Posted on

#191. The Anthology

The majority of film plots are created by stringing together scenes of dialogue or action to tell a story. These segments cannot stand on their own very well, and need the rest of the film’s context to be understood. But, what if a scene contains an entire plot? What if these segments are almost completely unrelated to each other? Sure, short films have been made that would fit the first description, but what if a film was comprised entirely of short films? These feature-length movies are known as “anthologies”. Often, the anthology film will have a common theme that will tie the independent segments together, but many times these films are just a way to get in as many gags as possible in the shortest amount of time. This week’s two films are anthologies, but are anthologies for two completely different reasons.

                                                     History of the World, Part 1History of the World, Part 1
Year: 1981
Rating: R
Length: 92 minutes / 1.53 hours

Sketch comedy is perhaps one of the most prolific users of the anthology structure. Most jokes don’t take more than a few minutes to set up and deliver a punchline. Furthermore, if these comedic segments are not really related to each other, the anthology is the best way to present them. One of the best examples of the comedic anthology is The Kentucky Fried Movie (1977), which is a series of unrelated comedy sketches. Of course, the comedy group best known for comedy sketches would be Monty Python. The film that best utilizes their skill for sketches, and is perhaps the closest approximation of a Flying Circus movie, would be The Meaning of Life (1983). This anthology follows a bit more of a structure, as it progresses through the stages of a person’s life, albeit not the same person.

Another structured anthology film would be that of History of the World, Part 1. While there’s not nearly the amount of character parallels like in Three Ages (1923) or character cross-linking like in Cloud Atlas (2012), the theme of this Mel Brooks comedy is that of history. As such, the anthology of sketches is arranged chronologically, starting near the beginning of civilization. From the creation of many ideas and products in the Stone Age, the next sketch highlights the events of the Old Testament. Even within these sketches, other sketches can reside. The logical transition for the film is then to a sketch about the Roman Empire, which pulls in some New Testament references. After a brief stop-over at the Spanish Inquisition for a big, musical number, the film concludes with the French Revolution, as well as a few previews of the unmade “Part 2”.

FantasiaFantasia
Year: 1940
Rating: G
Length: 125 minutes / 2.08 hours

One of the challenges of animation is continuity. Because characters must be drawn in the same way, and the animation must abide by the same style throughout a film, sometimes these movies would take an incredibly long time to create (obviously, before the heavy use of computers). One way to speed up production would be to have several animation teams working on shorter segments that were unrelated to each other. Furthermore, the music for a film is usually composed so that it carries a melodic theme throughout. However, if famous pieces of music are the structure of the film, it can be difficult to tie these different musical works together to a coherent narrative. Granted, if the pieces are all performed by the same person, like in Thirty Two Short Films About Glenn Gould (1993), the performer can be the theme of the anthology. However, Fantasia is not like that.

Anyone who is familiar with classical music will know that the animation of Warner Brothers and Walt Disney have ingrained certain musical pieces into our cultural fabric. Fantasia was meant as an ever-evolving film. New segments were meant to be inserted in subsequent re-releases, thus expanding the film’s anthology as time progressed and the animated sequences were completed. Unfortunately, only Fantasia 2000 stands as the sequel to this groundbreaking film. Still, Fantasia’s legacy is seen in how easy it is to recognize pieces like Toccata and Fugue in D Minor (Bach), the Nutcracker Suite (Tchaikovsky), The Sorcerer’s Apprentice (Dukas), Rite of Spring (Stravinsky), The Pastoral Symphony (Beethoven), Dance of the Hours (Ponchielli), Night on Bald Mountain (Mussorgsky), and Ave Maria (Schubert).

2 sum it up: 2 films, 2 awesome anthologies

Advertisements

One response to “#191. The Anthology

  1. Pingback: End of Act Four | Cinema Connections

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s