When My Classical Music And Cinematic Worlds Collide

When My Classical Music And Cinematic Worlds Collide

There's plenty of Wingo's (trademark?) digital manipulation and distortion going on in there, right? And it features the subtle undercurrent of hope (musically) that makes the film's finale so endearing (cinematically). And I think it's especially effective following upon the general unease of the film's (cinematic and melodic) themes. But is there anything else in there that you recognize?

You Say "One Of The Most Visually Stunning And Emotionally Effective Animated Films Ever Made." I Say "Easy. PRINCE OF EGYPT."

You Say "One Of The Most Visually Stunning And Emotionally Effective Animated Films Ever Made." I Say "Easy. PRINCE OF EGYPT."

Turning to the animation itself, the opening is a spectacular on that score—especially in the way it compresses the openings of the story into a visually-engaging yet easily-digestible prologue. The Red Sea sequence is powerful stuff, as well (for which I must reiterate that Zimmer shoulders much of the blame), and the last plague remains one of the most creatively imaginative and stunning, deeply unsettling, and profoundly sorrowful things I've ever seen.