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Prima ancora che Walt Disney realizzasse che per l’animazione di progetti corposi quali i lungometraggi e prima
che i suoi Studio fossero all’apice della popolarità, vi fu il periodo delle Silly Symphonies. Iniziate nel
1929, le Silly Symphonies furono semplici corti di animazione, basati sulla musica e spesso privi di ogni dialogo. I
primi furono in bianco e nero e di durata compresa tra i 5 e i 7 minuti. Esse erano concepite come una palestra di
allenamento e di gioiosa sperimentazione per creare infiniti modi di raccontare una storia. Sicuramente i primi esempi
possono risultare un po’ infantili e naif, per i nostri standard, ma sono pezzi di valore nella storia
dell’animazione. Le Symphonies furono un fulmine a ciel sereno nel settore dell’animazione, che si
assicurarono il favore del pubblico grazie ad un grande “sense of humor” che Disney coltivava in modo
speciale e mai banale. I primi lavori sono di importanza capitale per i fan ed appassionati, ma non solo tanto che molti
di essi sono impressi nel profondo della nostra memoria visiva, pur avendoli visti di sfuggita anche una sola volta. Con
questo cofanetto ed il precedente abbiamo la fortuna di averle tutte a disposizione.



Il cofanetto, che segue il primo “Silly Symphonies”, contiene cortometraggi compresi tra il 1929 ed il 1938.
Con questi 38 cortometraggi, l’insieme delle Silly Symphonies è stato interamente pubblicato.



Un tratto unificante resta chiaro agli spettatori delle Silly Symphonies: l’animazione legata alla musica precede
il progetto di Fantasia. Il seme di quel progetto risiede in circa dieci anni di lavoro nei quali la tecnica e
l’esperienza si sono evolute.



Nel cofanetto sono inoltre inclusi alcuni corti “stagionali”, uno per ogni stagione dell’anno. In
questi corti ed in molti altri sono gli animali a comporre il cast: insetti, gatti, cani e uccellini. Molti animali come
gli orsi, le puzzole e gli scoiattoli hanno semplici teste arrotondate che li rendono molto simili a Topolino. Altri
temi ricorrenti sono un ragazzo ed una ragazza al centro degli eventi, e gruppi di persone uniti insieme contro un
cattivo molto più grande di loro.



Alcuni dei lavori presentati sono più narrative degli altri. Con il tempo la serie è migliorata. Dalla
meta degli anni ’30 un episodio durava circa 8-9 minuti ed era quindi più lungo rispetto ai primi. Il
maggior tempo a disposizione ha consentito di migliorare la qualità, nel raccontare la storia e quindi non si
tratta solo più di gags a ripetizione. Questi cartoni sono quindi più adatti al divertimento del
pubblico.





Before Walt Disney found that there was indeed a market for feature-length animation and before his studio relied on a
small roster of popular personalities to headline nearly all its cartoon shorts, there were the Silly Symphonies.
Introduced in 1929, Silly Symphonies were simple animated shorts, set to music and largely free of dialogue. The
earliest cartoons were in black and white and ran about 5 to 7 minutes each. More interested in exploring a universe or
creating a mood than telling a story, the Silly Symphonies offered a way for Disney animators to hone their skills. 

The brand of entertainment found in the shorts, especially the earliest in the series, may seem primitive or
old-fashioned by today's standards. But there is no shortage of factors which grant these 68-years-and-older works a
compelling nature: their innovative contributions to the medium that paved the way for animated features, the peeks they
allow into the minds of early-20th-century American filmmakers,  the audience tastes they reflect in their subject
matter and sense of humor, and so on. For fans of animation in general, the Silly Symphonies are historically
significant for the advances they brought to the field. For Disney enthusiasts, they excitingly represent some of the
earliest work to come from Walt Disney and his studio, marking the start of an animated legacy that many consider
unparalleled. The fact that the films' artistic achievements (and often, their tales) are still able to impress modern
viewers only furthers their appeal. 



It had been five years since a collection of Silly Symphonies came to DVD. They did so as part of the debut wave of a
collector-tailored series called the Walt Disney Treasures. In all, that set -- titled Silly Symphonies: The Historic
Musical Animated Classics -- held thirty-seven of the 75 cartoons issued in the line's ten-year run that concluded in
1939. For years, fans of vintage animation wondered if (and when) the remaining 38 shorts would surface in a proper
compilation of their own. Then, last month's wave of Walt Disney Treasures -- the sixth and apparently final in the
tin-housed, limited-issue series -- included More Silly Symphonies, Volume Two: 1939-1938. Unlike its predecessor, which
required some elaborate remote control sequences to access a handful of deeply-hidden cartoons, More Silly Symphonies
lays out its contents in a clear, logical fashion. 



Though not as one-dimensional as the formulas applied to some of Disney's character-based series shorts, some patterns
inevitably emerge in the course of viewing nearly forty Silly Symphonies. The one unifying trait -- animated antics set
to music -- foreshadows a subsequent project that many consider among Walt Disney's most crowning: Fantasia. The seeds
of that unique 1940 fusion of classical music and cartoons are unmistakably present in some of the Silly Symphony
subjects found on this set.



Also included here are seasonal shorts, one for each of the four distinct times of year. In these and many others,
animals commonly comprise the cast. Among the more commonly-depicted ones are bugs and small creatures like cats and
birds. Many of the animals, from bears to skunks to squirrels, have simple, rounded faces which make them Mickey Mouse
look-alikes. Other recurring themes include a boy and girl couple at the center of events and a kindred group uniting
together to beat a much larger villain. Certain gags turn up repeatedly, such as one in which characters resort to
removable teeth in defending themselves.



Some of More Silly Symphonies' works are more narrative than others. Generally, time finds the series evolving and
improving. By the mid-1930s, Silly Symphonies ran around 8 to 9 minutes in length. The extra minutes benefit the
storytelling, so that later shorts rely more on familiar tales than simple atmosphere and gags. As such, these later
cartoons will hold up as the more entertaining to audiences used to narrative animation, though some may deem them less
remarkable on account of what can today be perceived as conventionality.



With many of the most famous and landmark Silly Symphony cartoons (such as The Skeleton Dance, Flowers and Trees, and
Three Little Pigs) included on the first volume, More Silly Symphonies may not arouse the hardcore Disney fan based on
titles alone. The casual or contemporary Disney fan, both of whom are likely to be more familiar with the yesteryear
shorts featuring characters still frequently employed today (Mickey Mouse, Pluto, Donald Duck, etc.), may need some
prompting to care about and discover the cartoons of More Silly Symphonies. Nevertheless, all three of these
demographics (and most others that any reader could fit themselves into) stand to enjoy these enduring creations on at
least some level.





















Formato Audio/Video (Audio/Video Format):



2 dvd5 PAL

Audio: ITA - ENG

Sottottitoli (Subtitles): English, Italian, German, French, Spanish





Contenuti:



Disco 1:



Cortometraggi



1929:  Hell's Bells, Springtime;

1930:  Arctic Antics, Autumn, Playful Pan, Summer; 

1931:  The Cat's Out, The Clock Store, The Fox Hunt, The Spider and the Fly; 

1932:  The Bears and Bees, The Bird Store, Bugs in Love, Frolicking Fish, Monkey
Melodies, Night, Winter; 



From the Vault:

Cannibal Capers (1930), Cannibal Capers (with original ending),

El Terrible Toreador (1929),The Merry Dwarfs (1929), Midnight in a Toy Shop (1930) 





Disco 2:





Cortometraggi





1933:  Birds in the Spring, The Night Before Christmas, Old King Cole, The Pied
Piper; 

1934:  The Goddess of Spring; 1935: Cock o' the Walk; 1936: Three Blind
Mouseketeers; 

1937:  Little Hiawatha;

1938:  Merbabies, Moth and the Flame;



From the Vault:

King Neptune (1932), Santa's Workshop (1932),

The China Shop (1934),

Broken Toys (1935), Three Orphan Kittens (1935),

More Kittens (1936),

Mother Goose Goes Hollywood (1938) 





Bonus Material: Audio Commentaries, "Silly Symphonies Rediscovered",
"Animators at Play", Galleries; Easter Egg; 







Tempo Totale di Riproduzione: 471 Minutes (7 ore, 51 minuti)

Disco 1: 222 minuti (145 - cortometraggi, 2 - introduzioni, 75 - extra) 



Disco 2: 249 minuti (138 - cortometraggi, 3 - introduzioni, 108 - extra) 



1.33:1 Fullscreen (Original Ratio) / Dolby Digital 2.0 Mono

Originally Released between 1929 and 1938





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DISCO 1



Il Disco 1 si apre con un’introduzione di Leonard Maltin (1:58), nella quale egli descrive la serie e il suo
significato nella storia dell’animazione. Egli spiega quanto questi cartoni siano rari e quanto alcuni di questi
abbiamo avuto necessità di riprodurre i titoli originali con la massima abilità, poiché ormai
troppo malandati. Nel primo disco vengono presentati 21 cartoni più una versione alternativa di uno di questi.




Disc One opens with the typical introduction (1:58) from Leonard Maltin, in which he describes the series and its
significance in animation history. He also points out that these cartoons are rare and many have needed to have their
original title cards reproduced to the best of their abilities. The first platter holds 21 unique shorts, plus an
alternate version of one of those. Most -- 17 to be precise -- of these are accessible from either the Chronological or
Alphabetical Listings offered by the menu. The remaining four (plus alternate) are designated as "From the
Vault" due to content concerns.







I cortometraggi:



Hell's Bells (1929) (5:49) 



Springtime (1929) (6:14) 



Arctic Antics (1930) (7:00) 



Autumn (1930) (6:31) 

  



Playful Pan (1930) (6:56) 



[b]Summer (1930) (5:52) 



The Cat's Out (1931) (7:17) 



The Clock Store (1931) (7:11) 



The Fox Hunt (1931) (6:21) 



   



The Spider and the Fly (1931) (7:12) 



The Bears and Bees (1932) (6:18) 



The Bird Store (1932) (6:50) 



Bugs in Love (1932) (7:02) 



   



Frolicking Fish (1932) (6:04) 



[b]Monkey Melodies (1932) (6:57) 



Night (1932) (6:53) 



Winter (1932) (6:51) 







From The Vault ci presenta le differenze nella società del tempo. L’introduzione di Maltin (1:48) si
sofferma sulle caricature dei personaggi di Hollywood e di tipici stereotipi.    



From the Vault brings up the typical "society was different then" introduction (1:48) from Maltin, which also
points out Hollywood caricatures and stereotypes to look out for. Though this can not be skipped altogether, it can be
fast-forwarded which on a skillful player can take as little as two seconds. 



Cannibal Capers (1930) (5:59) 



Cannibal Capers (with original ending) (6:16) 



El Terrible Toreador (1929) (6:16) 



The Merry Dwarfs (1929) (5:59) 



Midnight in a Toy Shop (1930) (7:34) 











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DISCO 2







Il Disco 2 si apre con un’altra introduzione di Leonard Maltin (2:48) che apprezza i meriti dei cartoni non
classici di questo cofanetto discutendo riguardo ai commentatori e identificando gli speakers.



Disc 2 opens with another Leonard Maltin intro (2:48) that speaks up for the merits of the non-classic cartoons compiled
on this set and discusses the commentary participants, identifying the speakers and recommending them based on their
positions (many of the tracks are only on the other disc, however).







I cortometraggi:



Birds in the Spring (1933) (7:15) 



The Night Before Christmas (1933) (8:28) 



Old King Cole (1933) (7:28) 



The Pied Piper (1933) (7:32) 



   



The Goddess of Spring (1934) (9:33) 



Cock o' the Walk (1935) (8:23) 



Three Blind Mouseketeers (1936) (8:43) 



Little Hiawatha (1937) (9:09) 



   



Merbabies (1938) (8:34) 



Moth and the Flame (1938) (7:44) 







From the Vault finds 

 

the same non-skippable but quickly-fast-forwardable 108-second disclaimer given by Maltin separating you from the
shorts. 



King Neptune (1932) (7:12) 



Santa's Workshop (1932) (6:38) 



The China Shop (1934) (8:23) 



Broken Toys (1935) (7:54) 



Three Orphan Kittens (1935) (8:55) 



More Kittens (1936) (8:11) 



Mother Goose Goes Hollywood (1938) (7:54) 









BONUS 

Il Disco 1 ha un solo tipo di Bonus, che tuttavia è stato Audio
Commentaries. Sono presenti 12 tracce nel Disco 1 con commenti di Maltin e vari storici dell’animazione,
della musica e dei fumetti. Nel Disco 2 sono presenti altre 11 tracce riguardanti altrettanti corti. 



La qualità dei commenti è piuttosto variabile ed è legata ai diversi speakers. Richard Sherman ,
compositore, firma due tracce  (Old King Cole and Three Orphan Kittens) che sono tra le migliori, grazie alle profonde
riflessioni ed agli aneddoti di cui è stato protagonista durnate l’intenso lavoro con Walt. Maltin
contribuisce con sei tracce in cui discute con ospiti: Mother Goose Goes Hollywood, Winter con il musicologo dei cartoni
Daniel Goldmark, Broken Toys con lo storico dell’animazione Jerry Beck, Santa's Workshop con l’autore JB
Kaufman, e, con l’esperto di fumetti Disney David Gerstein, The Spider and the Fly il finale originale di Cannibal
Capers. 



Forse la mancanza di esperienza o al poca conoscenza del materiale spiegano perchè gli altri commenti audio non
sono così attraenti e fondamentali. Non tutti sono comunque di media qualità. Riguardo a Monkey Melodies e
Bugs in Love, Gerstein sembra lavorare su una sceneggiatura, con notevole preparazione e capacità di divertire.
Quattro tracce (The Fox Hunt, El Terrible Toreador, Cock o' The Walk, e Merbabies) trovano un Kaufman sia informativo
che affascinante nel raccontare le storie. I rimanenti tre speakers hanno raggiunto risultati minori: il musicologo Ross
Care è lento nel presentare le sue osservazioni (5 tracce: Night, The Clock Shop, Bugs in Love, The Pied Piper, e
Moth and the Flame); Goldmark (da solo in Springtime, The Goddess of Spring) risulta poco influente e Beck (Midnight in
a Toy Shop, King Neptune) si basa per lo più su notazioni ovvie.



La featurette  "Silly Symphonies Rediscovered" (14:30) riprende un
discorso sulle Silly Symphonies nel loro complesso, con clip e commenti di diversi critici, alcuni dei quali hanno
contribuito anche ai Commenti Audio. Vengono presentate le innovazioni nel mondo dei cartoni, l’utilizzo della
musica da parte di Carl Stalling e Frank Churchill, le storie e le connessioni /(sia creative che personali) ai primi
film della Disney, particolarmente tra The Goddess of Spring e Biancaneve (Snow White). Tra gli intervistati, per lo
più storici dell’animazione del film o della musica, compaiono, Daniel Goldmark, Russell Merritt, JB
Kaufman, Jerry Beck, Ross Care, il compositore Richard M. Sherman, e David Gerstein.



"Animators at Play" (6:08) offre alcune riprese ritrovate di recente
di Walt e del suo staff che giocano una partira di softball durante l’intervallo del pranzo, nell’inverno
1930-31.  Qualche spunto interessante vien citato da Leonard Maltin.



Infine si trovano tre Gallerie:

"The Art of the Silly Symphonies" contiene 80 immagini, per lo
più disegni a matita in bianco e nero di elementi e sfondi con qualche foglio di modelli e qualche lavoro a
colori. La disposizione del materiale è cronologica ed anche se non vengono espressamente indicati i cartoni per
cui vennero fatti, questo è abbastanza ovvio. 

"Silly Symphonies In Print" offre 30 pagine singole di fumetti e
storie adattate da dai corti nel 1930. Ognuna è accompagnata da parecchie immagini a colori dai cartoni, molti
dei quali appartengono a corti contenuti nel primo volume. 

"Sunday Funnies and Comic Books" fornisce 66 immagini di fumetti (a
colori e bianco e nero) di cartoni di Pluto e delle Silly Symphonies, anche queste non limitate al materiale di questo
cofanetto. Sono inoltre presenti alcune copertine di libri a fumetti della Disney.



Un Uovo di Pasqua si trova nel Disco sia sulla pagina dedicata alla lista
alfabetica sia in quella cronologica. Dopo un’introduzione sulle versioni in lingua straniera del filmato viene
presentata la versione  francese di Little Hiawatha (9:09).





BONUS FEATURES

Disc 1 only has one type of bonus feature, but it is one which has been underserved by the Treasures line until now. I'm
talking about Audio Commentaries, of which there are a surprising twelve tracks
on eleven different Disc 1 shorts given by Leonard Maltin and various historians of animation, music, and comic books.
Disc 2 has an additional eleven audio commentaries on as many different shorts, meaning altogether, more than half the
set's shorts are remarked upon.  

It's not clear why they are arranged in the order they are; nevertheless, an included "Play All" option is
appreciated. Unfortunately, commentaries to the cartoons designated "From the Vault" (which are plentiful) are
only accessible from the Vault menu.  



The quality of the commentaries is rather a mixed bag and that's chiefly due to the various speakers. Perhaps because of
his impressive body of achievements, legendary Disney songwriter Richard Sherman's two tracks (on Old King Cole and
Three Orphan Kittens) are among the better ones; his cheerful reflection on personal inspirations and anecdotes about
Walt are a treat. Also especially interesting are the six tracks that Treasures emcee Leonard Maltin contributes his
thoughtful observations to: Mother Goose Goes Hollywood, Winter with cartoon music buff Daniel Goldmark, Broken Toys
with animation historian Jerry Beck, Santa's Workshop edited with author JB Kaufman, and, with Disney comics expert
David Gerstein, The Spider and the Fly and the original cut of Cannibal Capers. 



Perhaps a lack of experience or a distance from the material explains why most of the other commentators are not as
captivating. Not all are dull, however. On Monkey Melodies and Bugs in Love, Gerstein seems to be working from a script;
his preparation pays off in the light he sheds (among other things, on print careers of characters beyond their shorts)
and he kindly aims to amuse at points. Four solo tracks (The Fox Hunt, El Terrible Toreador, Cock o' The Walk, and
Merbabies) find Kaufman both highly informative and fascinating in a historical storytelling kind of way. The other
three speakers are less exciting: the slow, boring speech of musicologist Ross Care hinders the score observations he
makes in five solo tracks (Night, The Clock Shop, Bugs in Love, The Pied Piper, and Moth and the Flame); Goldmark (alone
on Springtime, The Goddess of Spring) is only slightly stuffy in his largely context and comparison-based remarks; and
Beck (Midnight in a Toy Shop, King Neptune) dryly alternates between name-dropping and obvious notes. 



While the enthrallment offered is sporadic, the commentary format applies well to these shorts, since the brief runtimes
don't require much commitment and don't entail a lot of dead space. Naturally, the talk about which animator did which
bits and what other films they worked on gets somewhat repetitive and it's never as stimulating as more general or
cartoon-specific insight (which Maltin is best at). But on the whole, there are enough rewards to reap in investing the
hours of listening, especially if you can spread them out over time. It's inevitable that these tracks will make others
wish there were more on past Treasures tins. As a final word on the commentaries, it's curious how in pondering
sensitivities, Maltin and company point out a number of potentially offensive things that you might not otherwise notice
or consider remarkable. 



The featurette "Silly Symphonies Rediscovered" (14:30) looks at the
series as a whole, with clips and comments from authorities on the subject, several of whom contributed to the
commentaries. The piece covers the cartoons' technical innovations, the music employed by Carl Stalling and Frank
Churchill, the stories, and the connections (both creatively and in personnel) to Disney's early feature films,
specifically between The Goddess of Spring and Snow White. Among those interviewed -- mostly animation, film, or music
historians -- are Daniel Goldmark, Russell Merritt, JB Kaufman, Jerry Beck, Ross Care, Disney composer Richard M.
Sherman, and David Gerstein. Like the commentaries, this is somewhat dry but informative. 



"Animators at Play" (6:08) offers some recently-found footage of Walt
and his staff playing a game of softball during one lunch hour in the winter of 1930-31. The semi-interesting black and
white material (which even has sound) is narrated by Leonard Maltin, who points out a number of individuals (among them,
Roy O. Disney and "Mooseketeer" Roy Williams) and makes some obvious observations.



Finally, there are three galleries.

"The Art of the Silly Symphonies" holds 80 stills, most of which are
black & white pencil drawings of elements and backgrounds, with a few model sheets and some color artwork thrown in
for good measure. They appear to be arranged chronologically and though they are not identified by the short they come
from, most of the time, that is obvious.  

"Silly Symphonies In Print" offers 30 single-page comics and stories
adapted from the shorts series in the 1930s. Each is accompanied by many colorful images from the 'toons, many of which
were part of the first Silly Symphonies Treasure rather than this follow-up. "Sunday Funnies and Comic Books" provides 66 images of panel comics (some color, some black
& white) of Pluto cartoons and Silly Symphonies, which are also not limited to this set's featured 'toons. This
section also includes covers of the excerpted Disney comic books. 



An Easter Egg can be found on Disc 1, on either the first page of the
Alphabetical Listing menu or the second/final page of the Chronological Listing menu - after a 40-second intro on
foreign language versions of films, a French version of Little Hiawatha (9:09) plays. There are no English subtitles or
anything, but of course, the cartoon is still very visual in nature, so following along without the narration isn't too
difficult. 







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