From Wikipedia, the free encyclopedia
Fantasia is a 1940 American animated film produced by Walt Disney with brief live-action introductions between the animated segments. The third feature-length animated film produced by Walt Disney Productions, Fantasia features eight animated segments set to classical music
selections. The animated segments feature no dialogue or sound effects;
the only dialogue in the film is featured in live-action introductions
to each piece by host Deems Taylor, an American composer and music critic, before each segment.
The music was recorded under the direction of Leopold Stokowski, who is featured in Taylor's live-action introductions , and seven of the eight pieces were performed by the Philadelphia Orchestra.
Animated artwork of varying degrees of abstraction or literalism was
used to illustrate or accompany the concert in various ways. Fantasia was notable for featuring what were then considered avant-garde qualities, and for being the first commercial film released in multi-channel sound using a process called "Fantasound". The film is often considered Disney's magnum opus.
Fantasia was originally released by Walt Disney Productions itself rather than its then-distributor, RKO Radio Pictures, and exhibited as a two-hour and twenty minute roadshow
film (including an intermission) with reserved-seat engagements. The
film opened to mixed critical reaction and failed to generate a large
commercial audience, which left Disney in financial straits.[1][2]
Fantasia was eventually picked up by RKO for release in 1941
and edited drastically to a running time of 81 minutes in 1942. Five
subsequent re-releases of Fantasia between 1946 and 1977 restored
various amounts of the deleted footage, with the most common version
being the 1946 re-release edit, which ran nine minutes shorter than the
original 124 minute roadshow version. A 1982 reissue featured a newly recorded digital soundtrack conducted by composer Irwin Kostal,
but was taken out of circulation in 1990 after a restored version of
the original Stokowski-conducted soundtrack was prepared. The original
version of Fantasia was never released again after 1941, and
although some of the original audio elements no longer exist, a 2000 DVD
release version attempted to restore as much of the original version of
the film as possible.
Despite its initial commercial failure, Fantasia went on to become one of the most popular films of all-time[3] and is today considered a classic film.
Production
By the late 1930s, Walt Disney's Mickey Mouse was losing his popularity with movie audiences. The Mickey Mouse cartoon shorts series had spawned the spin-off Donald Duck
series, which was proving to be more popular and profitable than the
former, but Walt Disney wasn't ready to give up on his favorite
character and devised a special short that would be produced as a
"comeback" film for Mickey Mouse. The Sorcerer's Apprentice, based on Goethe's balladic poem Der Zauberlehrling (1797), was planned as a special Mickey Mouse short and would be completely silent save for the program music by Paul Dukas, L'apprenti sorcier (1897). The story artists who developed The Sorcerer's Apprentice originally suggested Dopey from Snow White for the title role, but Disney insisted upon using Mickey.
As work began on The Sorcerer's Apprentice in 1938, Disney happened to meet famed conductor Leopold Stokowski at Chasen's, a noted Hollywood restaurant.[4] Stokowski offered to serve as conductor for The Sorcerer's Apprentice at no charge, and assembled over one-hundred professional musicians in Los Angeles to record the score for the nine-minute cartoon.[5][6]
At nine minutes, The Sorcerer's Apprentice ran two minutes longer than the average cartoon short of that time, whose length was rarely any more than seven minutes.
The animation department worked to make The Sorcerer's Apprentice one of their most ambitious creations to date. Animator Fred Moore
redesigned Mickey to give his figure more weight and volume in keeping
with the modern efforts at the studio, and to give him eyes with pupils
for greater expression. The film's color styling, pacing and layout,
character animation, and effects animation were done with an increased
attention to detail. The unnamed sorcerer in The Sorcerer's Apprentice was nicknamed "Yen Sid" in the department ("Disney" spelled backwards).[7]
All of this extra production value came at a high price: $125,000, an
amount Walt Disney, and especially his brother and business partner Roy, knew they could never make back from the release of a single short film.[4]
In comparison, most Disney shorts at the time averaged a cost of
$40,000, which was $10,000 above the average budget for an animated
cartoon made outside the Disney Studio. Disney's most successful short
cartoon, The Three Little Pigs (1933), had made $60,000 in revenue. Following a suggestion by Stokowski, Walt Disney decided to expand The Sorcerer's Apprentice, originally intended as a regular Silly Symphonies cartoon, into a concert feature with several animated sequences set to music of which The Sorcerer's Apprentice would be one. To provide continuity and explanation, the composer and music critic Deems Taylor was recruited to provide live-action narrative introductions at the beginning of each segment. During production, the term Fantasia, which literally means "A medley of familiar themes, with variations and interludes",[8]
was used regularly by Stokowski when in conversation with Disney about
the composition of the music. Eventually, it become the film's final
title after formerly being used as way of referring to the film by
Disney himself.
With The Sorcerer's Apprentice nearing completion, the rest of Fantasia entered production in early 1939, and the same attention to detail that was given to The Sorcerer's Apprentice was given to the other segments as well.
Fantasia was produced on a budget of $2,280,000, of which
$400,000 - nearly a fifth of the budget - went to the musical recording
techniques.[9]
Program description
Some of the works played in the film are program music;
that is, instrumental music that depicts or suggests stories in sound.
However, the Disney program is generally not the same as the original.
This criticism was addressed in the film itself. The host and narrator
of the film, Deems Taylor, introduces each piece in the program and
gives background on the original intent of the composer. There is no
intent to deceive anyone into thinking that the Disney visual
accompaniment was the "original intent" of the composer.
Some of the musical works selected were shortened from their full
length for the sake of the film's running time. Of the eight pieces,
four are presented virtually complete: Toccata and Fugue, The Sorcerer's Apprentice, the Dance of the Hours (which is actually expanded), and the Ave Maria. The Nutcracker Suite is shorn of its Miniature Overture and March, the twenty-five minute Rite of Spring (the longest segment in the film) is ten minutes shorter than the original thirty-five minute work, and the Pastoral Symphony
segment is performed in a twenty-minute version rather than Beethoven's
complete forty-minute original. There are also small internal omissions
in Night on Bald Mountain.
Toccata and Fugue in D Minor
- Musical score: Johann Sebastian Bach – Toccata and Fugue in D Minor BWV 565 (Stokowski's own orchestration)
- Directed by Samuel Armstrong
- Story development: Lee Blair, Elmer Plummer, and Phil Dike
- Art direction: Robert Cormack
- Background painting: Joe Stahley, John Hench, and Nino Carbe
- Visual development: Oskar Fischinger
- Animation: Cy Young, Art Palmer, Daniel MacManus, George Rowley, Edwin Aardal, Joshua Meador, and Cornett Wood
Fantasia begins immediately (there are no opening credits or
logos of any sort) with the curtains being opened to reveal an orchestra
stand. Musicians are seen ascending the stand, taking their places, and
tuning their instruments. Master of ceremonies Deems Taylor arrives and
delivers an introduction to the film. Stokowski appears and begins
conducting the first strains of his own orchestration of the Toccata and Fugue in D Minor, by Johann Sebastian Bach (originally written for solo organ).
The first third of the Toccata and Fugue is in live-action,
and features an orchestra playing the piece, illuminated by abstract
light patterns set in time to the music and backed by stylized (and superimposed)
shadows. The first few parts of the piece are played in each of the
three sound channels (first the right, then the left, then the middle,
then all of them) as a demonstration of Fantasound. The number segues into an abstract animation piece—a first for the Disney studio—set in time to the music. Toccata and Fugue was inspired primarily by the work of German abstract animator Oskar Fischinger,
who worked for a brief time on this segment. The animation segues back
into the live-action footage of Stokowski as the piece concludes,
setting the precedent for the rest of the musical numbers.
Although the Philadelphia Orchestra recorded the music for the film (excepting The Sorcerer's Apprentice), they do not appear onscreen; the orchestra used onscreen in the film is made up of local Los Angeles musicians and Disney studio employees like James Macdonald and Paul J. Smith,
who mime to the prerecorded tracks by Stokowski and the Philadelphia
Orchestra. Originally, the Philadelphia Orchestra was slated to be
filmed in the introduction and interstitial segments, but union and
budgetary considerations prevented this from coming to pass.
Nutcracker Suite
- Musical score: Pyotr Ilyich Tchaikovsky – Nutcracker Suite Op. 71a
- Directed by Samuel Armstrong
- Story development: Sylvia Moberly-Holland, Norman Wright, Albert Heath, Bianca Majolie, and Graham Heid
- Character designs: John Walbridge, Elmer Plummer, and Ethel Kulsar
- Art direction: Robert Cormack, Al Zinnen, Curtiss D. Perkins, Arthur Byram, and Bruce Bushman
- Background painting: John Hench, Ethel Kulsar, and Nino Carbe
- Animation: Art Babbitt, Les Clark, Don Lusk, Cy Young, and Robert Stokes
- Choreography: Jules Engel
The Nutcracker Suite, a selection of pieces from Tchaikovsky's now-classic ballet The Nutcracker, is a personified depiction of the changing of the seasons; first from summer to autumn, and then from autumn to winter. Unlike the original Tchaikovsky ballet, this version of The Nutcracker has no plot. It features a variety of dances, just as in the original, but danced by animated fairies, fish, flowers, mushrooms, and leaves; no actual nutcracker is ever seen in this version. Many elements are rendered carefully and painstakingly using techniques such as drybrush and airbrush. The musical segments are as follows:
- As dawn breaks over a meadow, during the "Dance of the Sugar Plum
Fairy", tiny fairies sprinkle drops of dew on every flower and stern.
- A cluster of tiny mushrooms, dressed in long robes and coolie hats
resembling Chinese (plus one little mushroom always out-of-step),
perform the "Chinese Dance".
- Multicolored blossoms shaped like ballerinas perform the "Dance of the Flutes".
- A school of underwater goldfish perform a graceful "Arab Dance".
- High-kicking thistles, dressed like Cossacks, and orchids, dressed
like lovely Russian peasant girls, join together for the wild "Russian
Dance".
- In the final musical segment, "Waltz of the Flowers", autumn fairies
color everything they touch brown and gold with their wands. Then the
frost fairies arrive and everything becomes part of an icy, jewellike
pattern among falling snow flakes.
One quaint novelty of the full-length roadshow version of Fantasia is that, during his commentary on the Nutcracker Suite, Deems Taylor observes that the complete ballet The Nutcracker "is never performed anymore." The United States did not see a complete staging of the Nutcracker until 1944, four years after Fantasia, and George Balanchine's 1954 staging with the New York City Ballet established the modern tradition of performing the ballet at Christmas time.[10]
The Sorcerer's Apprentice
- Musical score: Paul Dukas – The Sorcerer's Apprentice
- Directed by James Algar
- Story development: Perce Pearce and Carl Fallberg
- Art direction: Tom Codrick, Charles Phillipi, and Zack Schwartz
- Background painting: Claude Coats, Stan Spohn, Albert Dempster, and Eric Hansen
- Animation supervisors: Fred Moore and Vladimir Tytla
- Animation: Les Clark, Riley Thompson, Marvin Woodward, Preston Blair, Edward Love, Ugo D'Orsi, George Rowley, and Cornett Wood
The Sorcerer's Apprentice, perhaps the best-known Mickey Mouse short after his debut in Steamboat Willie (1928), was adapted from Goethe's poem "Der Zauberlehrling". It is the story of wizard Yen Sid's
ambitious, but lazy, assistant who attempts to work some of the magical
feats of his master before he knows how to properly control them.
Mickey plays the role of the apprentice. After the wizard leaves,
apparently to go to sleep, he leaves behind his wizard's hat. Mickey
takes the hat and after reading a few pages of the Sorcerer's spell
book, magically causes a broom to come to "life" and perform his chore
(fetching water from the well and pouring into a stone basin in the
wizard's laboratory). Mickey directs the broom in his chore but falls
asleep and dreams that he is a powerful wizard controlling the mighty
seas and starry skies; he wakes to find that the basin is overflowing
and the broom is still filling it up. After trying repeatedly to halt
the broom, Mickey panics, grabs an axe and chops the broom to pieces,
but each piece comes to life, forming hundreds of new brooms which
continue to fill the basin over and over, causing a monstrous flood.
Mickey races to the wizard's spellbook to find a counter-spell, but to
no avail. After nearly drowning in a giant whirlpool, Mickey is rescued
by the wizard, who returns and magically halts the flood and causes all
the brooms to vanish. Angrily, he surveys the damage wrought by his
apprentice (giving what Disney animators termed "The Dirty Disney Look";
the one raised eyebrow was an oft-repeated stare of disapproval from
their boss). The embarrassed apprentice sheepishly defers to his master
and returns to his work. The wizard displays a hint of a smile, secretly
enjoying the humor of the situation, and hits him on the behind with
the now inanimate broom, sending him scurrying from the room. (The
sorcerer's anger with his apprentice as depicted in Fantasia does not appear in the Goethe poem - in the poem, the sorcerer finds the situation amusing and chides his apprentice for it.)
After the music ends, Mickey and conductor Leopold Stokowski, seen in
silhouette, congratulate each other with a live-action/animation
handshake. In the original roadshow version, after Mickey leaves, Deems
Taylor and the musicians are seen applauding Mickey and Stokowski.
The Rite of Spring
- Musical score: Igor Stravinsky – The Rite of Spring
- Directed by Bill Roberts and Paul Satterfield
- Story development/research: William Martin, Leo Thiele, Robert Sterner, and John Fraser McLeish
- Art direction: McLaren Stewart, Dick Kelsey, and John Hubley
- Background painting: Ed Starr, Brice Mack, and Edward Levitt
- Animation supervision: Wolfgang Reitherman and Joshua Meador
- Animation: Philip Duncan, John McManus, Paul Busch, Art Palmer, Don Tobin, Edwin Aardal, and Paul B. Kossoff
- Special camera effects: Gail Papineau and Leonard Pickley
Disney's imaginitive re-interpretation of the music to The Rite of Spring
features a condensed version of the history of the Earth from the
formation of the planet, to the first living creatures, to the age,
reign, and extinction of the dinosaurs. The sequence showcased realistically animated prehistoric creatures including Tyrannosaurus, Dimetrodon, Parasaurolophus, Apatosaurus, Triceratops, Ornithomimus, and Stegosaurus, and used extensive and complicated special effects to depict volcanoes, boiling lava, and earthquakes. The large carnivorous dinosaur attacking the Stegosaurus is a Tyrannosaurus
according to the preliminary introduction to the segment by Deems
Taylor, and concept sketches by the artists. Disney also changed the
order of the movements in the piece. The segment, after beginning with
the first, second and third movements, omits the fourth and reorders all
the others. The Danse de la terre is placed near the end of the
cartoon rather than midway through the work. At the end, the orchestra
replays the slow introduction to the Rite, which does not happen in the original work. (The original ends with a violent Sacrificial Dance - also omitted in the Disney version - and an orchestral crash.)
The roadshow version of the film features a humorous moment omitted
from the general release version. When Deems Taylor announces the title
of the work, there is a sudden loud crash in the percussion section, and
we see that the chimes
player has accidentally fallen against his instrument. He sheepishly
gets up, to the amused chuckling of Taylor and the other musicians.
Intermission/Meet the Soundtrack
- Directed by Ben Sharpsteen and David D. Hand
- Key animation by Joshua Meador
Deems Taylor announces a fifteen-minute intermission following the conclusion of The Rite of Spring. The musicians are seen departing the orchestra stand, and the doors close to reveal a title card. In a proper roadshow of Fantasia,
the theater's curtains would close simultaneously with the closing
doors on the screen, and the title card would remain projected for
fifteen minutes while the guests are briefly excused. Following the
intermission, the film would be started again. Onscreen, the stage doors
are opened again, and Taylor and the orchestra musicians are seen
returning to their respective places.
After the intermission there is a brief jam session of jazz music led by a clarinetist in the orchestra, followed immediately by the Meet the Soundtrack sequence which gives audiences a stylized example of how sound is rendered as waveforms to record the music for Fantasia. The sequence is narrated by Taylor and features animation by effects animator Joshua Meador
and his team, who give the soundtrack (initially a squiggly line which
changes into various shapes based upon the individual sounds played on
the soundtrack) a distinct personality.
The instruments are a harp, violin, flute, trumpet, bassoon, and percussion including the bass drum, snare drum, cymbals, and triangle
The Pastoral Symphony
- Musical score: Ludwig van Beethoven – Symphony No. 6 in F, Op.68 "Pastorale"
- Directed by Hamilton Luske, Jim Handley, and Ford Beebe
- Story development: Otto Englander, Webb Smith, Erdman Penner, Joseph Sabo, Bill Peet, and George Stallings
- Character designs: James Bodrero, John P. Miller, Lorna S. Soderstrom
- Art direction: Hugh Hennesy, Kenneth Anderson, J. Gordon Legg, Herbert Ryman, Yale Gracey, and Lance Nolley
- Background painting: Claude Coats, Ray Huffine, W. Richard Anthony, Arthur Riley, Gerald Nevius, and Roy Forkum
- Animation supervision: Fred Moore, Ward Kimball, Eric Larson, Art Babbitt, Oliver M. Johnston, Jr., and Don Towsley
- Animation: Berny Wolf, Jack Campbell, Jack Bradbury, James Moore, Milt Neil, Bill Justice, John Elliotte, Walt Kelly, Don Lusk, Lynn Karp, Murray McClellan, Robert W. Youngquist, and Harry Hamsel
The Pastoral Symphony utilized delicate color styling to depict a mythical ancient Greek world of centaurs, pegasi, the gods of Mount Olympus, fauns, cupids, and other legendary creatures and characters of classical mythology. It tells the story of the mythological creatures gathering for a festival to honor Bacchus, the god of wine riding his horned donkey, Jacchus, which is interrupted by Zeus, who decides to have a little fun by throwing lightning bolts at the attendees.
Disney originally intended to use Cydalise by Gabriel Pierné
as the music for the mythological section of the program. However, due
to problems fitting the story to the music, the decision was made to
abandon Cydalise for other music.[11]
This portion of the film was criticized for brief yet blatant nudity
on the part of the female centaurs. Other criticisms center on the
racial images of a female centaur servant named Sunflower, who is part
African human, part donkey, and two attendants to Dionysus who are part
African Amazons, part zebra.
The servant has been excised from all prints in circulation since 1969
(often by the use of pan and zoom, so the scene doesn't focus on her),
although the clip has recently turned up on various blogs and internet media.[12][13][14] The zebra female centaurs have always remained in the film.[15]
Dance of the Hours
- Musical score: Amilcare Ponchielli – La Gioconda: Dance of the Hours.
- Directed by T. Hee and Norm Ferguson
- Character designs: Martin Provensen, James Bodrero, Duke Russell, Earl Hurd
- Art direction: Kendall O'Connor, Harold Doughty, and Ernest Nordli
- Background painting: Albert Dempster and Charles Conner
- Animation supervision: Norm Ferguson
- Animation: John Lounsbery, Howard Swift, Preston Blair, Hugh Fraser, Harvey Toombs, Norman Tate, Hicks Lokey, Art Elliott, Grant Simmons, Ray Patterson, and Franklin Grundeen.
The dancers of the morning are represented by Madame Upanova and her ostriches. The dancers of the daytime are represented by Hyacinth Hippo
and her servants. (For this section the piece is expanded by a modified
and reorchestrated repetition of the "morning" music.) The dancers of
the evening are represented by Elephanchine and her bubble-blowing elephant troupe. The dancers of the night are represented by Ben Ali Gator and his troop of alligators.
The finale sees the chaotic chase that ensues between all of the
characters seen in the segment until they eventually decide to dance
together. The segment ends with the palace collapsing in on itself.
Night on Bald Mountain/Ave Maria
- Musical score:
- Directed by Wilfred Jackson
- Story development: Campbell Grant, Arthur Heinemann, and Phil Dike
- Art direction: Kay Nielsen, Terrell Stapp, Charles Payzant and Thor Putnam
- Background painting: Merle Cox, Ray Lockrem, Robert Storms, and W. Richard Anthony
- Special English lyrics for Ave Maria by Rachel Field
- Choral director: Charles Henderson
- Operatic solo: Julietta Novis
- Animation supervision: Vladimir Tytla
- Animation: John McManus, William N. Shull, Robert W. Carlson, Jr., Lester Novros, and Don Patterson
- Special animation effects: Joshua Meador, Miles E. Pike, John F. Reed, and Daniel MacManus
- Special camera effects: Gail Papineau and Leonard Pickley
This is the only animated segment in the film that blends two
entirely separate musical compositions by two different composers. The Night on Bald Mountain segment is a showcase for animator Bill Tytla, who gave the demon Chernabog a power and intensity rarely seen in Disney films. The nocturnal Chernabog summons from their graves empowered restless souls, until driven away by the sound of a church bell. Noted actor Béla Lugosi
served as a live action model for Chernabog, and spent several days at
the Disney studio, where he was filmed doing evil, demon-like poses for
Tytla and his unit to use as a reference. Tytla later deemed this
reference material unsuitable and had studio colleague Wilfred Jackson perform in front of the cameras for the reference footage.
The horror of the demons, ghosts, skeletons, witches, harpies, and other evil creatures in Night on Bald Mountain comes to an abrupt end with the sound of the Angelus bell, which send Chernabog and his followers back into hiding, and the multiplane camera
tracks away from Bald Mountain to reveal a line of faithful robed monks
with lighted torches. The camera slowly follows them as they walk
through the forest and ruins of a cathedral to the sounds of the Ave Maria.
The animation of the worshipers is some of the smallest animation ever
done: the camera had to be so close to some of the work that it had to
be rendered at only an inch or so high. Even a slight deviation in the
width of the final painted line would have been distracting to a movie
audience on the big screen. The entire sequence had to be reshot twice,
once because the wrong focal length lens was used, and once because of a small earth tremor that shook the animation planes out of alignment.[16] The multiplane camera then finally tracks through the trees to reveal a sunrise as the film fades to its conclusion.
Originally the plan was for the procession to enter an actual church, and there are numerous concept drawings of gothic architecture, stained glass windows, and actual statues of the Virgin Mary as can be seen on the Fantasia
Anthology bonus disc. Ultimately, this ending was deemed too overtly
religious by Walt, and he opted for a more natural setting instead.
However, the forest design in the segment still mimics that of a
cathedral with an overtly gothic motif.
Characters
Fantasound
Not only did Fantasia establish animation as a true art form, it also introduced film audiences to multi-channel sound, which played an important part in Fantasia. After the completion of The Sorcerer's Apprentice,
Stokowski enlisted the Philadelphia Orchestra, of which he was the
conductor, to record the music for the six remaining segments. Walt
Disney was present on the sound stage during an early session, and was
very pleased with what he was hearing until he heard the playback from
the recording engineers. He felt the recorded version of the music
sounded tinny and undynamic, and asked his engineers to see what they
could do about developing a better sound system. The engineers, led by William E. Garity, responded by creating a multi-channel sound format they called Fantasound, making Fantasia the first commercial film ever to be produced in a form of stereophonic sound. The film also marked the first use of the click track while recording the soundtrack, overdubbing of orchestral parts, and simultaneous multi-track recording.
Always wanting to try new things, Walt Disney also had plans to film Fantasia in widescreen, to have the Toccata and Fugue be filmed to be 3-D and to spray different perfumes into the theater at appropriate times during the Nutcracker Suite, but those plans were never carried out.[4]
Film presentation
Poster for the original release of Fantasia.
Walt Disney intended Fantasia to be more than just a film. It
was to be an event, complete with reserved seating and fancy dress.
Special program books were prepared for the film, featuring production
artwork and photographs, dedications by both Walt and Stokowski, and the
credits and synopsis for each segment. Each theater was rigged with 30
or more speakers, all lined around the perimeter of the ceiling, to
provide the full Fantasound experience. The format of the film follows
that of a concert rather than a motion picture. Besides the Deems Taylor
narration passages, a proper presentation of Fantasia features a 15-minute intermission, which falls between The Rite of Spring and the Meet the Soundtrack segment.
Unusual for an American animated film (or any film of that time for that matter), Fantasia
had no opening or closing credits in its original version. The film
opens with curtains parting to reveal the orchestra entering and taking
their places. During the film's intermission, a solitary title card was
to be played over the movie theater's closed curtain, reading:
- Fantasia.
Copyright MCMXL Walt Disney Productions (Inc.). In Technicolor. Approved MPPDA Certificate No.5920. RCA Sound System.
When RKO assumed distribution of Fantasia in 1941, the RKO logo was added to the intermission card.
For the film's 1946 rerelease, and for all later theatrical releases,
the title card seen during the intermission was transferred to the very
beginning of the film (in regular main title fashion), but no other
credits appeared. This was the way the film was shown until 1990, when
closing credits, listing the entire technical staff and those involved
with the 1990 restoration, were added to the end of the film. These
credits were shown against a background of the orchestra exiting, using
footage taken from the "intermission" segment, which had not been seen
since its original 1940 release.
Release history
1940
Fantasia was originally released in 1940 by Walt Disney Productions itself as a roadshow release, since Disney's distributor RKO Radio Pictures backed out of the film. Its first playdate, the film's premiere, was in New York City on November 13, 1940. The final scene to be shot (the long multiplane pan in the Ave Maria
sequence) was completed, developed, printed, and rushed via airplane to
New York that same day, where it was spliced into the film a mere four
hours before showtime. Primarily because of the amount of audio
equipment required and the time necessary to make the installation, the
full-length Fantasound version of Fantasia was only shown at 12 theatres, and only 16 Fantasound-equipped prints were ever made. This, coupled with Fantasia's extremely large budget, meant that the film was unable to turn a profit during its initial release.[17]
1941
Starting with the January 29, 1941 play date in Los Angeles, California, RKO assumed distribution of Fantasia. They had the film's soundtrack remixed into monophonic sound, to make it easier to distribute, and added their logos to the film's solitary title card.
In late 1941, RKO had the 125-minute Fantasia edited down to 81 minutes (done by deleting the entire Toccata and Fugue in D Minor
segment and shortening the live-action Deems Taylor sequences as much
as possible). This version of the film was released nationwide on
January 6, 1942 — the first time Fantasia was given a wide release — with the tagline "Fantasia
Will Amaze Ya!" With a world war now looming, the edited film didn't
capture large enough audiences to become profitable and it quickly
disappeared from the screen. The financial failure of Fantasia
left the Disney studio in difficult financial straits, and made it
necessary to quickly produce a relatively low-budget feature, Dumbo, as their next project.[4]
According to Time magazine, the film was popular with audiences that saw it, and also boosted the classical music industry.[18] However, most sources cite the film as Disney's first great box-office failure, and commentators such as Leonard Maltin blame its initial failure on the public's unwillingness to accept Disney as a popularizer of classical music.
1946
Fantasia was revised once again in 1946, restoring Toccata and Fugue,
but still keeping the Deems Taylor sequences to a minimum. This is the
version most familiar to the public and the version most future releases
of Fantasia would be based upon, and is therefore called the
"General Release Version". It retains all of the animation from the
original, but omits portions of the live action.
1956
Stereo sound was restored to Fantasia in 1956, when it was released in CinemaScope-compatible
SuperScope. Only one operating Fantasound setup, and one
Fantasound-equipped print, had survived by this time; the sound
negatives were stored on nitrate film and had already deteriorated.[19] The output from the four-track Fantasound system was transferred via high-quality telephone lines to an RCA
facility and recorded onto magnetic tape. The magnetic recording was
mixed to create a new final four-channel stereo mix for the widescreen release.[19]
The film was projected in various aspect ratios by actually changing
the anamorphic properties of the lens on the fly by using the fourth
sound track as a control track, much like the original control track was
used to redirect the sound in the 1940 release.[20]
1969
Fantasia did not make a profit until its 1969 rerelease. By then, Fantasia had become immensely popular among teenagers and college students, some of whom would reportedly take drugs such as marijuana and LSD to "better experience" the film.[4] Disney promoted the film using a psychedelic-styled
poster. The rerelease was a major success, especially with the
psychedelic young adult crowd, many of whom would come lie down in the
front row of the theater and experience the film from there.
The film was once again edited for the 1969 release, this time to remove the character Sunflower, a centaur depicted as an African-American girl in the Pastoral Symphony
segment. According to the Memory Hole, "Performing menial duties for
the blonde, white female centaurs, Sunflower is a racial stereotype
along the lines of Amos and Andy, Buckwheat, and Aunt Jemima."[21]
1982
For its 1982 reissue, as motion picture sound technology was advancing, the 1956 Fantasia
sound master was deemed both unusable and unsalvageable. The Disney
Studios decided to completely rerecord the film's soundtrack, and a new
digitally recorded score arranged and conducted by Irwin Kostal
was made. This marked the first time a motion picture's score was
recorded entirely using digital technology. Additional edits included
replacing Deems Taylor's original narration with new introductions
spoken by voice artist Hugh Douglas and removing most of the live
action. This version of Fantasia would be rereleased again in 1985.
1990
For Fantasia's 50th anniversary in 1990, Disney decided to go
back to the original Stokowski recording. Using the 1956 stereo
soundtrack and the 1941 mono soundtrack as his source material, Disney
audio engineer Terry Porter restored the Stokowski soundtrack using
digital technology to an approximation of the original multi-channel
Fantasound mix.[19]
In the meantime, Peter Comandini at YCM Laboratories worked on
restoring the picture from original camera negatives, edited and
duplicate negatives, and, in the cases of some scenes, archival prints.[19]
The film was re-edited to closely resemble the 1946 General Release
Version, save for the retention of the 1969 censorship edit and the
addition of an end credits sequence (played over footage from the
original roadshow version's intermission). This restored version of Fantasia was also released on VHS and laser disc home video in 1991.[4]
2000
For its 60th Anniversary DVD
release in the year 2000, Disney's manager of film restoration, Scott
MacQueen, supervised a restoration and reconstruction of the original
125-minute roadshow version of Fantasia. The visual elements from
the Deems Taylor segments that had been cut from the film in 1942 and
1946 were restored, as was the intermission. However, the original nitrate audio negatives for the long-unseen Taylor scenes had deteriorated several decades earlier, so Disney brought in voice actor Corey Burton to rerecord all of Taylor's lines.
Although it was advertised as the "original uncut" version, the Sunflower edit in Beethoven's Symphony No. 6
was maintained. In this version it was accomplished by digitally
zooming in on certain frames to avoid showing the black centaurette
character. The Disney editor responsible, John Carnochan, was quoted as
saying, "It's sort of appalling to me that these stereotypes were ever
put in."[22]
With the exception of these changes, this is the most complete
version of the film that currently exists. The restored roadshow version
of Fantasia debuted in June 2000 at the Animation Film Festival in Annecy, France; accompanying its sequel, Fantasia 2000.
This restored roadshow version of Fantasia was first released on DVD in 2000, and is the only version of the film to appear in that format. Its sequel Fantasia 2000 soon followed, and a three-disc box set entitled The Fantasia Legacy included both films and a third disc of bonus material. All versions of Fantasia and its sequel were placed on moratorium in late 2004.
2010
Fantasia will be released in a 4-Disc Special Edition
Blu-Ray/DVD combo pack and in a 2-Disc Special Edition DVD on November
30, 2010 alongside Fantasia 2000. The 4-Disc combo pack will include a
Blu-ray and a DVD of Fantasia and a Blu-ray and a DVD of Fantasia 2000. Included in this pack is the Disney/Dali short Destino and other bonus features.[23]
Modern critical reception
The film holds a 98% rating on Rotten Tomatoes, a website which aggregates film reviews, with the consensus, "A landmark in animation and a huge influence on the medium of music video, Disney's Fantasia is a relentlessly inventive blend of the classics with phantasmagorical images."[24]
Most modern critics admire the film greatly, particularly the animation
work, and as an American animated feature film made with an
unprecedented level of artistic ambition.
Still there are some who have taken a more negative view, sometimes labeling it as kitsch. Famed movie critic Pauline Kael
wrote, "'The Sorcerer's Apprentice,' featuring Mickey Mouse, and parts
of other sequences are first-rate Disney, but the total effect is
grotesquely kitschy." The Beethoven sequence is frequently singled out
for criticism, because of the editing of the piece and the juxtaposition
of the piece with the ancient Greek setting. Richard Schickel also criticized the film harshly in his Disney biography The Disney Version, first published in 1967.
Awards
The film won two Special Academy Awards in 1941:
- Walt Disney,
William E. Garity and J.N.A. Hawkins — For their outstanding
contribution to the advancement of the use of sound in motion pictures
through the production of Fantasia (certificate).
- Leopold Stokowski
(and his associates) — For their unique achievement in the creation of a
new form of visualized music in Walt Disney's production Fantasia, thereby widening the scope of the motion picture as entertainment and as an art form (certificate).
In 1990, Fantasia was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".
Fantasia has been twice recognized by the American Film Institute:
Additional material
Disney had wanted Fantasia to be an ongoing project, ideally
with a new release each year. The plan was to repeat some of the scenes
while replacing others with different music and animation, so that each
version of the film would include both familiar material and new
segments. However, the film's disappointing box-office performance
prevented such plans from being realized.
Clair de Lune
One segment intended for the original Fantasia was completely animated, and then left out of the first release. Clair de Lune, based on Claude Debussy's piano piece, was a casualty of Fantasia's
excessive length: the sequence made it to the final pencil test stages
before being deleted. Ink and paint and Technicolor photography were
completed in January 1942 with the intentions of releasing Clair de Lune as a short subject, which would not be done for fifty-four years. Instead, the sequence was later completely recut and rescored as the Blue Bayou segment of Make Mine Music (1946).
A workprint of the original version of Clair de Lune
was finally discovered, restored, and released by Disney as a
stand-alone short subject in 1996; the accompanying Deems
Taylor/Stokowski footage was never found, so edited footage of the
latter from Fantasia's Toccota and Fugue segment was used. This version
of Clair de Lune can be found on disc 3 of the Fantasia Legacy DVD box set, or on the Disney Classic Fantasia DVD (released in 2000) as a special feature. This segment features two cranes flying around a lagoon on a moonlit night.
Credits for Clair de Lune by Claude Debussy
- Direction: Samual Armstrong
- Art Direction: Robert Cormack and Van Luven
- Backgrounds: John Hench, Nino Carbe, and Nick Stahley
- Animation: Cy Young, Bob Totten, Broni Nelken, Harry Hamsel, and Noel Tucker
- Assistant Direction: Lloyd Richardson
Other proposed sequences and Fantasia 2000
Other segments such as Ride of the Valkyries, Swan of Tuonela, Flight of the Bumblebee, Invitation to the Dance, and Adventures in Perambulator were storyboarded but never fully animated, and thus were never put into production for inclusion in a future Fantasia release. Both World War II and overseas costs prevented Disney from revising Fantasia during his lifetime. Other proposed segments that only made it into the conceptual stage include: The Firebird, Petrouchka, Renard, Baby Ballet, Danse Macabre (Saint-Saëns), Don Quixote, Hary Janos, La Mer, The Love for Three Oranges, The Magic Flute, Mosquito, The Planets, Pop Goes the Weasel, Roman Carnival Overture, Schwanda the Bagpiper, and Till Eulenspiegel. The never-realized Flight of the Bumblebee sequence later turned into the Bumble Boogie sequence from Melody Time.
Disney's dream was belatedly and partially fulfilled with the release of Fantasia 2000 in IMAX theaters on January 1, 2000. The film was put into general release half a year later. Fantasia 2000 repurposed The Sorcerer's Apprentice sequence with Mickey Mouse, but otherwise consisted entirely of new material. Angela Lansbury, Steve Martin, James Earl Jones, Quincy Jones, and several other actors and musicians served as hosts of the various sections of the film.
See also
Bibliography
- Barrier, Michael (1999). Hollywood Cartoons: American Animation in Its Golden Age. Oxford: Oxford University Press. ISBN 0-19-516729-5.
- Maltin, Leonard (1980, rev. 1987). Of Mice and Magic: A History of American Animated Cartoons. Penguin Books. ISBN 0-452-25993-2.
- (2001). "Fantasia Publicity" supplemental features from The Fantasia Anthology [DVD release]. Burbank: Disney Enterprises, Inc.
References
- ^ Fantasia at Allmovie; accessed December 7, 2007.
- ^ Dirks, Tim. Fantasia at Film Site; accessed December 7, 2007.
- ^ Box Office Mojo lists Fantasia as the 21st most successful film when its gross receipts are adjusted for inflation. "All Time Box Office". Box Office Mojo.com. http://www.boxofficemojo.com/alltime/adjusted.htm. Retrieved May 11, 2010.
- ^ a b c d e f Fantasia (1940) – Trivia
- ^ Barrier, Michael (1999). Hollywood Cartoons. New York: Oxford University Press. Pg. 243.
- ^ Thomas, Bob (1991). Disney's Art of Animation: From Mickey Mouse to Beauty and the Beast. New York: Hyperion. Pg. 86
- ^ Disney, Roy E., Levine, James, Canemaker, John, and MacQueen, Scott (2001). DVD audio commentary for Fantasia [DVD release]. Burbank, California: Walt Disney Home Entertainment.
- ^ fantasia – Definitions from Dictionary.com
- ^ Gelder, Peter Van (1990). That's Hollywood: A Behind-the-Scenes Look at 60 of the Greatest Films of All Time. New York: Harper Collins. pp. 87–90. ISBN 0060965126.
- ^ http://www.nycballet.com/nutcracker/nutcracker.html
- ^ Culhane, John (1983). "The Pastoral Symphony". In Darlene Geis. Walt Disney's Fantasia (1987 ed.). New York, New York: Harry N. Abrams Inc.. pp. 134. ISBN 0-8109-8078-9.
- ^ http://www.cracked.com/article_15833_the-9-most-racist-disney-characters.html
- ^ http://contexts.org/socimages/2008/03/07/racism-in-disneys-fantasia/
- ^ <http://theanimationempire.blogspot.com/2007/12/racism-in-animation-1-fantasia-bans.html>
- ^ [1]
- ^ Thomas, Frank and Johnston, Ollie (1983). Disney Animation: The Illusion of Life (1981, rev. 1995). Disney Editions.
- ^ Fantasia
- ^ Prairie Pirouette – TIME
- ^ a b c d Aldred, John (Winter 1995). "Fantastic Fantasia". Amps.com. Retrieved July 16, 2007.
- ^ Wasserman, Norman (March 1956). "Special Projection Process Gives 'Fantasia' New Look" International Projectionist. pp. 14–15
- ^ Kick, Russ (2002-11-04). "The Character That Disney Cut From Fantasia". The Memory Hole. Archived from the original on 2008-08-02. http://web.archive.org/web/*/http://www.thememoryhole.org/arts/sunflower.htm. Retrieved 2010-05-17.
- ^ Daly, Steve (November 29, 1991). "New Rating for 'Fantasia':PC". Entertainment Weekly. http://www.ew.com/ew/article/0,,316319,00.html. Retrieved 2007-08-16.
- ^ http://www.dvdizzy.com/
- ^ Rotten Tomatoes - Fantasia
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