cut out. On YouTube, you can find kind of a side by side that shows you the censored version with the uncensored version. There used to be a centaurette named Sunflower, who is a black centaurette with very stereotypical features performing subservient tasks.

Chrissy: 17:15

She has two sisters. They were shorter. They were more donkey- like than the centaurettes, which were taller and more graceful. The features were actually drawn in kind of a black face style. I learned about a bunch of this from a friend on Instagram who does Disney bounding, Kiersten from @kierstens_korner. And it was really eyeopening to learn that this existed.

Sara: 17:35

Sunflower was cut from the film in 1969. So when you see Fantasia on Disney Plus, she's either cropped out or just erased completely.

Chrissy: 17:44

There are a lot of people who actually think it should still be in there because it shows the history. There's two different schools of thought. If we are pulling this out, we're whitewashing and trying to hide our bad parts of history. And then there's the other part that's like, that so shouldn't fucking be in there. Then after we've got the centaurettes and the centaurs getting ready and meeting and mating, we move on to the Bacchus festival.

Sara: 18:10

It's time to stomp some grapes. Getting stuff ready for the God of wine.

Chrissy: 18:14

Bacchus rolls in, on his very short, little donkey.

Sara: 18:18

It's a little unidonk. It's got a little horn. I don't like Bacchus.

Chrissy: 18:21

He amuses me.

Sara: 18:23

He seems like somebody's gross, handsy uncle.

Chrissy: 18:25

A little bit. All of a sudden storms start coming in and we've got some nasty looking rain clouds.

Sara: 18:32

'Cause I'm not the only one that does not like Bacchus

Chrissy: 18:34

Zeus is not a fan of Baucus

Sara: 18:37

He's pissed.

Chrissy: 18:38

He's doing some like weird, smiling, like a super happy, but everybody is terrified of him and he starts throwing lightning bolts down.

Sara: 18:47

Smiting the shit out of this wine festival. Vulcan is forging his lightning bolts. Zeus is grabbing them, tossing them down. Looking very happy about it.

Chrissy: 18:56

Until. Zeus gets little sleepy and it's time for a little naparoo.

Sara: 19:00

He get seepies.

Chrissy: 19:01

Then we get a little rainbow goddess.

Sara: 19:03

And Bacchus just starts drinking rainbow water and I mean, cool.

Chrissy: 19:08

And then there's the sun god that shows up and it's like, oh, look, the sun is back.

Sara: 19:12

And then the night goddess. Oh, look, the sun is gone.

Chrissy: 19:14

And then it's over.

Sara: 19:15

Then we are taken into Dance of the Hours by Ponchielli.

Chrissy: 19:20

I like this one.

Sara: 19:21

This is one of the most iconic. Fantasia things.

Chrissy: 19:24

It starts out with the ostriches. Apparently the main Astros has a name. Madam Upanova.

Sara: 19:31

I don't know where they got these names from.

Chrissy: 19:32

Do-do- do-do do-do do-do. Do do do, do. Doo doo doo.

Sara: 19:37

This song always reminds me of Looney tunes. Fun little crossover here. There is a Bugs Bunny cartoon where he's conducting an orchestra and his hair is very distinct and it is because he is supposed to look like Leopold Stokowski.

Chrissy: 19:51

I always think of hello muddah, hello faddah.

Sara: 19:55

Here I am at Camp Granada. I loved how And I know that it's. Made to look this way, but the ostrich wings are so fluffy and it reminds me of in ballet where they'll all like, get in that circle with the big fluffy fan looking things. It looks so pretty. That attention to detail. They have that detail because the animators consulted with trained ballet dancers to make the movement and the stage and the lighting. All of that stuff accurate to an actual ballet, which is really good. I kept thinking man, if an ostrich could do ballet, like that's exactly how the ostrich would move.

Chrissy: 20:27

It blows my mind that this is one of the earliest movies that they did.

Sara: 20:32

Disney understood the assignment.

Chrissy: 20:34

As they normally do.

Sara: 20:35

Throughout the dance of the hours, we've got the different segments representing time moving throughout the day. And so our opening sequence is supposed to represent dawn.

Chrissy: 20:44

I so didn't notice any of that.

Sara: 20:46

I mostly noticed it when I was looking at the Wikipedia page for this movie. Were you as bothered as I was by, like, the ostriches are so pretty. They're so poised and polished and ballet like, and then they've got those weird little prickly ostrich hair things on the back of their head.

Chrissy: 21:02

I was actually more bothered the how clunky the hippos were.

Sara: 21:06

The hippo you were referring to is Hyacinth Hippo and her servants. They are the light of new day.

Chrissy: 21:12

And She needs a fainting couch.

Sara: 21:14

Yes, she does. She is our star.

Chrissy: 21:17

And then elephant scene or Elephanchine.

Sara: 21:20

Her bubble blowing elephant troop.

Chrissy: 21:22

I like them.

Sara: 21:23

They are the evening. But they also got the prickles. They got the weird little hair prickles.

Chrissy: 21:27

I mean, I get little hair prickles too. Like I've got some right here.

Sara: 21:30

I got them too, but I would hope that if somebody animated me, they would not prickle me.

Chrissy: 21:33

It gives character.

Sara: 21:34

It took me out of how realistic this safari ballet was.

Chrissy: 21:38

And then we get an alligator.

Sara: 21:39

Ben Allie. Gator.

Chrissy: 21:42

And a whole gaggle of alligators. What is the group of alligators called?

Sara: 21:47

I don't know what the official name is. They refer to this as the troop of alligators and they are the night.

Chrissy: 21:52

A group of alligators is referred to as a congregation.

Sara: 21:55

That is fancy.

Chrissy: 21:57

I learned something new today.

Sara: 21:59

That sounds like too fancy for big chompy dinosaurs that you find in Florida.

Chrissy: 22:04

Then we, we get into Night On Bald Mountain, by Mussorgsky? Mussorgsky?

Sara: 22:10

Mussorgsky? Yup. Something like that. There's a whole lot of consonants right in a row.

Chrissy: 22:15

And we got us some Chernabog.

Sara: 22:17

This segment opens up.

Chrissy: 22:19

Doo do. Doo doo doo doo.

Sara: 22:25

Do do.

Chrissy: 22:27

Very haunted house scary. Amazing.

Sara: 22:32

I think I fast forwarded through this on Disney's Halloween Treats every year.

Chrissy: 22:36

What?

Sara: 22:37

This is the thing. It zooms in on a mountain. And you're like, okay, creepy mountain. Fine. And then all of a sudden you're like, "That's no mountain, that's Satan!"

Chrissy: 22:45

It's Chernabog!

Sara: 22:46

Yeah, I was not into it.

Chrissy: 22:47

He's scary as shit. He and Maleficent are right up there as like the scariest Disney creatures ever.

Sara: 22:53

Oh, absolutely. I know this is the first time that I've seen this all the way through. I liked it. It's just creepy. There's a noose in this. That's real fun for a children's movie.

Chrissy: 23:02

I don't think I caught the noose.

Sara: 23:04

When the ghosts are like coming out of the ground, quite a few of them float through a noose.

Chrissy: 23:09

And then more boobs.

Sara: 23:10

Boobs with nipples. Zero wieners. Zero wieners. Chernabog is naked as hell. We don't even see Satan's penis and I'm annoyed. I am annoyed at the absolute lack of male anything in this movie.

Chrissy: 23:25

They could at least have some Ken dolls.

Sara: 23:27

Give me a bulge. If you're going to give me minions of Satan with nipples, then you can give me a wiener or two.

Chrissy: 23:34

We don't ask for much.

Sara: 23:36

Just a couple of little wieners.

Chrissy: 23:37

Then we kind of start transitioning to ghosts, go back to being dead.

Sara: 23:42

The dead things are dead.

Chrissy: 23:44

The day starts coming and we hear the Ave, Maria.

Sara: 23:48

And some church bells.

Chrissy: 23:49

Which is the only song where we hear actual words.

Sara: 23:52

Oh, I didn't realize that.

Chrissy: 23:54

Yeah, they are actually singing Ave Maria.

Sara: 23:56

Are monks. They are monks going to some cathedral ruins.

Chrissy: 24:01

And then morning comes.

Sara: 24:03

I have to say number one. the monks with their torches.

Chrissy: 24:07

Yes.

Sara: 24:07

Looks like boobs on a stick.

Chrissy: 24:08

I think you're pushing a little too far.

Sara: 24:10

I'm not because they were in pairs. They look like boobs on a stick. I will die on this hill. I will die on this Bald Mountain. Boobs on sticks.

Chrissy: 24:19

Oh shit.

Sara: 24:20

Told you.

Chrissy: 24:21

They have nipples.

Sara: 24:22

I told you.

Chrissy: 24:24

But they're not all in pairs. I mean, they are in the very beginning, but then they all separate into single file.

Sara: 24:29

My boobs separate into single file eventually. Time is cruel. Gravity is her bitch mistress.

Chrissy: 24:35

The only thing that got a little weird for me. This is very much like a specific weird. Because they're doing the Ave Maria. My mom used to do her rosaries while watching it on TV and there were like a couple of different endings and one of them they did the Ave Maria at the end.

Sara: 24:51

Well. Ave Maria kicked the crap out of Satan. He went back to his mountain.

Chrissy: 24:55

That was Fantasia.

Sara: 24:57

I thought it would cut to like a, closing.

Chrissy: 24:59

A thank you. Or like the orchestra stands and bows.

Sara: 25:03

Something from Deems Taylor.

Chrissy: 25:05

Not a one.

Sara: 25:06

Interesting about Deems Taylor, the master of ceremonies. His original audio tracks have been lost or they've deteriorated over time. Corey Burton has been brought in to record audio dubbing. So there are chunks of this that are not Deems Taylor. What did you think, Chrissy? How're we feeling about all this?

Chrissy: 25:22

I wish I got high. I wish I got high. wish I got high.

Sara: 25:27

Seriously, I didn't want to partake in any substances because I was trying to work. And take notes and remember things. However. Me and a gummy have a date with this movie one day. All right. This is Disney's longest running animated feature. It comes in around two hours and six minutes. It didn't feel as long to me. like I feel like the little segments kind of broke it up nicely, even though some of them went a little long for me.

Chrissy: 25:53

I would agree. At the beginning, I was like, oh shoot, this is two hours. I thought it was way shorter. It kind of flu.

Sara: 25:59

Yeah. Like I said before, I think I remember seeing it when I was a kid and not being super stoked on it. Being kind of bored. But it was pretty good. It's pretty fun. I guess that's it for Fantasia. We would love to hear your thoughts on this innovative collection of Bach, Beethoven, Tchaikovsky, and zero naked dingalings. So send us an email at mouseearsandamovie@gmail.com or find us on social media and yell at us there.

Chrissy: 26:23

It's time to find out what our next movie is going to be. I've got The

Sara: 26:27

The Bucket.

Chrissy: 26:28

And it is filled with the names of Disney and Pixar animated feature. Every episode, we will choose a new movie out of the bucket. And our next movie is.

Sara: 26:37

my goodness.

Chrissy: 26:39

Bolt. I don't think I've ever seen this.

Sara: 26:42

I saw it in the theater.

Chrissy: 26:44

Oh, you fancy.

Sara: 26:45

No, Get ready. We're coming for you, Miley Cyrus.

Chrissy: 26:48

Miley Cyrus's in this.

Sara: 26:49

And Bruce Willis, if memory serves me, correctly.

Chrissy: 26:53

All right. I'm excited. I don't care what you have to say.

Sara: 26:55

I think it's Bruce Willis.

Chrissy: 26:56

I'm lying. I do care.

Sara: 26:58

Or maybe it's John Travolta. It's someone. It is some man. Who was famous in the nineties and is in the later stages of his career, when this comes out,

Chrissy: 27:06

I'm here for it.

Sara: 27:07

That's the end of our show guys. I'm Sara Farrell Baker, and you can find me across social media @SaraFarrellBaker. where can we find you on the internet?

Chrissy: 27:17

You can find me on Instagram @quirkychrissy and Twitter @quirky_chrissy. Follow along with us next time when we'll be discussing Bolt. Until then you can find us online at mouseearsandamovie.com, on Instagram and TikTok @mouseearsandamovie and Twitter @mouseearmovies.

Sara: 27:33

See you real soon.