fbpx
Wikipedia

Fantasia (1940 film)

January 26, 2023

Fantasia is a 1940 American animated musical anthology film produced and released by Walt Disney Productions, with story direction by Joe Grant and Dick Huemer and production supervision by Walt Disney and Ben Sharpsteen. The third Disney animated feature film, it consists of eight animated segments set to pieces of classical music conducted by Leopold Stokowski, seven of which are performed by the Philadelphia Orchestra. Music critic and composer Deems Taylor acts as the film's Master of Ceremonies who introduces each segment in live action.

Fantasia
Theatrical release poster
Directed by
Story by
Produced by
Starring
Narrated byDeems Taylor
CinematographyJames Wong Howe
Music bySee program
Production
company
Distributed byRKO Radio Pictures
Release date
  • November 13, 1940 (1940-11-13)
Running time
126 minutes[1]
CountryUnited States
LanguageEnglish
Budget$2.28 million[2][3]
Box office$76.4–$83.3 million (United States and Canada)[4][5]

Disney settled on the film's concept in 1938 as work neared completion on The Sorcerer's Apprentice, originally an elaborate Silly Symphony cartoon designed as a comeback role for Mickey Mouse, who had declined in popularity. As production costs surpassed what the short could earn, Disney decided to include it in a feature-length film of multiple segments set to classical pieces with Stokowski and Taylor as collaborators. The soundtrack was recorded using multiple audio channels and reproduced with Fantasound, a pioneering sound system developed by Disney and RCA that made Fantasia the first commercial film shown in stereo and a precursor to surround sound.

Fantasia was first released as a theatrical roadshow that was held in 13 cities across the U.S. between 1940 and 1941; the first began at the Broadway Theatre in New York City on November 13, 1940. While acclaimed by critics, it failed to make a profit owing to World War II's cutting off distribution to the European market, the film's high production costs, and the expense of building Fantasound equipment and leasing theatres for the roadshow presentations. Since 1942, the film has been reissued multiple times by RKO Radio Pictures and Buena Vista Distribution with its original footage and audio being deleted, modified, or restored in each version. When adjusted for inflation, Fantasia is the 23rd highest-grossing film of all time in the U.S.

The Fantasia franchise has grown to include video games, Disneyland attractions, and a live concert series. A sequel, Fantasia 2000, co-produced by Walt's nephew Roy E. Disney, was released in 1999. Fantasia has grown in reputation over the years and is now widely acclaimed as one of the greatest animated films of all time; in 1998, the American Film Institute ranked it as the 58th greatest American film in their 100 Years...100 Movies and the fifth greatest animated film in their 10 Top 10 list. 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".

Program

 
Title screen in the original theatrical trailer

Fantasia opens with live action scenes of members of an orchestra gathering against a blue background and tuning their instruments in half-light, half-shadow. Master of ceremonies Deems Taylor enters the stage (also in half-light, half-shadow) and introduces the program.

  • Toccata and Fugue in D Minor by Johann Sebastian Bach. Live-action shots of the orchestra illuminated in blue and gold, backed by superimposed shadows, fade into abstract patterns. Animated lines, shapes and cloud formations reflect the sound and rhythms of the music.[6]
  • The Nutcracker Suite by Pyotr Ilyich Tchaikovsky. Selections from the 1892 ballet suite underscore scenes depicting the changing of the seasons from summer to autumn to winter. A variety of dances are presented with fairies, fish, flowers, mushrooms, and leaves, including "Dance of the Sugar Plum Fairy", "Chinese Dance", "Arabian Dance", "Russian Dance", "Dance of the Flutes" and "Waltz of the Flowers".[7]
  • The Sorcerer's Apprentice by Paul Dukas. Based on Goethe's 1797 poem "Der Zauberlehrling". Mickey Mouse, the young apprentice of the sorcerer Yen Sid, attempts some of his master's magic tricks but does not know how to control them.[8]
  • Rite of Spring by Igor Stravinsky. A visual history of the Earth's beginnings is depicted to selected sections of the ballet score. The sequence progresses from the planet's formation to the first living creatures, followed by the reign and extinction of the dinosaurs.[9]
  • Intermission/Meet the Soundtrack: The orchestra musicians depart and the Fantasia title card is revealed. After the intermission there is a brief jam session of jazz music led by a clarinettist as the orchestra members return. Then a humorously stylized demonstration of how sound is rendered on film is shown. An animated sound track "character", initially a straight white line, changes into different shapes and colors based on the sounds played.[10]
  • The Pastoral Symphony by Ludwig van Beethoven. A mythical Greco-Roman world of colorful centaurs and "centaurettes", cupids, fauns and other figures from classical mythology is portrayed to Beethoven's music. A gathering for a festival to honor Bacchus, the god of wine, is interrupted by Zeus, who creates a storm and directs Vulcan to forge lightning bolts for him to throw at the attendees.[11]
  • Dance of the Hours by Amilcare Ponchielli. A comic ballet in four sections: Madame Upanova and her ostriches (Morning); Hyacinth Hippo and her servants (Afternoon); Elephanchine and her bubble-blowing elephant troupe (Evening); and Ben Ali Gator and his troop of alligators (Night). The finale finds all of the characters dancing together until their palace collapses.[12]
  • Night on Bald Mountain by Modest Mussorgsky and Ave Maria by Franz Schubert. At midnight the devil Chernabog awakes and summons evil spirits and restless souls from their graves to Bald Mountain. The spirits dance and fly through the air until driven back by the sound of an Angelus bell as night fades into dawn. A chorus is heard singing Ave Maria as a line of robed monks is depicted walking with lighted torches through a forest and into the ruins of a cathedral.[13]

Production

Development

The Sorcerer's Apprentice

 
Leopold Stokowski conducted the film's score.

In 1936, Walt Disney felt that the Disney studio's star character Mickey Mouse needed a boost in popularity. He decided to feature the mouse in The Sorcerer's Apprentice, a deluxe cartoon short based on the 1797 poem written by Johann Wolfgang von Goethe and set to the 1897 orchestral piece by Paul Dukas inspired by the original tale.[14] The concept of matching animation to classical music was used as early as 1928 in Disney's cartoon series, the Silly Symphonies, but he wanted to go beyond the usual slapstick, and produce shorts where "sheer fantasy unfolds ... action controlled by a musical pattern has great charm in the realm of unreality."[15][16] Upon receiving the rights to use the music by the end of July 1937,[17] Disney considered using a well-known conductor to record the music for added prestige. He happened to meet Leopold Stokowski, conductor of the Philadelphia Orchestra since 1912, at Chasen's restaurant in Hollywood, and talked about his plans for the short. Stokowski recalled that he did "like the music"; was happy to collaborate on the project, and offered to conduct the piece at no cost.[18]

Following their meeting, Disney's New York representative ran into Stokowski on a train headed for the East Coast. In writing to Disney, he reported that Stokowski was "really serious in his offer to do the music for nothing. He had some very interesting ideas on instrumental coloring, which would be perfect for an animation medium".[18] In his excited response dated October 26, 1937, Disney wrote that he felt "all steamed up over the idea of Stokowski working with us ... The union of Stokowski and his music, together with the best of our medium, would be the means of a success and should lead to a new style of motion picture presentation." He had already begun working on a story outline, and wished to use "the finest men ... from color ... down to animators"[19] on the short. The Sorcerer's Apprentice was to be promoted as a "special" and rented to theatres as a unique film, outside of the Mickey Mouse cartoon series.[18][20]

An agreement signed by Disney and Stokowski on December 16, 1937, allowed the conductor to "select and employ a complete symphony orchestra" for the recording.[21] Stokowski was paid $5,000 for his work.[22] Disney hired a stage at the Culver Studios in California for the session. It began at midnight on January 9, 1938, and lasted for three hours using eighty-five Hollywood musicians.[23]

Expansion to feature film

As production costs of The Sorcerer's Apprentice climbed to $125,000, it became clearer to Disney and his brother Roy, who managed the studio's finances, that the short could never earn such a sum back on its own.[14] Roy wanted his brother to keep any additional costs on the film to a minimum. He said, "because of its very experimental and unprecedented nature ... we have no idea what can be expected from such a production."[18] Ben Sharpsteen, a production supervisor on Fantasia, noted that its budget was three to four times greater than the usual Silly Symphony, but Disney "saw this trouble in the form of an opportunity. This was the birth of a new concept, a group of separate numbers—regardless of their running time—put together in a single presentation. It turned out to be a concert—something novel and of high quality."[24]

Ideas to produce a complete feature film were pursued in February 1938, when inquiries were made to extend Stokowski's contract.[24] In August, Disney asked Stokowski's representative to have him return to the studios to select material for the new film, which was initially titled The Concert Feature.[18] Disney agreed to pay Stokowski $80,000 plus royalties for his services.[22] The pair further thought of presenting the film with an on-screen host to introduce each number in the program. Both had heard composer and music critic Deems Taylor provide intermission commentary during radio broadcasts of the New York Philharmonic, and agreed he would be most suitable for the role.[25] Disney did contact Taylor about the project, but by then work on Pinocchio, Bambi, and development on his new Burbank studio kept him too busy to work on the new feature.[26] In a change of plans, Taylor was asked during a call on September 3, 1938, leave to come to the studios as soon as possible. He left New York City for Los Angeles by train two days later for a month's visit.[25]

Story meetings and program selection

 
Deems Taylor was the film's Master of Ceremonies, who introduced each segment in live-action interstitial scenes.

Taylor arrived at the studio one day after a series of meetings began to select the musical pieces for The Concert Feature. Disney made story writers Joe Grant and Dick Huemer gather a preliminary selection of music and along with Stokowski, Taylor, and the heads of various departments, discussed their ideas.[24] Each meeting was recorded verbatim by stenographers with participants being given a copy of the entire conversation for review. As selections were considered, a recording of the piece was located and played back at the next gathering.[27] Disney did not contribute much to early discussions; he admitted that his knowledge of music was instinctive and untrained.[28] In one meeting, he inquired about a piece "on which we might build something of a prehistoric theme ... with animals".[29] The group was considering The Firebird by Igor Stravinsky, but Taylor noted that his "Le Sacre du printemps would be something on that order", to which Disney replied upon hearing a recording, "This is marvelous! It would be perfect for prehistoric animals. There would be something terrific in dinosaurs, flying lizards, and prehistoric monsters. There could be beauty in the settings."[30]

Numerous choices were discarded as talks continued, including Moto Perpetuo by Niccolò Paganini with "shots of dynamos, cogs, pistons" and "whirling wheels" to show the production of a collar button. Other deleted material included Prelude in G minor and Troika by Sergei Rachmaninoff, and a rendition of "The Song of the Flea" by Mussorgsky, which was to be sung by Lawrence Tibbett.[31] On September 29, 1938, around sixty of Disney's artists gathered for a two-and-a-half hour piano concert while he provided a running commentary about the new musical feature. A rough version of The Sorcerer's Apprentice was also shown that, according to one attendee, had the crowd applauding and cheering "until their hands were red".[32] The final pieces were chosen the following morning, which included Toccata and Fugue in D minor, Cydalise et le Chèvre-pied by Gabriel Pierné, The Nutcracker Suite, Night on Bald Mountain, Ave Maria, Dance of the Hours, Clair de Lune by Claude Debussy, The Rite of Spring and The Sorcerer's Apprentice.[32] Disney had already begun working out the details for the segments, and showed greater enthusiasm and eagerness as opposed to his anxiety while starting on Pinocchio.[33]

Clair de Lune was soon removed from the Fantasia program, but Disney and his writers encountered problems of setting a concrete story to Cydalise. Its opening march, "The Entry of the Little Fauns", attracted Disney to the piece which at first provided suitable depictions of fauns he wanted. On January 5, 1939, following a search for a stronger piece to fit the mythological theme, the piece was replaced with sections of Beethoven's sixth symphony.[34] Stokowski disagreed with the switch, believing that Disney's "idea of mythology ... is not quite what this symphony is about". He was also concerned about the reception from classical music enthusiasts who would criticize Disney for venturing too far from the composer's intent.[35] Taylor on the other hand welcomed the change, describing it as "a stunning one", and saw "no possible objection to it".[36]

The new feature continued to be known as The Concert Feature or Musical Feature as late as November 1938. Hal Horne, a publicist for Disney's film distributor RKO Radio Pictures, wished for a different title, and gave the suggestion Filmharmonic Concert. Stuart Buchanan then held a contest at the studio for a title that produced almost 1,800 suggestions including Bach to Stravinsky and Bach and Highbrowski by Stokowski. Still, the favorite among the film's supervisors was Fantasia, an early working title that had even grown on Horne, "It isn't the word alone but the meaning we read into it."[37] From the beginning of its development, Disney expressed the greater importance of music in Fantasia compared to his past work: "In our ordinary stuff, our music is always under action, but on this ... we're supposed to be picturing this music—not the music fitting our story."[38] Disney had hoped that the film would bring classical music to people who, like himself, had previously "walked out on this kind of stuff".[39]

Segments

Over 1,000 artists and technicians were used in the making of Fantasia,[40] which features more than 500 animated characters.[41] Segments were color-keyed scene by scene so the colors in a single shot would harmonize between preceding and following ones.[42] Before a segment's narrative pattern was complete, an overall color scheme was designed to the general mood of the music, and patterned to correspond with the development of the subject matter[42] The studio's character model department would also sculpt three-dimensional clay models so the animators could view their subject from all angles.[43] The live action scenes were filmed using the three-strip Technicolor process, while the animated segments were shot in successive yellow, cyan and magenta-exposed frames. The different pieces of film were then spliced together to form a complete print.[44] A multiplane camera that could handle seven levels, three more than the old multiplane camera, was built.[45]

Toccata and Fugue in D Minor

Disney had been interested in producing abstract animation since he saw A Colour Box by Len Lye from 1935. He explained the work done in the Toccata and Fugue was "no sudden idea ... they were something we had nursed along several years but we never had a chance to try".[46] Preliminary designs included those from effects animator Cy Young, who produced drawings influenced by the patterns on the edge of a piece of sound film.[34] In late 1938, Disney hired Oskar Fischinger, a German artist who had produced numerous abstract animated films, including some with classical music, to work with Young. Upon review of three leica reels produced by the two, Disney rejected all three. According to Huemer all Fishinger "did was little triangles and designs ... it didn't come off at all. Too dinky, Walt said."[47] Fischinger, like Disney, was used to having full control over his work and not used to working in a group. Feeling his designs were too abstract for a mass audience,[14] Fishinger left the studio in apparent despair, before the segment was completed, in October 1939.[48] Disney had plans to make the Toccata and Fugue an experimental three-dimensional film, with audiences being given cardboard stereoscopic frames with their souvenir programs, but this idea was abandoned.[46]

The Nutcracker Suite

In The Nutcracker Suite, animator Art Babbitt is said to have credited The Three Stooges as a guide for animating the dancing mushrooms in the Chinese Dance routine. He drew with a music score pinned to his desk to work out the choreography so he could relate the action to the melody and the counterpoint, "those nasty little notes underneath ... so something has to be related to that".[49] The studio filmed professional dancers Joyce Coles and Marjorie Belcher wearing ballet skirts that resembled shapes of blossoms that were to sit above water for Dance of the Flutes. An Arabian dancer was also brought in to study the movements for the goldfish in Arab Dance.[50] Jules Engel also worked on the choreography and color-keying for this sequence.[51] To avoid hard ink outlines, new techniques like transparent paint was used on the cels. The snowflakes used in the snowflake fairies sequence was difficult to draw by hand, so a man named Leonard Pickley, from the Special Effects Department, came up with the idea of using stop-motion animation. Diagrams of real snowflakes were traced by the Ink and Paint Department, who used a material a little heavier that regular cels, and painted them in translucent white. They were then cut out and placed on revolving spools attached to small steel rails. The mechanics was hidden under black velvet as the snowflakes were moved one frame at the time. The hand-drawn animation was added later.[52]

The Sorcerer's Apprentice

 
Disney acting out a scene in The Sorcerer's Apprentice for Taylor and Stokowski.

Animation on The Sorcerer's Apprentice began on January 21, 1938, when James Algar, the director of the segment, assigned animator Preston Blair to work on the scene when Mickey Mouse wakes from his dream.[43] Each of the seven hundred members of staff at the time received a synopsis of Goethe's 1797 poem Der Zauberlehrling, and were encouraged to complete a twenty-question form that requested their ideas on what action might take place.[53] Layout artist Tom Codrick created what Dick Huemer described as "brilliantly colored thumbnails" from preliminary storyboard sketches using gouache paints, which featured bolder use of color and lighting than any previous Disney short.[54] Mickey was redesigned by animator Fred Moore who added pupils to his eyes for the first time to achieve greater ranges of expression.[17][55] Most of the segment was shot in live action, including a scene where a UCLA athlete was asked to run and jump across one of the studio's sound stages with barrels in the way, which was used for reference when Mickey traverses through water.[56]

Rite of Spring

An early concept for Rite of Spring was to extend the story to the age of mammals and the first humans and the discovery of fire and man's triumph. John Hubley, the segment's art director, explained that it was later curtailed by Disney to avoid controversy from creationists, who promised to make trouble should he connect evolution with humans.[57] To gain a better understanding of the history of the planet the studio received guidance from Roy Chapman Andrews, the director of the American Museum of Natural History, English biologist Julian Huxley, paleontologist Barnum Brown, and astronomer Edwin Hubble.[58][19] Animators studied comets and nebulae at the Mount Wilson Observatory, and observed a herd of iguanas and a baby alligator that were brought into the studio.[59] The viewpoint was kept low throughout the segment to heighten the immensity of the dinosaurs.[58]

The Pastoral Symphony

According to Ward Kimball, the animators were "extremely specific on touchy issues". In the making of The Pastoral Symphony Greek mythological segment, the female centaurs were originally drawn bare-breasted, but the Hays office enforcing the Motion Picture Production Code insisted that they discreetly hung garlands around the necks.[60] The male centaurs were also toned down to appear less intimidating to the audience. Originally, the segment included a pair of black centaurs who tended to the others, but these were cut from the film in later releases for sensitivity reasons (see § Controversies).[60]

Dance of the Hours

Dance of the Hours was directed by Norman Ferguson and Thornton Hee and was completed by eleven animators.[61] Most of the story was outlined in a meeting in October 1938, including the creation of the main alligator character, Ben Ali Gator. Its story, direction, layout, and animation underwent several rewrites, yet Disney wanted to present animals perform a legitimate caricature ballet sequence with comedic "slips".[62] The design of the elephants and alligators were based on those by German illustrator Heinrich Kley, while the hippos and ostriches were based on those by cartoonist T. S. Sullivant. To gain a better idea on the animals' movements, the crew visited Griffith Park Zoo in Los Angeles.[63] Animator John Hench was assigned to work on the segment, but resisted as he knew little about ballet. Disney then gave Hench season tickets to the Ballet Russe de Monte Carlo with backstage access so he could learn more about it.[64]

The studio filmed several people in live action to help with the animation of the characters. The lead ostrich, Madmoiselle Upanova, is based on Irina Baronova.[65][55][66] Hyacinth Hippo, the prima ballerina, was inspired by dancers Marge Champion and Tatiana Riabouchinska and actress Hattie Noel who weighed over 200 pounds (91 kg), the animators studying the "least quiver of her flesh, noticing those parts of her anatomy that were subjected to the greatest stress and strain".[67][65] Riabouchinska's husband David Lichine was used for Ben Ali Gator's movements.[66]

Night on Bald Mountain and Ave Maria

Night on Bald Mountain was directed by Wilfred Jackson. Its story closely follows the descriptions that Mussorgsky had written on his original score of the tone poem.[68] Chernabog was animated by Vladimir "Bill" Tytla, his design inspired from a pencil sketch by Swiss artist Albert Hurter of a demon sitting atop a mountain unfolding its wings. Despite Hurter never producing animation for Disney, the studio temporarily hired him to produce pencil sketches for the animators to gain inspiration from.[68] Chernabog and parts of the segment were developed further by Danish-born illustrator Kay Nielsen.[68] Tytla conducted research on all the characters he had animated and being Ukrainian, was familiar with the folklore that the story detailed.[68] Actor Béla Lugosi, best known for his role in Dracula (1931), was brought in to provide reference poses for Chernabog, but Tytla disliked the results. He then got Jackson to pose shirtless which gave him the images he needed.[14] At one point in its development, the idea of using black cats to represent evil was considered, but Disney rejected it as he thought cats had always been used.[69]

The film's program reads that Ave Maria provides "an emotional relief to audiences tense from the shock" of Night on Bald Mountain.[70] Disney did not want much animated movement, but wanted the segment to bring the background artwork to the forefront.[71] An early story outline had the segment end with a Madonna presented on the screen with the clouds, but Disney decided against this as he did not want to suggest overly religious imagery.[72] There were ideas of releasing scents throughout the theater during Fantasia, including the smell of incense during Ave Maria.[73]

The lyrics to Ave Maria were sung by Julietta Novis.[74] On the sleeve notes of the LP version of the sound track, Disney acknowledged the original words, as written by Sir Walter Scott, but said that it had been decided to use words specially written for Fantasia by the distinguished American author Rachel Field.

Soundtrack

Recording

 
The film's score was recorded at the Philadelphia Academy of Music.

Disney wanted to experiment in more sophisticated sound recording and reproduction techniques for Fantasia. "Music emerging from one speaker behind the screen sounds thin, tinkly and strainy. We wanted to reproduce such beautiful masterpieces ... so that audiences would feel as though they were standing at the podium with Stokowski".[75] For the recording of The Sorcerer's Apprentice in January 1938,[23] engineers at Disney collaborated with RCA Corporation for using multiple audio channels which allowed any desired dynamic balance to be achieved upon playback. The stage was altered acoustically with double plywood semi-circular partitions that separated the orchestra into five sections to increase reverberation.[76] Though as the production of Fantasia developed, the setup used for The Sorcerer's Apprentice was abandoned for different multi-channel recording arrangements.[76]

On January 18, 1939, Stokowski signed an eighteen-month contract with Disney to conduct the remaining pieces with the Philadelphia Orchestra.[21] Recording began that April and lasted for seven weeks at the Academy of Music, the orchestra's home which was chosen for its excellent acoustics.[75][77] In the recording sessions, thirty-three microphones were placed around the orchestra that captured the music onto eight optical sound recording machines placed in the hall's basement. Each one represented an audio channel that focused on a different section of instruments: cellos and basses, violins, brass, violas, and woodwinds and tympani. The seventh channel was a combination of the first six while the eighth provided an overall sound of the orchestra at a distance.[75][78][79] A ninth channel provided a click track function for the animators to time their drawings to the music.[78][80] In the forty-two days of recording 483,000 feet (147,000 m) of film was used.[75] Disney paid all the expenses which included the musician's wages, stage personnel, a music librarian, and the orchestra's manager that cost almost $18,000.[21] When the finished recordings arrived at the studio, a meeting was held on July 14, 1939, to allow the artists working on each segment to listen to Stokowski's arrangements, and suggest alterations in the sound to work more effectively with their designs.[81]

Fantasound

Main article: Fantasound

The Disney brothers contacted David Sarnoff of RCA regarding the manufacture of a new system that would "create the illusion that the actual symphony orchestra is playing in the theater." Sarnoff backed out at first for financial reasons, but agreed in July 1939 to make the equipment so long as the Disneys could hold down the estimated $200,000 in costs (equivalent to about $3.9 million in 2021).[82] Though it was not exactly known how to achieve their goal, engineers at Disney and RCA investigated many ideas and tests made with various equipment setups.[76] The collaboration led to the development of Fantasound, a pioneering stereophonic surround sound system which innovated some processes widely used today, including simultaneous multitrack recording, overdubbing, and noise reduction.[78]

Fantasound, developed in part by Disney engineer William Garity, employed two projectors running at the same time. With one containing the picture film with a mono soundtrack for backup purposes, the other ran a sound film that was mixed from the nine tracks recorded at the Academy to four: three of which contained the audio for the left, center, and right stage speakers respectively, while the fourth became a control track with amplitude and frequency tones that drove variable-gain amplifiers to control the volume of the three audio tracks.[76] In addition were three "house" speakers placed on the left, right, and center of the auditorium that derived from the left and right stage channels which acted as surround channels.[78] As the original recording was captured at almost peak modulation to increase signal-to-noise ratio, the control track was used to restore the dynamics to where Stokowski thought they should be. For this, a tone-operated gain-adjusting device was built to control the levels of each of the three audio tracks through the amplifiers.[78]

The illusion of sound traveling across the speakers was achieved with a device named the "pan pot", which directed the predetermined movement of each audio channel with the control track. Mixing of the soundtrack required six people to operate the various pan pots in real time, while Stokowski directed each level and pan change which was marked on his musical score. To monitor recording levels, Disney used oscilloscopes with color differentiation to minimize eye fatigue.[83] To test recording equipment and speaker systems, Disney ordered eight electronic oscillators from the newly established Hewlett-Packard company.[84][85] Between the individual takes, prints, and remakes, approximately three million feet of sound film was used in the production of Fantasia.[75] Almost a fifth of the film's budget was spent on its recording techniques.[86]

Release history

Theatrical runs

1940–1941 roadshows with Fantasound

 
The film's first roadshow opened at the Broadway Theatre in New York City on November 13, 1940.

RKO balked at the idea of distributing Fantasia, which it described as a "longhair musical",[87] and believed its duration of two hours and five minutes plus intermission was too long for a general release.[88][89] It relaxed its exclusive distribution contract with Disney, who wanted a more prestigious exhibit in the form of a limited-run roadshow attraction. A total of thirteen roadshows were held across the United States; each involving two daily screenings with seat reservations booked in advance at higher prices and a fifteen-minute intermission. Disney hired film salesman Irving Ludwig to manage the first eleven engagements,[90] who was given specific instructions regarding each aspect of the film's presentation, including the setup of outside theater marquees and curtain and lighting cues. Patrons were taken to their seats by staff hired and trained by Disney,[91] and were given a program booklet illustrated by Gyo Fujikawa.[92]

The first roadshow opened at the Broadway Theatre in New York City on November 13, 1940.[92] The Disneys had secured a year's lease with the venue that was fully equipped with Fantasound, which took personnel a week working around the clock to install.[93] Proceeds made on the night went to the British War Relief Society following the Battle of Britain.[94] Ticket demand was so great that eight telephone operators were employed to handle the extra calls while the adjoining store was rented out to cater the box office bookings.[95] Fantasia ran at the Broadway for forty-nine consecutive weeks, the longest run achieved by a film at the time.[96] Its run continued for a total of fifty-seven weeks until February 28, 1942.[97]

The remaining twelve roadshows were held throughout 1941, which included a 39-week run[96] at the Carthay Circle Theatre in Los Angeles from January 29.[98][99] Fantasia broke the long-run record at the venue in its twenty-eighth week; a record previously held by Gone with the Wind.[100] Its eight-week run at the Fulton Theatre in Pittsburgh attracted over 50,000 people with reservations being made from cities located one hundred miles from the venue.[101] Engagements were also held at the Geary Theatre in San Francisco for eight months,[92] the Hanna Theatre in Cleveland for nine weeks,[102][103] the Majestic Theatre in Boston,[92] the Apollo Theater in Chicago,[104] and also in Philadelphia, Detroit, Buffalo, Minneapolis, Washington, D.C., and Baltimore.[105]

Fantasia grossed over $300,000 in the first sixteen weeks in New York; over $20,000 in the opening five weeks in San Francisco; and almost the same amount in the first ten weeks both in Los Angeles and Boston.[95] The first eleven roadshows earned a total of $1.3 million by April 1941,[96] but the $85,000 in production and installation costs of a single Fantasound setup,[78]<[106] along with theatres having to be leased,[107] forced Disney to exceed their loan limits.[108] The onset of the Second World War prevented plans for a potential release in Europe, normally the source of as much as forty-five per cent of the studio's income.[94] Up to eighty-eight engagements were outlined across five years, but wartime demands for material limited the number of Fantasound prints to sixteen.[96] All but one of the Fantasound setups were dismantled and given to the war effort.[2] Upon acquiring the film's distribution rights in April 1941, RKO initially continued the roadshow booking policy but presented the film in mono, which was easier to exhibit.[109][96] The combined average receipts from each roadshow was around $325,000, which placed Fantasia at an even greater loss than Pinocchio.[110]

1942–1963 runs

Disney allowed RKO to handle the general release of Fantasia, but fought their decision to have the film cut. He gave in as the studio needed as much income as possible to remedy its finances, but refused to cut it himself, "You can get anybody you want to edit it ... I can't do it."[111] With no input from Disney, musical director Ed Plumb and Ben Sharpsteen reduced Fantasia to one hour and forty minutes at first, then to one hour and twenty minutes by removing most of Taylor's commentary and the Toccata and Fugue.[108][112] Fantasia was re-released in January 1942 at more popular prices with a mono soundtrack, and was placed on the lower half of double bills with the Western film Valley of the Sun.[113]

RKO reissued Fantasia once more on September 1, 1946, with the animated sequences complete and the scenes of Taylor, Stokowski, and the orchestra restored but shortened. Its running time was restored to one hour and fifty-five minutes. This edit would be the standard form for subsequent re-releases, and was the basis for the 1990 restoration.[89]

"I wanted a special show just like Cinerama plays today ... I had Fantasia set for a wide screen. I had dimensional sound ... To get that wide screen I had the projector running sideways ... I had the double frame. But I didn't get to building my cameras or my projectors because the money problem came in ... The compromise was that it finally went out standard with dimensional sound. I think if I'd had the money and I could have gone ahead I'd have a really sensational show at that time."

—Walt Disney on the widescreen release in 1956.[110]

By 1955, the original sound negatives began to deteriorate, though a four-track copy had survived in good condition. Using the remaining Fantasound system at the studio, a three-track stereo copy was transferred across noise-free telephone wires onto magnetic film at an RCA facility in Hollywood.[2][44] This copy was used when Fantasia was reissued in stereo by Buena Vista Distribution in SuperScope, a derivative of the anamorphic widescreen CinemaScope format, on February 7, 1956.[89] The projector featured an automatic control mechanism designed by Disney engineers that was coupled to a variable anamorphic lens, which allowed the picture to switch between its Academy standard aspect ratio of 1.33:1 to the wide ratio of 2.35:1 in twenty seconds without a break in the film. This was achieved by placing the cues that controlled the mechanism on a separate track in addition to the three audio channels. Only selected parts of the animation were stretched, while all live action scenes remained unchanged.[114] This reissue garnered some criticism from viewers, as the widescreen format led to the cropping and reframing of the images.[115]

On February 20, 1963, Fantasia was re-released in both standard and SuperScope versions with stereo sound, though existing records are unclear. Its running time was fifty-six seconds longer than the previous issue which is unexplained.[89] This was the final release that occurred before Disney's (and Taylor's) death in 1966.[89]

1969–1990 runs

 
1969 psychedelic-style re-release poster.

Fantasia began to make a profit from its $2.28 million budget after its return to theaters on December 17, 1969.[2][89] The film was promoted with a psychedelic-styled advertising campaign, and it became popular among teenagers and college students who reportedly appreciated it as a psychedelic experience.[116] Animator Ollie Johnston recalled that young people "thought we were on a trip when we made it ... every time we'd go to talk to a school or something, they'd ask us what we were on."[117] The release is also noted for the removal of four scenes from The Pastoral Symphony over racial stereotyping. Fantasia was issued on a regular basis, typically for exhibition in art houses in college towns, until the mid-1970s.[89]

The film was reissued nationwide once more on April 15, 1977 (the same year as Stokowski's death), this time with simulated stereo sound.[2][94] This edit featured the RKO distribution logo being replaced with that of Buena Vista Distribution, since RKO had not been part of a release since 1946. It had not been removed earlier as the credit sequence would have required to be re-shot. A two-and-a-half-minute reduction in the film's running time in this version remains unclear in existing records.[89]

In 1980, the studio shipped a damaged segment of The Nutcracker Suite to various film restoration companies; each advised that the sound recording could not be upgraded to a quality suitable for theatre screenings.[118] By early 1982, Disney decided to replace the Stokowski soundtrack with a new, digital recording in Dolby Stereo with conductor Irwin Kostal. Disney executive Ron W. Miller said that the original had degraded and "no longer matched the extraordinary visuals."[119] Kostal directed a 121-piece orchestra and 50-voice choir for the recording that took place over 18 sessions at CBS Studio Center in Los Angeles and cost $1 million to produce.[119][120] Kostal had the task of pacing his conducting to match Stokowski's, but chose Nikolay Rimsky-Korsakov's orchestration of Night on Bald Mountain instead of Stokowski's own arrangement that was used in the original. The new recording also corrected a two-frame lag in projection caused by the recording techniques used at the time the film was made.[3] The Kostal soundtrack was prepared for the film's reissue from April 2, 1982, which had Taylor's scenes replaced with briefer voiceover narration from Hugh Douglas as the studio felt audiences by now had become "more sophisticated and knowledgeable about music."[89][3]

The 1982 version was reissued from February 1985, which kicked off with a run at the Plitt Century Plaza Theatre in Los Angeles that was fitted with the HPS-4000 digital speaker system. This allowed the digital stereo recording of the Kostal soundtrack to be presented for the first time, and made Fantasia the first theatrical feature film presented in digital stereo sound.[121] The standard recording was used for the film's wide release to around 400 theaters.[122] This time, actor Tim Matheson provided the narration.[123]

For its fiftieth anniversary reissue, Fantasia underwent a two-year restoration process that began with a six-month search to locate the original negatives, which had been in storage since 1946, and piece them together. This was the first time since then that a print of the film had been prepared using the original negative and not a copy.[124] A new print was formed that was identical to the 1946 version with Taylor's introductions restored but with a new end credits sequence added. As the original opening shots of Rite of Spring could not be found, footage from the Disney educational film A World is Born, which used footage from the segment, was used instead. This was also the case for a sequence in The Pastoral Symphony, so a duplicate was used.[44] Each of the 535,680 frames were restored by hand with an untouched print from 1951 used for guidance on the correct colors and tone.[124][125] Theaters that agreed to screen the film were required to install specific stereo sound equipment and present it in its original 1.33:1 aspect ratio.[117][126] The 1990 reissue also had the Stokowski soundtrack restored, which underwent digital remastering by Terry Porter who worked with the 1955 magnetic soundtrack. He estimated 3,000 pops and hisses were removed from the recording.[77][78][126] Released on October 5, 1990, the reissue grossed $25 million domestically.[127]

Home media

Audio

Disney considered releasing the film's soundtrack around the time of the film's roadshow release, but this idea was not realized.[21] The soundtrack was first released as a mono three LP set[128] in sixteen countries[129] by Disneyland and Buena Vista Records in 1957, containing the musical pieces without the narration. A stereo edition LP was issued by Buena Vista Records in 1961.[130] Disney was required to obtain permission from Stokowski, who initially rejected its sale unless the Philadelphia Orchestra Association received a share of the royalties.[129]

The Kostal recording was released on two CDs, two LPs and two audio cassettes by Buena Vista Records, in 1982.[119][131][132]

In September 1990, the remastered Stokowski soundtrack was released on CD and audio cassette by Buena Vista Records.,[133][134] and was later re-released in 2006. In the United States, it debuted the Billboard 200 chart at number 190, its peak position, for the week of November 17, 1990.[135] Two months after its release, the album was certified gold by the Recording Industry Association of America (RIAA) for 500,000 copies sold in the United States. In January 1993, it was certified platinum for sales in excess of one million copies.[136]

For the film's 75th anniversary in 2015, the Stokowski and Kostal recordings were released by Walt Disney Records on a four-disc album as the fifth volume of The Legacy Collection. The set includes Stokowski's recording of the deleted Clair de Lune segment, and a recording of The Sorcerer's Apprentice and Peter and the Wolf (from Make Mine Music) with added narration by Sterling Holloway.[137]

Video

Fantasia has received four home video releases. The first, featuring the 1990 restored theatrical version, was released on VHS, Betamax and LaserDisc on November 1, 1991, as part of the Walt Disney Classics line. The original soundtrack returned when Fantasound was also recreated in Dolby Stereo for the film's 1990 theatrical release. The result, named "Fantasound 90," was used as a basis of the audio for these releases.[138] The release was limited to just 50 days, prompting 9.25 million advance orders for cassettes and a record 200,000 for discs, doubling the figure of the previous record. The "Deluxe Edition" package included the film, a "making of" feature, a commemorative lithograph, a 16-page booklet, a two-disc soundtrack of the Stokowski score, and a certificate of authenticity signed by Roy E. Disney, the nephew of Walt.[127] In 1992, Fantasia became the biggest-selling sell-through cassette of all time in the US with 14.2 million copies being purchased.[139] The record was surpassed later that year by Beauty and the Beast.[140] By October 1994, 21.7 million copies of the video had been sold worldwide.[141] The video portion of this was also released outside of the U.S. as a DVD in 2000, again under the "Walt Disney Classics" banner (but with 5.1 surround sound featured in the 2000 US DVD release).[142]

In November 2000, Fantasia was released on video for the second time, this time along with Fantasia 2000, on DVD with 5.1 surround sound. The films were issued both separately and in a three-disc set called The Fantasia Anthology. A variety of bonus features were included in the bonus disc, The Fantasia Legacy. This edition attempted to follow as closely as possible the runtime and format of the original roadshow version, and included additional restored live action footage of Taylor and the orchestra, including the bookends to the film's intermission.[143] Since the 2000 release, Taylor's voice was re-recorded throughout by Corey Burton because most of the audio tracks to Taylor's restored scenes had deteriorated to the point that they could no longer be used.[144]

Both films were reissued again by Walt Disney Studios Home Entertainment in November 2010 separately, as a two-disc DVD/Blu-ray set and a combined DVD and Blu-ray four-disc set (named the "Fantasia 2 Movie Collection") that featured 1080p high-definition video and 7.1 surround sound.[145] The 2010 version of Fantasia featured a new restoration by Reliance MediaWorks and a new sound restoration,[146] but was editorially identical to the 2000 version.[147] This also marked the first time the roadshow version was released in Europe. Fantasia was withdrawn from release and returned to the "Disney Vault" moratorium on April 30, 2011.[148][149]

In 2021, both films, along with the 2018 compilation Celebrating Mickey, a collection of 13 Mickey Mouse shorts, were reissued on DVD, Blu-ray, and digitally as part of the U.S. Disney Movie Club exclusive The Best of Mickey Collection.[150] They were also released for the first time on multiple U.S. purchased streaming platforms, including Movies Anywhere and its retailers.[151][152]

Reception

Critical response

Early reviews

 
The film opened at the Carthay Circle Theatre on January 30, 1941.

Fantasia garnered significant critical acclaim at the time of release and was seen by some critics as a masterpiece.[153] The West Coast premiere at the Carthay Circle Theatre was a grand affair, attracting some 5000 people, including Shirley Temple, Cecil B. DeMille, Forrest Tucker, James Cagney, Robert Montgomery, James Murphy, Edgar Bergen, and many other notables in the film industry.[153] Among those at the film's premiere was film critic Edwin Schallert of the Los Angeles Times who considered the film to be a magnificent achievement in film which would go down in cinematic history as a landmark film, noting the rapturous applause the film received by the audience during the various interludes. He stated that Fantasia was "caviar to the general, ambrosia and nectar for the intelligentsia" and considered the film to be "courageous beyond belief".[153] Music critic of the newspaper, Isabel Morse Jones, was highly praising of the soundtrack to the film, believing it to be a "dream of a symphony concert", an "enormously varied concert of pictorial ideas, of abstract music by acknowledged composers, of performers Leopold Stokowski and orchestra players of Hollywood and Philadelphia, and, for the vast majority, new and wonderful sound effects".[153] Bosley Crowther of The New York Times, also at the premiere, noted that "motion-picture history was made last night ... Fantasia dumps conventional formulas overboard and reveals the scope of films for imaginative excursion ... Fantasia ... is simply terrific."[94] Peyton Boswell, an editor at Art Digest, called it "an aesthetic experience never to be forgotten".[106] Time magazine described the premiere as "stranger and more wonderful than any of Hollywood's" and the experience of Fantasound "as if the hearer were in the midst of the music. As the music sweeps to a climax, it froths over the proscenium arch, boils into the rear of the theatre, all but prances up and down the aisles."[59] Dance Magazine devoted its lead story to the film, saying that "the most extraordinary thing about Fantasia is, to a dancer or balletomane, not the miraculous musical recording, the range of color, or the fountainous integrity of the Disney collaborators, but quite simply the perfection of its dancing".[94] Variety also hailed Fantasia, calling it "a successful experiment to lift the relationship from the plane of popular, mass entertainment to the higher strata of appeal to lovers of classical music".[154] The Chicago Tribune assigned three writers to cover the film's Chicago premiere: society columnist Harriet Pribble; film critic Mae Tinee; and music critic Edward Barry. Pribble left amazed at the "brilliantly-attired audience", while Tinee felt the film was "beautiful ... but it is also bewildering. It is stupendous. It is colossal. It is an overwhelmingly ambitious orgy of color, sound, and imagination." Barry was pleased with the "program of good music well performed ... and beautifully recorded" and felt "pleasantly distracted" from the music to what was shown on the screen.[104] In a breakdown of reviews from both film and music critics, Disney author Paul Anderson found 33% to be "very positive", 22% both "positive" and "positive and negative", and 11% negative.[155]

Those who adopted a more negative view at the time of the film's release came mostly from the classical music community. Many found fault with Stokowski's rearrangements and abridgements of the music. Igor Stravinsky, the only living composer whose music was featured in the film, expressed displeasure at how in Stokowski's arrangement of The Rite of Spring, "the order of the pieces had been shuffled, and the most difficult of them eliminated", and criticized the orchestra's performance, observing that the simplification of the score "did not save the musical performance, which was execrable".[156][157] Other composers and music critics leveled criticism at the premise of the film itself, arguing that presenting classical music with visual images would rob the musical pieces of their integrity. Composer and music critic Virgil Thomson praised Fantasound which he thought offered "good transmission of music", but disliked the "musical taste" of Stokowski, with exception to The Sorcerer's Apprentice and The Rite of Spring.[94] Olin Downes of The New York Times too hailed the quality of sound that Fantasound presented, but said, "much of Fantasia distracted from or directly injured the scores".[94] Film critic Pauline Kael dismissed parts of Fantasia as "grotesquely kitschy".[158] Some parents resisted paying the higher roadshow prices for their children, and several complained that the Night on Bald Mountain segment had frightened them.[111] There were also a few negative reactions that were more political in nature, especially since the film's release happened at a time when Nazi Germany reigned supreme in Europe. One review of the film in this manner, written by Dorothy Thompson for The New York Herald Tribune on November 25, 1940, was especially harsh. Thompson claimed that she "left the theater in a condition bordering on nervous breakdown", because the film was a "remarkable nightmare". Thompson went on to compare the film to rampant Nazism, which she described as "the abuse of power" and "the perverted betrayal of the best instincts". Thompson also claimed that the film depicted nature as being "titanic" while man was only "a moving lichen on the stone of time". She concluded that the film was "cruel", "brutal and brutalizing", and a negative "caricature of the Decline of the West". In fact, Thompson claimed that she was so distraught by the film that she even walked out of it before she saw the two last segments, Night on Bald Mountain and Ave Maria, because she did not want to be subject to any more of the film's "brutalization".[159]

Later reviews

On the review aggregator website Rotten Tomatoes, 95% of 56 critics' reviews are positive, with an average rating of 8.6/10. The website's consensus reads, "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."[160] Metacritic, which uses a weighted average, assigned the film a score of 96 out of 100, based on 18 critics, indicating "universal acclaim".[161] TV Guide awarded the film four stars, calling it "the most ambitious animated feature ever to come out of the Disney studios", noting how the film "integrates famous works of classical music with wildly uneven but extraordinarily imaginative visuals that run the gamut from dancing hippos to the purely abstract".[162] Roger Ebert of the Chicago Sun-Times rated the film four stars out of four, and noted that throughout Fantasia, "Disney pushes the edges of the envelope".[163] However, Empire magazine only rated it 2 stars out of 5 (poor), concluding "this is a very patchy affair - while some of the animated pieces work, others come across as downright insane".[164] Remarks have also been made about Fantasia not being a children's film. Religion writer Mark I. Pinsky considers Fantasia to be one of the more problematic of Disney's animated features in that it was intended as much as for adults as children and not what people had come to expect.[165]

Awards and honors

Fantasia was ranked fifth at the 1940 National Board of Review Awards in the Top Ten Films category.[166] Disney and Stokowski won a Special Award for the film at the 1940 New York Film Critics Circle Awards.[167] Fantasia was the subject of two Academy Honorary Awards on February 26, 1942—one for Disney, William Garity, John N. A. Hawkins, and the RCA Manufacturing Company for their "outstanding contribution to the advancement of the use of sound in motion pictures through the production of Fantasia", and the other to 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".[168]

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".[169] On the 100th anniversary of cinema in 1995, the Vatican included Fantasia in its list of 45 "great films" made under the Art category; the others being Religion and Values.[170] Fantasia is featured in three lists that rank the greatest American films as determined by the American Film Institute. The film ranked number 58 in 100 Years... 100 Movies in 1998,[171] before it was dropped from its ranking in the 10th Anniversary revision in 2007,[172] though it was nominated for inclusion.[173] The 10 Top 10 list formed in 2008 placed Fantasia fifth under Animation.[171]

Controversies

See also: Disney animators' strike

In April 1942, the Irish Film Censor insisted the film cut Taylor's scientific introduction to The Rite of Spring due to its "materialistic portrayal of the origins of life".[174]

In the late 1960s, four shots from The Pastoral Symphony were removed that depicted two characters in a racially stereotyped manner. A black centaurette called Sunflower was depicted polishing the hooves of a white centaurette, and a second named Otika appeared briefly during the procession scenes with Bacchus and his followers.[175] According to Disney archivist David Smith, the sequence was aired uncut on television in 1963 before the edits were made for the film's 1969 theatrical reissue.[176] John Carnochan, the editor responsible for the change in the 1991 video release, said: "It's sort of appalling to me that these stereotypes were ever put in".[177] Film critic Roger Ebert commented on the edit: "While the original film should, of course, be preserved for historical purposes, there is no need for the general release version to perpetrate racist stereotypes in a film designed primarily for children."[178] The edits have been in place in all subsequent theatrical and home video reissues.[178] However, fans online took it upon themselves to restore the cut scenes back into the movie.[179][180][181]

In May 1992, the Philadelphia Orchestra Association filed a lawsuit against The Walt Disney Company and Buena Vista Home Video. The orchestra maintained that as a co-creator of Fantasia, the group was entitled to half of the estimated $120 million in profits from video and laser disc sales.[182] The orchestra dropped its case in 1994 when the two parties reached an undisclosed settlement out of court.[183] British music publisher Boosey & Hawkes filed a further lawsuit in 1993, contending that Disney did not have the rights to distribute The Rite of Spring in the 1991 video releases because the permission granted to Disney by Stravinsky in 1940 was only in the context of a film to be shown in theaters.[184] A federal district court backed Boosey & Hawkes's case in 1996,[185][186] but the Second Circuit Court of Appeals reversed the ruling in 1998, stating that Disney's original "license for motion picture rights extends to video format distribution".[187][188]

Additional material

Disney had wanted Fantasia to be an ongoing project, with a new edition being released every few years.[189] His plan was to replace one of the original segments with a new one as it was completed, so audiences would always see a new version of the film.[92] From January to August 1941, story material was developed based on additional musical works, including Ride of the Valkyries by Richard Wagner, The Swan of Tuonela by Jean Sibelius, Invitation to the Dance by Carl Maria von Weber, the Polka and Fugue from Schwanda the Bagpiper by Jaromír Weinberger, a "baby ballet" set to Berceuse by Frédéric Chopin and a "bug ballet" set to Flight of the Bumblebee by Nikolai Rimsky-Korsakov,[14][92] which was later adapted into the Bumble Boogie segment in Melody Time (1948). The film's disappointing initial box office performance and the USA's entry into World War II brought an end to these plans.[190] Deems Taylor prepared introductions for The Firebird by Stravinsky, La Mer by Claude Debussy, Adventures in a Perambulator by John Alden Carpenter, Don Quixote by Richard Strauss, and Pictures at an Exhibition by Mussorgsky "to have them for the future in case we decided to make any one of them".[189][191]

Another segment, Debussy's Clair de lune, was developed as part of the film's original program. After being completely animated, it was cut out of the final film to shorten its lengthy running time. The animation depicted two Great white herons flying through the Florida Everglades on a moonlit night, with more focus towards the segment's background art than story and animation. The sequence was later edited and re-scored for the Blue Bayou segment in Make Mine Music (1946). In 1992, a workprint of the original was discovered and Clair de Lune was restored, complete with the original soundtrack of Stokowski with the Philadelphia Orchestra. It was included as a bonus feature in The Fantasia Anthology DVD in 2000.[192]

Destino, a collaboration between Walt Disney and surrealist artist Salvador Dalí, was also considered for inclusion as a future Fantasia segment, but was shelved until it was re-discovered during production of Fantasia 2000.

Legacy

Sequel

"Fantasia is timeless. It may run 10, 20 or 30 years. It may run after I'm gone. Fantasia is an idea in itself. I can never build another Fantasia. I can improve. I can elaborate. That's all."

—Walt Disney[14]

In 1980, the Los Angeles Times reported that Wolfgang Reitherman and Mel Shaw had begun work on Musicana, "an ambitious concept mixing jazz, classical music, myths, modern art and more, following the old Fantasia format".[193] Animation historian Charles Solomon wrote that development took place between 1982 and 1983, which combined "ethnic tales from around the world with the music of the various countries". Proposed segments for the film included a battle between an ice god and a sun goddess set to Finlandia by Sibelius, one set in the Andes to the songs of Yma Sumac, another featuring caricatures of Louis Armstrong and Ella Fitzgerald and an adaptation of The Emperor's Nightingale which would have featured Mickey as the nightingale's owner, similar to his role in The Sorcerer's Apprentice. The project was shelved in favor of Mickey's Christmas Carol,[194] though the artwork made for The Emperor's Nightingale would later be used for a book adaptation by Teddy Slater in 1992.

Roy E. Disney, the nephew of Walt, co-produced Fantasia 2000 which entered production in 1990 and features seven new segments performed by the Chicago Symphony Orchestra with conductor James Levine.[195] The Sorcerer's Apprentice is the only segment retained from the original film. Fantasia 2000 premiered at Carnegie Hall on December 17, 1999 as part of a five-city live concert tour, followed by a four-month engagement in IMAX cinemas[196] and a wide release in regular theatres, in 2000.[197]

Early development for a third film began in 2002, with a working title of Fantasia 2006. The proposed segments included The Little Matchgirl by Roger Allers, One by One by Pixote Hunt, Lorenzo by Mike Gabriel, and Destino by Dominique Monféry.[198] The project was shelved in 2004, with the proposed segments released as individual short films.[199]

On October 25, 2019, it was announced that Disney is developing a project based on Fantasia for its streaming service, Disney+.[200]

Live-action adaptations

Parodies and spin-offs

Fantasia is parodied in A Corny Concerto, a Warner Bros. cartoon from 1943 of the Merrie Melodies series directed by Bob Clampett. The short features Elmer Fudd[202] in the role of Taylor, wearing his styled glasses, who introduces two segments set to pieces by Johann Strauss (Tales from the Vienna Woods and the Blue Danube Waltz, the former featuring Porky and Bugs and the latter featuring Daffy). In 1976, Italian animator Bruno Bozzetto produced Allegro Non Troppo, a feature-length parody of Fantasia.[203]

The animated television series The Simpsons references Fantasia in a few episodes. Matt Groening, the creator of the series, expressed a wish to make a parody film named Simpstasia; it was never produced, partly because it would have been too difficult to write a feature-length script.[204] In "Treehouse of Horror IV", director David Silverman had admired the animation in Night on Bald Mountain, and made the first appearance of Devil Flanders resemble Chernabog.[205] The episode "Itchy & Scratchy Land" references The Sorcerer's Apprentice in a snippet titled "Scratchtasia", which features the music and several shots parodying it exactly.[206]

In 2014, BBC Music created a music education scheme similar to Fantasia called Ten Pieces, intended to introduce children to classical music. Spanning two films (in 2014 and 2015), several pieces featured in the Fantasia films are also included.[207]

The 2018 film Teen Titans Go! To the Movies references Fantasia during the musical sequence "My Superhero Movie".[citation needed]

Theme parks

 
The Sorcerer's Hat in Disney's Hollywood Studios.

From 2001 to 2015, the Sorcerer's Hat was the icon of Disney's Hollywood Studios, one of the four theme parks located at Walt Disney World Resort. The structure was of the magic hat from The Sorcerer's Apprentice.[208] Also located at the resort is Fantasia Gardens, a miniature golf course that integrates characters and objects from the film in each hole.[209] The fireworks and water show Fantasmic! features scenes from The Sorcerer's Apprentice and other Fantasia segments on water projection screens, and involves the plot of Mickey as the apprentice doing magic whilst also battling the Disney Villains.[210]

For the 20th anniversary of Disneyland Paris, Mickey was depicted in a special version of his Sorcerer's Apprentice outfit with his friends wearing similar outfits. The "Night on Bald Mountain" segment is featured in the Storybook Land Canal Boats attraction at Disneyland Park in Paris.[211]

Video games

In 1983, Atari released a game called Sorcerer's Apprentice for the Atari 2600, based on that segment of Fantasia. The player, as Mickey Mouse, must collect falling stars and comets which will prevent the marching brooms from flooding Yen Sid's cavern.[212]

In 1991, a side-scrolling Fantasia video game developed by Infogrames was released for the Sega Mega Drive/Genesis system. The player controls Mickey Mouse, who must find missing musical notes scattered across four elemental worlds based upon the film's segments.[213]

There are several film reel levels based on some of the movie's segments such as Sorcerer's Apprentice and Night on Bald Mountain that appear in the Epic Mickey games. Yen Sid and Chernabog also make cameo appearances in the games (Yen Sid the sorcerer from The Sorcerer's Apprentice narrates the openings and endings of the two games and served as the creator of the Wasteland. Chernabog the demon from the Night on Bald Mountain/Ave Maria segment appears as a painting in the first game and appears in the Night on Bald Mountain film reel levels in the second).[214]

The Disney/Square Enix crossover game series Kingdom Hearts features Chernabog as a boss in the first installment.[215] The Night on Bald Mountain piece is played during the fight. Yen Sid appears frequently in the series beginning with Kingdom Hearts II, voiced in English by Corey Burton. Symphony of Sorcery, a world based on the movie, appears in Kingdom Hearts 3D: Dream Drop Distance. Like the Timeless River world in Kingdom Hearts II, it is featured as a period of Mickey Mouse's past.[216]

Fantasia: Music Evolved, a music game, was developed by Harmonix in association with Disney Interactive for the Xbox 360 and Xbox One consoles. The game utilizes the Kinect device to put players in control of music in a manner similar to Harmonix' previous rhythm games, affecting the virtual environment and interactive objects within it. The game features licensed contemporary rock music such as Queen and Bruno Mars.[217]

Mickey, in his Sorcerer's Apprentice guise, appears as a playable character in Disney Infinity.[218]

Concert

A live concert presentation of the film named Disney Fantasia: Live in Concert, showcases various segments from both Fantasia and Fantasia 2000. The concert version features a live symphony orchestra and piano soloist accompanying projected high definition video segments. The Fantasia concert was still touring throughout the world as late as 2022.[219][220][221]

Television

Several elements from the film appear in television series Once Upon a Time. The hat from The Sorcerer's Apprentice appears in the fourth season episode "A Tale of Two Sisters". As the series progressed, the hat was shown to have the ability to absorb others, and those it absorbed would appear as a star on the hat. The Sorcerer's Apprentice himself makes an appearance, where he is an old man who guards the hat in the Enchanted Forest.[222]

Chernabog from Night On Bald Mountain also makes an appearance in the episode "Darkness on the Edge of Town".[223]

Credits

Musical score conducted by Leopold Stokowski. Performed by the Philadelphia Orchestra, except as noted.

Segment Personnel
Live-action scenes
  • Master of Ceremonies and narrator: Deems Taylor
  • Cinematography: James Wong Howe
Toccata and Fugue in D Minor
The Nutcracker Suite
  • Musical score: The Nutcracker Suite Op. 71a by Pyotr Ilyich Tchaikovsky (excerpts)
  • Director: 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 Sorcerer's Apprentice
  • Musical score: The Sorcerer's Apprentice by Paul Dukas
    • Performed by an orchestra of Los Angeles musicians, conducted by Stokowski.
  • Director: 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
Rite of Spring
  • Musical score: The Rite of Spring by Igor Stravinsky (abridged and arranged by Leopold Stokowski)
  • Directors: Bill Roberts and Paul Satterfield
  • Story development and 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
Intermission/Meet the Soundtrack
  • Narrator: Deems Taylor
  • Directors: Ben Sharpsteen and David D. Hand
  • Animation: Joshua Meador, Art Palmer, Harry Hamsell and George Rowley
The Pastoral Symphony
Dance of the Hours
Night on Bald Mountain and Ave Maria
  • Musical scores: Night on Bald Mountain by Modest Mussorgsky and Ave Maria, Op. 52 No. 6 by Franz Schubert (both works and transitional material arranged by Leopold Stokowski)
  • Director: 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: Rachel Field
  • Choral director: Charles Henderson
  • Soprano 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

References

  1. ^ "FANTASIA (U)". British Board of Film Classification. July 21, 1941. Retrieved January 10, 2014.
  2. ^ a b c d e Goldmark & Taylor 2002, p. 88.
  3. ^ a b c Paris, Barry (November 13, 1982). "'Fantasia' gets a re-recorded soundtrack". Pittsburgh Post-Gazette. Retrieved March 6, 2011.
  4. ^ "Fantasia". Box Office Mojo. IMDb. Retrieved January 10, 2022.
  5. ^ "Fantasia". The Numbers. Nash Information Services, LLC. Retrieved January 10, 2022.
  6. ^ Culhane 1983, p. 35.
  7. ^ Culhane 1983, p. 45.
  8. ^ Culhane 1983, p. 79.
  9. ^ Culhane 1983, p. 107.
  10. ^ Culhane 1983, pp. 128–132.
  11. ^ Culhane 1983, p. 133.
  12. ^ Culhane 1983, p. 161.
  13. ^ Culhane 1983, p. 181.
  14. ^ a b c d e f Solomon, Charles (August 26, 1990). "Fantastic 'Fantasia' - Disney Channel Takes a Look at Walt's Great Experiment in Animation". Los Angeles Times. Retrieved January 17, 2011.
  15. ^ Culhane 1983, p. 13.
  16. ^ Barrier 1999, p. 242.
  17. ^ a b Culhane 1983, pp. 80–84.
  18. ^ a b c d e Smith, David R. (February 1976). "The Sorcerer's Apprentice: Birthplace of Fantasia". Millimeter Magazine. pp. 18–20, 22, 24, 64–67.
  19. ^ a b Holliss, Richard. . Disney.com. Archived from the original on November 28, 2006. Retrieved October 28, 2011.
  20. ^ Barrier 1999, p. 243.
  21. ^ a b c d "Philadelphia Orchestra Association v. Walt Disney Co., 821 F.Supp. 341 (1993)". Retrieved October 16, 2011 – via Google Scholar.
  22. ^ a b Mosley 1985, p. 176.
  23. ^ a b Culhane 1983, pp. 15–16.
  24. ^ a b c Culhane 1983, p. 18.
  25. ^ a b Pegolotti 2003, p. 235.
  26. ^ Pegolotti 2003, p. 233.
  27. ^ Pegolotti 2003, p. 236.
  28. ^ Allan 2000, p. 96.
  29. ^ Pegolotti 2003, p. 237.
  30. ^ Culhane, John (January 14, 1990). "Disney, Stravinsky and 'The Sock'". The New York Times. Retrieved January 21, 2011.
  31. ^ Allan 2000, p. 97.
  32. ^ a b Gabler 2006, p. 308.
  33. ^ Barrier 1999, p. 247.
  34. ^ a b Barrier 1999, pp. 252–253.
  35. ^ Gabler 2006, pp. 317–318.
  36. ^ Culhane 1983, p. 134.
  37. ^ Gabler 2006, p. 316.
  38. ^ Barrier 1999, p. 248.
  39. ^ Solomon, Charles (October 7, 1990). "It Wasn't Always Magic". Los Angeles Times. Retrieved January 21, 2011.
  40. ^ Hente, David (October 29, 1991). "'Fantasia' marks anniversary with video". The Southeast Missourian. Retrieved January 16, 2011 – via Google News Archive.
  41. ^ "'Fantasia' returning in complete version". The Montreal Gazette. May 8, 1943. Retrieved February 12, 2011 – via Google News Archive.
  42. ^ a b Culhane 1983, p. 150.
  43. ^ a b Culhane 1983, p. 22.
  44. ^ a b c Hartl, John (September 30, 1990). "Restoring Classics: 'Fantasia' Leads Way". The Seattle Times. Retrieved September 13, 2018.
  45. ^ Lee, N.; Madej, K. (2012). Disney Stories: Getting to Digital. SpringerLink : Bücher. Springer New York. p. 61. ISBN 978-1-4614-2101-6. Retrieved February 5, 2021.
  46. ^ a b Culhane 1983, pp. 36–38.
  47. ^ Barrier 1999, p. 253.
  48. ^ Culhane 1983, pp. 42–43.
  49. ^ Culhane 1983, pp. 53–54.
  50. ^ Culhane 1983, p. 61.
  51. ^ Biederman, Patricia Ward (November 11, 1995). "An Animated Personal Vision: CalArts Teacher Jules Engel Is Honored for Lifetime in Film". Los Angeles Times. from the original on October 30, 2020. Retrieved October 30, 2020.
  52. ^ 5 Fascinating Facts About Fantasia's Nutcracker Suite - D23
  53. ^ Culhane 1983, pp. 15–16, 80–84.
  54. ^ Barrier 1999, p. 251.
  55. ^ a b Adler, Dick (September 23, 1990). "The Fantasy Of Disney's 'Fantasia' - 50 Years Later, It's Still A Classical Masterpiece". Chicago Tribune. Retrieved January 17, 2011.
  56. ^ Barrier 1999, p. 244.
  57. ^ Culhane 1983, p. 126.
  58. ^ a b Culhane 1983, pp. 120–121.
  59. ^ a b "Music: Disney's Cinesymphony". Time. November 18, 1940. from the original on January 4, 2022. Retrieved February 12, 2011.
  60. ^ a b Pinsky 2004, p. 36.
  61. ^ Culhane 1983, p. 170.
  62. ^ Culhane 1983, pp. 162, 164.
  63. ^ Culhane 1983, pp. 167–168.
  64. ^ Denney & Williams 2004, p. 136.
  65. ^ a b Culhane 1983, pp. 170–171.
  66. ^ a b Rannie, Alexander (May 10, 2014). "Symphony at the Movies: Program Notes". Soundings. Vol. 11, no. 5. Colorado Symphony Orchestra. pp. 28–29. Retrieved January 5, 2019 – via Issuu.
  67. ^ Pinsky 2008, p. 36.
  68. ^ a b c d Culhane 1983, p. 185.
  69. ^ Culhane 1983, p. 188.
  70. ^ Culhane 1983, p. 198.
  71. ^ Culhane 1983, p. 199.
  72. ^ Culhane 1983, p. 200.
  73. ^ Barrier 1999, p. 246.
  74. ^ "Julietta Novis". BFI. Retrieved February 5, 2021.
  75. ^ a b c d e Boone, Andrew R. (January 1941). "Mickey Mouse Goes Classical". Popular Science. pp. 65–67 – via Google Books.
  76. ^ a b c d Telotte 2008, pp. 38–40.
  77. ^ a b Duncombe, Ted (September 14, 1990). "Restored 'Fantasia' returns to screen". The Daily Gazette. Retrieved February 7, 2011 – via Google News Archive.
  78. ^ a b c d e f g Shepherd 2003, pp. 3–6.
  79. ^ Artner, Alan G. (September 23, 1990). "Conductor's Sound Innovations Make The Most Of The Music". Chicago Tribune. Retrieved January 21, 2011.
  80. ^ Garity, William E.; Jones, Watson (July 1942). "Experiences in Road-Showing Walt Disney's Fantasia". Journal of the Society of Motion Picture Engineers. United States. 39: 6–15. doi:10.5594/J09876.
  81. ^ Barrier 2008, p. 146.
  82. ^ Gabler 2006, pp. 328–329.
  83. ^ "FANTASOUND*". The American Widescreen Museum. 1998. Retrieved October 18, 2016.
  84. ^ "Timeline: History of Hewlett-Packard". Fox News. February 9, 2005. from the original on January 3, 2022. Retrieved October 18, 2016.
  85. ^ "HP Virtual Museum: Model 200B audio oscillator, 1939". Hewlett-Packard. 2012. Retrieved October 18, 2016.
  86. ^ Gelder 1990, pp. 87–90.
  87. ^ Thomas 1994, p. 161.
  88. ^ Grant 1998, p. 178.
  89. ^ a b c d e f g h i Re-Release Schedule (DVD). The Fantasia Legacy: Walt Disney Home Entertainment. 2000.
  90. ^ Gabler 2006, p. 340.
  91. ^ The Making of Fantasia (Documentary film). Walt Disney Home Entertainment. 2000.
  92. ^ a b c d e f Fanning, Jim (December 2, 2010). . D23. Archived from the original on January 9, 2012. Retrieved January 16, 2011.
  93. ^ Gabler 2006, p. 341.
  94. ^ a b c d e f g Culhane 1983, pp. 30–31.
  95. ^ a b Gabler 2006, p. 345.
  96. ^ a b c d e Hall & Neale 2010, p. 110.
  97. ^ Pryor, Thomas M. (March 1, 1942). "By Way of Report". The New York Times. p. X3.
  98. ^ Kendall, Read (January 30, 1941). "Celebrities attend film premiere". Los Angeles Times. Retrieved June 6, 2011 – via Newspapers.com.  
  99. ^ "Fantasia in last 2 weeks". Oxnard Press-Courier. October 7, 1941. Retrieved June 6, 2011 – via Google News Archive.
  100. ^ "Fantasia passes "Gone With Wind" Theater Record". Oxnard Press-Courier. August 5, 1941. Retrieved February 12, 2011 – via Google News Archive.
  101. ^ "Disney movie to be held at the Fulton Theater eighth and final week". The Pittsburgh Press. April 18, 1941. Retrieved January 16, 2011 – via Google News Archive.
  102. ^ March, W. Ward (May 8, 1941). ""Fantasia" Stays another Week". The Cleveland Plain Dealer.
  103. ^ March, W. Ward (March 19, 1941). "Disney at highest and best with "Fantasia"". The Cleveland Plain Dealer.
  104. ^ a b Prescott, David (February 8, 1985). "The Film That Saved Mickey". The Chicago Tribune. Retrieved January 6, 2012.
  105. ^ Amernic & Craig 2006, p. 194.
  106. ^ a b Goldmark & Taylor 2002, p. 87.
  107. ^ Eagan 2010, pp. 323–324.
  108. ^ a b Gabler 2006, p. 347.
  109. ^ Churchill, Douglas W. (April 28, 1941). "RKO Will Distribute Goldwyn Productions and Acquires Rights to 'Fantasia'". The New York Times.
  110. ^ a b Barrier 2008, p. 162.
  111. ^ a b Thomas 1994, p. 162.
  112. ^ Disney, Roy E., Levine, James, Canemaker, John, and MacQueen, Scott (2000). Fantasia — Audio commentary (DVD). Walt Disney Home Entertainment.
  113. ^ Thomas, Bob (September 28, 1990). "'Fantasia' success delayed". The Press-Courier. Retrieved March 4, 2011 – via Google News Archive.
  114. ^ Wasserman, Norman (March 1956). "Special Projection Process Gives 'Fantasia' New Look". International Projectionist. United States: 14–15.
  115. ^ Bennett, Colin (August 29, 1958). "Favourite films revived". The Age. Retrieved June 6, 2011 – via Google News Archive.
  116. ^ Monahan, Kaspar (April 5, 1970). "Revisited 'Fantasia' still thrills". The Pittsburgh Press. Retrieved March 6, 2011 – via Google News Archive.
  117. ^ a b "'Fantasia' won't show locally". Herald-Journal. October 5, 1990. Retrieved March 25, 2011.
  118. ^ Aldred, John (December 1995). "Fantastic Fantasia" (PDF). The Newsletter of the Association of Motion Picture Sound. No. 16. p. 7. Retrieved November 20, 2020 – via AMPS.net.
  119. ^ a b c Various (1982). Walt Disney's Fantasia: New Digital Motion Picture Soundtrack (LP). Buena Vista Records. V-104.
  120. ^ Thomas, Bob (March 13, 1982). "Disney Gives 'Fantasia' New Sound Work-Over". Kentucky New Era. Retrieved February 6, 2011 – via Google News Archive.
  121. ^ Blake, Larry (February 1986). "Digital sound for motion pictures" (PDF). Recording. Vol. 17, no. 1. p. 100. Retrieved November 14, 2019 – via American Radio History.
  122. ^ "'Fantasia' to get new soundtrack". Ocala Star-Banner. February 20, 1985. Retrieved March 4, 2011 – via Google News Archive.
  123. ^ "Matheson, Tim". D23. from the original on September 6, 2015. Retrieved January 3, 2022.
  124. ^ a b . Pqasb.pqarchiver.com. September 30, 1990. Archived from the original on January 9, 2015. Retrieved January 25, 2014.
  125. ^ Alexander, Max (September 30, 1990). "Disney Sweeps the Dust Off 'Fantasia' at 50". The New York Times. Retrieved January 16, 2011.
  126. ^ a b Toppman, Lawrence (October 5, 1990). "At 50, Disney's restored 'Fantasia' is more fantastic". Beaver County Times. Retrieved March 25, 2011 – via Google News Archive.
  127. ^ a b Christiansen, Richard (October 31, 1991). "'Fantasia' A Hit With Video Audience". Chicago Tribune. Retrieved January 21, 2011.
  128. ^ Various (1957). Walt Disney's Fantasia (LP). Disneyland Records. WDX-101.
  129. ^ a b Ehrbar and Hollis, pp. 38–39
  130. ^ Various (1961). Walt Disney's Fantasia (LP). Buena Vista Records. STER 101.
  131. ^ Various (1982). Walt Disney's Fantasia: Motion Picture Soundtrack (CD). Buena Vista Records. CD-001.
  132. ^ Various (1982). Walt Disney's Fantasia: Music From the New Digital Motion Picture Soundtrack (Audio cassette). Buena Vista Records. 104VC.
  133. ^ Various (1990). Walt Disney's Fantasia: Remastered Original Soundtrack Edition (CD). Buena Vista Records. 600072.
  134. ^ Various (1990). Walt Disney's Fantasia: Remastered Original Soundtrack Edition (Audio cassette). Buena Vista Records. 600074.
  135. ^ "Billboard 200: The Week of November 17, 1990". Billboard. Retrieved September 15, 2016.
  136. ^ "American album certifications – Soundtrack – Fantasia". Recording Industry Association of America. Retrieved September 15, 2016.
  137. ^ "Legacy Collection: Fantasia CD". Disney Music Emporium. July 18, 2013. Retrieved September 15, 2016.
  138. ^ Ryan, Desmond (October 5, 1990). "Stokowski Restored Old Orchestra Sound Is Found In New 'Fantasia'". The Philadelphia Inquirer. Retrieved August 18, 2011.
  139. ^ McCullaugh, Jim (August 1, 1992). "Weathering "Desert Storm," Basking in the Sell-Through Reign". Billboard. Retrieved February 27, 2011 – via Google Books.
  140. ^ Nichols, Peter M. (December 3, 1992). "Home Video". The New York Times. Retrieved January 21, 2011.
  141. ^ Taylor, Cathy (October 22, 1994). . Orlando Sentinel. Archived from the original on September 11, 2016. Retrieved July 31, 2015.
  142. ^ "Fantasia DVD 1941". Amazon.com. Retrieved August 9, 2011.
  143. ^ Kehr, Dave (November 24, 2010). "O. K., Hippos, Grab Your Tutus". The New York Times. Retrieved March 20, 2011.
  144. ^ "I've Heard That Voice Before: Corey Burton". AllEars.Net. Retrieved December 4, 2020.
  145. ^ "Fantasia & Fantasia 2000: 2-Movie Collection Special Edition". Ultimate Disney/DVDizzy. September 1, 2010. Retrieved March 8, 2011.
  146. ^ Idelson, Karen (June 28, 2010). "One-stop global firms offer gamut of services". Variety.
  147. ^ "Fantasia and Fantasia 2000 Blu-ray Review". Thehdroom.com. November 30, 2010. Retrieved January 25, 2014.
  148. ^ . Disney DVD. Archived from the original on March 12, 2011. Retrieved March 18, 2011.
  149. ^ "Fantasia & Fantasia 2000 Special Edition: Leopold Stokowski, James Levine, Steve Martin, Deems Taylor, Corey Burton, Walt Disney, James MacDonald, Julietta Novis, Paul J. Smith, Ralph Grierson, Kathleen Battle, Itzhak Perlman, Ben Sharpsteen, Bill Roberts, Don Hahn, Eric Goldberg, Ford Beebe Jr., Francis Glebas, Gaëtan Brizzi, Hamilton Luske: Movies & TV". Amazon. Retrieved January 25, 2014.
  150. ^ "The Best of Mickey Collection Blu-ray". Blu-ray.com. Retrieved May 23, 2021.
  151. ^ "Fantasia". Movies Anywhere. Retrieved May 23, 2021.
  152. ^ "Fantasia 2000". Movies Anywhere. Retrieved May 23, 2021.
  153. ^ a b c d "'Fantasia' Acclaimed as Film Masterpiece". Los Angeles Times. January 30, 1941. Retrieved February 28, 2014.
  154. ^ C. Flinn Sr., John (November 13, 1940). "Film Reviews: Fantasia". Variety. p. 16. Retrieved December 13, 2021 – via Internet Archive.
  155. ^ Gabler 2006, p. 342.
  156. ^ Anderson, Don. "The Rite of Spring programme notes". Toronto Symphony Orchestra. Retrieved May 10, 2015.[permanent dead link]
  157. ^ Barron, James (January 22, 1993). "Who Owns the Rights to the 'Rite'?". The New York Times. Retrieved May 10, 2015.
  158. ^ Ward 2010, p. 52.
  159. ^ Thompson, Dorothy (November 25, 1940). "Minority Report". The New York Herald Tribune.
  160. ^ "Fantasia". Rotten Tomatoes. Fandango Media. Retrieved May 21, 2022.  
  161. ^ "Fantasia". Metacritic. Fandom, Inc. Retrieved May 21, 2022.
  162. ^ "Fantasia". TV Guide. from the original on December 13, 2021. Retrieved February 28, 2014.
  163. ^ Ebert, Roger (October 5, 1990). "Fantasia". Chicago Sun-Times. Retrieved February 28, 2011 – via RogerEbert.com.
  164. ^ "Fantasia". Empire. Retrieved February 28, 2014.
  165. ^ Pinsky 2004, p. 33.
  166. ^ . National Board of Review. Archived from the original on November 9, 2012. Retrieved March 11, 2011.
  167. ^ "Screen Awards Are Presented By the Critics at a Reception". The New York Times. January 6, 1941.
  168. ^ Holden 1993, p. 584.
  169. ^ Gamarekian, Barbara (October 19, 1990). "Library of Congress Adds 25 Titles to National Film Registry". The New York Times. Retrieved February 12, 2011.
  170. ^ . Catholic News Service Media Review Office. Archived from the original on April 22, 2012. Retrieved October 31, 2011.
  171. ^ a b (PDF). American Film Institute. 2008. Archived from the original (PDF) on July 7, 2011. Retrieved March 9, 2011.
  172. ^ "AFI's 100 Years...100 Movies -- 10th Anniversary Edition" (PDF). American Film Institute. 2007. Retrieved March 9, 2011.
  173. ^ (PDF). American Film Institute. 2006. Archived from the original (PDF) on September 21, 2017. Retrieved March 9, 2011.
  174. ^ "Irish Film Censors' Records - Fantasia". Trinity College Dublin. April 30, 1942. Retrieved June 24, 2021.
  175. ^ Cohen, p. 69.
  176. ^ Cohen, p. 201.
  177. ^ Daly, Steve (November 29, 1991). . Entertainment Weekly. Archived from the original on December 22, 2008. Retrieved August 16, 2007.
  178. ^ a b Ebert 1997, p. 176.
  179. ^ https://originaltrilogy.com/topic/Fantasia-Special-Edition-Laserdisc-Restoration-with-Sunflower-v2-2/id/96261
  180. ^ https://originaltrilogy.com/topic/Fantasia-Special-Edition-Blu-Ray-Restoration-V1-0-Released/id/99856
  181. ^ https://originaltrilogy.com/topic/Fantasia-Special-Edition-35mm-Restoration-1-0-released/id/101085
  182. ^ Kozinn, Allan (May 7, 1992). "'Fantasia' Orchestra Sues Disney". The New York Times. Retrieved January 21, 2011.
  183. ^ "Philadelphia Orchestra drops Disney lawsuit". The Daily Gazette. October 26, 1994. Retrieved February 12, 2011 – via Google News Archive.
  184. ^ Barron, James (January 22, 1993). "Who owns the rights to 'Rite'?". The New York Times. Retrieved January 21, 2011.
  185. ^ Boosey & Hawkes Music Publishers v. Walt Disney, 934 F. Supp. 119 (S.D.N.Y. 1996-08-09).
  186. ^ "Music Publisher: Court Backs Its 'Fantasia' Case". Orlando Sentinel. August 10, 1996. p. C10. Retrieved December 13, 2021 – via Newspapers.com.  
  187. ^ Boosey & Hawkes Music Publishers v. Walt Disney, 145 F.3d 481 (2d Cir. 1998-04-30).
  188. ^ Rothenberg, Stanley (October 1998). . FindLaw. Archived from the original on August 7, 2011. Retrieved May 10, 2011.
  189. ^ a b Pegolotti, p. 249.
  190. ^ Michael - February 8, 2011 (February 9, 2011). "Future Fantasias, 1940 | Progress City, U.S.A." Progress City, U.S.A. Retrieved August 14, 2011.
  191. ^ Pegolotti, p. 382
  192. ^ King, Susan (November 16, 2000). "Triple Dose for 'Fantasia' Fans". Los Angeles Times. Retrieved March 20, 2011.
  193. ^ Warga, Wayne (October 26, 1980). "Disney Films: Chasing the Changing Times". Los Angeles Times. Calendar, pp. 1, 36, 37 – via Newspapers.com.  
  194. ^ Solomon 1995, p. 154.
  195. ^ Brennan, Judy (August 17, 1997). "Coming, Sooner or Later". Los Angeles Times. Retrieved March 13, 2011.
  196. ^ Matthews, Jack (December 17, 1999). . New York Daily News. Archived from the original on November 25, 2011. Retrieved February 12, 2011.
  197. ^ Robert W., Welkos (June 12, 2000). "Animated Clash of the 'Titan'". Los Angeles Times. Retrieved February 12, 2011.
  198. ^ Ziebarth, Christian (May 5, 2008). "Roy Disney Presents At The Newport Film Festival 2008". Animated Views. Retrieved May 26, 2022.
  199. ^ Hill, Jim (April 9, 2004). . Jim Hill Media. Archived from the original on May 5, 2004. Retrieved May 26, 2022.
  200. ^ Palmer, Roger (October 25, 2019). "New Fantasia, Jiminy Cricket, Cheshire Cat & Seven Dwarfs Animated Projects Rumored For Disney+". iO9. Retrieved October 25, 2019.
  201. ^ Ford, Rebecca (June 3, 2015). "Disney to Adapt Iconic 'Fantasia' Sequence Into Live-Action Movie (Exclusive)". The Hollywood Reporter. Retrieved September 23, 2015.
  202. ^ Kehr, Dave (November 2, 2004). "'Shrek 2,' More Looney Tunes and 'Animal Farm'". The New York Times. Retrieved March 13, 2011.
  203. ^ "'Fantasia' Satire Reissued, But Don't Take The Kids". Chicago Tribune. October 18, 1990. Retrieved February 12, 2011.
  204. ^ Groening, Matt (2004). The Simpsons The Complete Fourth Season DVD commentary for the episode "A Streetcar Named Marge" (DVD). 20th Century Fox.
  205. ^ Silverman, David (2004). The Simpsons season 5 DVD commentary for the episode "Treehouse of Horror IV" (DVD). 20th Century Fox.
  206. ^ Mirkin, David (2005). The Simpsons season 6 DVD commentary for the episode "Itchy & Scratchy Land" (DVD). 20th Century Fox.
  207. ^ "CBBC - Ten Pieces". BBC. Retrieved May 15, 2015.
  208. ^ "Disney's Hollywood Studios". Walt Disney World Resort. Retrieved August 24, 2011.
  209. ^ "Miniature Golf". Walt Disney World Resort. Retrieved August 24, 2011.
  210. ^ "Fantasmic!". Disneyland Resort. Retrieved August 24, 2011.
  211. ^ "Disneyland Paris News". Dlrppressinternational.com. April 1, 2012. Retrieved January 25, 2014.
  212. ^ "Sorcerer's Apprentice". MobyGames. Retrieved July 12, 2014.
  213. ^ "Fantasia". MobyGames. Retrieved February 27, 2011.
  214. ^ Snider, Mike (November 22, 2010). "'Epic Mickey' designer lays waste to Magic Kingdom". USA Today. Retrieved March 14, 2011.
  215. ^ Birlew, Dan (2003). Kingdom Hearts Official Strategy Guide. BradyGames. ISBN 978-0-7440-0198-3.
  216. ^ "Fantasia World Confirmed for Kingdom Hearts 3D - News". Nintendo World Report. Retrieved January 25, 2014.
  217. ^ Snider, Mike (June 4, 2013). "Music, movement are new realms for classic 'Fantasia'". USA Today. Retrieved June 4, 2013.
  218. ^ "Disney Infinity Figure - Sorcerer's Apprentice Mickey: Games". Walmart.com. Retrieved January 25, 2014.
  219. ^ . Arts Centre Melbourne. 2022. Archived from the original on April 11, 2022. Retrieved April 11, 2022.
  220. ^ . The Mann Center. July 23, 2013. Archived from the original on February 2, 2014. Retrieved January 25, 2014.
  221. ^ . Columbia Artists Management Inc. July 23, 2013. Archived from the original on March 2, 2014. Retrieved March 2, 2014.
  222. ^ . Entertainment Weekly. September 28, 2014. Archived from the original on December 19, 2014. Retrieved December 19, 2014.
  223. ^ "Once Upon A Time Season 4 Episode 12 Recap With Spoilers: Darkness on the Edge of Town". Comicbook.com. Retrieved May 15, 2015.

Bibliography

  • Allan, Robin (2000). Walt Disney and Europe: European Influences on the Animated Feature Films of Walt Disney. Indiana University Press. ISBN 978-0-253-21353-2.
  • Amernic, Joel Henry; Craig, Russell (2006). CEO-Speak: The Language of Corporate Leadership. McGill-Queen's Press. ISBN 978-0-7735-3037-9.
  • Barrier, Michael (1999). Hollywood Cartoons: American Animation in Its Golden Age. Oxford University Press. ISBN 978-0-19-516729-0.
  • Barrier, Michael (2008). The Animated Man: A Life of Walt Disney. University of California Press. ISBN 978-0-520-25619-4.
  • Cohen, Karl F. (2004). Forbidden Animation: Censored Cartoons and Blacklisted Animators in America. McFarland. ISBN 978-0-7864-2032-2.
  • Culhane, John (1983). Walt Disney's Fantasia. Harry N. Abrams Inc. ISBN 978-3-8228-0393-6.
  • Denney, Jim; Williams, Pat (2004). How to Be Like Walt: Capturing the Disney Magic Every Day of Your Life. HCI. ISBN 978-0-7573-0231-2.
  • Ebert, Roger (1997). Questions for the Movie Answer Man. Andrews McMeel Publishing. ISBN 978-0-8362-2894-6.
  • Eagan, Daniel (2010). America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry. Continuum International Publishing Group. ISBN 978-0-8264-2977-3.
  • Ehrbar, Greg; Hollis, Tim (2006). Mouse Tracks: The Story of Walt Disney Records. University Press of Mississippi. ISBN 978-1-57806-849-4.
  • Gabler, Neal (2006). Walt Disney: The Triumph of the American Imagination. New York: Vintage Books. ISBN 978-0-6797-5747-4.
  • Gelder, Peter Van (1990). That's Hollywood: A Behind-the-Scenes Look at 60 of the Greatest Films of All Time. Harper Collins. ISBN 978-0-06-096512-9.
  • Goldmark, Daniel; Taylor, Yuval (2002). The Cartoon Music Book. Chicago Review Press. ISBN 978-1-55652-473-8.
  • Grant, John (1998). The Encyclopedia of Walt Disney's Animated Characters: From Mickey Mouse to Hercules (3rd ed.). Hyperion Books. ISBN 978-0-7868-6336-5.
  • Hall, Sheldon; Neale, Stephen (2010). Epics, Spectacles, and Blockbusters: A Hollywood History. Wayne State University Press. ISBN 978-0-8143-3008-1.
  • Holden, Anthony (1993). Behind the Oscar: The Secret History of the Academy Awards. Simon & Schuster. ISBN 978-0-671-70129-1.
  • Kenworthy, John (2001). The Hand Behind the Mouse: An Intimate Biography of Ub Iwerks. Disney Editions. ISBN 978-0-7868-5320-5.
  • Mosley, Leonard (1985). Disney's World: A Biography. Stein and Day. ISBN 978-0-812-83073-6.
  • Pegolotti, James A. (2003). Deems Taylor: A Biography. UPNE. ISBN 978-1-55553-587-2.
  • Pinsky, Mark I. (2004). The Gospel According to Disney: Faith, Trust, and Pixie Dust. Westminster John Knox Press. ISBN 978-0-664-23467-6.
  • Shepherd, Ashley (2003). Pro Tools for Video, Film and Multimedia. Cengage Learning. ISBN 978-1-59200-069-2.
  • Solomon, Charles (1995). The Disney That Never Was: The Stories and Art of Five Decades of Unproduced Animation. Hyperion. ISBN 978-0-7868-6037-1.
  • Telotte, Jean-Pierre (2008). The Mouse Machine: Disney and Technology. University of Illinois Press. ISBN 978-0-252-07540-7.
  • Thomas, Bob (1994) [1976]. Walt Disney: An American Original. New York: Hyperion. ISBN 978-0-7857-5515-9.
  • Ward, Glenn (2010). Understand Postmodernism: Teach Yourself. Hachette UK. ISBN 978-1-4441-3398-1.

External links

 
Wikimedia Commons has media related to Fantasia (1940 film).
 
Wikiquote has quotations related to Fantasia (1940 film).

January 26, 2023
fantasia, 1940, film, fantasia, 1940, american, animated, musical, anthology, film, produced, released, walt, disney, productions, with, story, direction, grant, dick, huemer, production, supervision, walt, disney, sharpsteen, third, disney, animated, feature,. Fantasia is a 1940 American animated musical anthology film produced and released by Walt Disney Productions with story direction by Joe Grant and Dick Huemer and production supervision by Walt Disney and Ben Sharpsteen The third Disney animated feature film it consists of eight animated segments set to pieces of classical music conducted by Leopold Stokowski seven of which are performed by the Philadelphia Orchestra Music critic and composer Deems Taylor acts as the film s Master of Ceremonies who introduces each segment in live action FantasiaTheatrical release posterDirected bySamuel Armstrong James Algar Bill Roberts Paul Satterfield Ben Sharpsteen David D Hand Hamilton Luske Jim Handley Ford Beebe T Hee Norman Ferguson Wilfred JacksonStory byJoe Grant Dick HuemerProduced byWalt Disney Ben SharpsteenStarringLeopold Stokowski Deems TaylorNarrated byDeems TaylorCinematographyJames Wong HoweMusic bySee programProductioncompanyWalt Disney ProductionsDistributed byRKO Radio PicturesRelease dateNovember 13 1940 1940 11 13 Running time126 minutes 1 CountryUnited StatesLanguageEnglishBudget 2 28 million 2 3 Box office 76 4 83 3 million United States and Canada 4 5 Disney settled on the film s concept in 1938 as work neared completion on The Sorcerer s Apprentice originally an elaborate Silly Symphony cartoon designed as a comeback role for Mickey Mouse who had declined in popularity As production costs surpassed what the short could earn Disney decided to include it in a feature length film of multiple segments set to classical pieces with Stokowski and Taylor as collaborators The soundtrack was recorded using multiple audio channels and reproduced with Fantasound a pioneering sound system developed by Disney and RCA that made Fantasia the first commercial film shown in stereo and a precursor to surround sound Fantasia was first released as a theatrical roadshow that was held in 13 cities across the U S between 1940 and 1941 the first began at the Broadway Theatre in New York City on November 13 1940 While acclaimed by critics it failed to make a profit owing to World War II s cutting off distribution to the European market the film s high production costs and the expense of building Fantasound equipment and leasing theatres for the roadshow presentations Since 1942 the film has been reissued multiple times by RKO Radio Pictures and Buena Vista Distribution with its original footage and audio being deleted modified or restored in each version When adjusted for inflation Fantasia is the 23rd highest grossing film of all time in the U S The Fantasia franchise has grown to include video games Disneyland attractions and a live concert series A sequel Fantasia 2000 co produced by Walt s nephew Roy E Disney was released in 1999 Fantasia has grown in reputation over the years and is now widely acclaimed as one of the greatest animated films of all time in 1998 the American Film Institute ranked it as the 58th greatest American film in their 100 Years 100 Movies and the fifth greatest animated film in their 10 Top 10 list 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 Contents 1 Program 2 Production 2 1 Development 2 1 1 The Sorcerer s Apprentice 2 1 2 Expansion to feature film 2 1 3 Story meetings and program selection 2 2 Segments 2 2 1 Toccata and Fugue in D Minor 2 2 2 The Nutcracker Suite 2 2 3 The Sorcerer s Apprentice 2 2 4 Rite of Spring 2 2 5 The Pastoral Symphony 2 2 6 Dance of the Hours 2 2 7 Night on Bald Mountain and Ave Maria 2 3 Soundtrack 2 3 1 Recording 2 3 2 Fantasound 3 Release history 3 1 Theatrical runs 3 1 1 1940 1941 roadshows with Fantasound 3 1 2 1942 1963 runs 3 1 3 1969 1990 runs 3 2 Home media 3 2 1 Audio 3 2 2 Video 4 Reception 4 1 Critical response 4 1 1 Early reviews 4 1 2 Later reviews 4 2 Awards and honors 4 3 Controversies 5 Additional material 6 Legacy 6 1 Sequel 6 2 Live action adaptations 6 3 Parodies and spin offs 6 4 Theme parks 6 5 Video games 6 6 Concert 6 7 Television 7 Credits 8 References 9 Bibliography 10 External linksProgram Title screen in the original theatrical trailer Fantasia opens with live action scenes of members of an orchestra gathering against a blue background and tuning their instruments in half light half shadow Master of ceremonies Deems Taylor enters the stage also in half light half shadow and introduces the program Toccata and Fugue in D Minor by Johann Sebastian Bach Live action shots of the orchestra illuminated in blue and gold backed by superimposed shadows fade into abstract patterns Animated lines shapes and cloud formations reflect the sound and rhythms of the music 6 The Nutcracker Suite by Pyotr Ilyich Tchaikovsky Selections from the 1892 ballet suite underscore scenes depicting the changing of the seasons from summer to autumn to winter A variety of dances are presented with fairies fish flowers mushrooms and leaves including Dance of the Sugar Plum Fairy Chinese Dance Arabian Dance Russian Dance Dance of the Flutes and Waltz of the Flowers 7 The Sorcerer s Apprentice by Paul Dukas Based on Goethe s 1797 poem Der Zauberlehrling Mickey Mouse the young apprentice of the sorcerer Yen Sid attempts some of his master s magic tricks but does not know how to control them 8 Rite of Spring by Igor Stravinsky A visual history of the Earth s beginnings is depicted to selected sections of the ballet score The sequence progresses from the planet s formation to the first living creatures followed by the reign and extinction of the dinosaurs 9 Intermission Meet the Soundtrack The orchestra musicians depart and the Fantasia title card is revealed After the intermission there is a brief jam session of jazz music led by a clarinettist as the orchestra members return Then a humorously stylized demonstration of how sound is rendered on film is shown An animated sound track character initially a straight white line changes into different shapes and colors based on the sounds played 10 The Pastoral Symphony by Ludwig van Beethoven A mythical Greco Roman world of colorful centaurs and centaurettes cupids fauns and other figures from classical mythology is portrayed to Beethoven s music A gathering for a festival to honor Bacchus the god of wine is interrupted by Zeus who creates a storm and directs Vulcan to forge lightning bolts for him to throw at the attendees 11 Dance of the Hours by Amilcare Ponchielli A comic ballet in four sections Madame Upanova and her ostriches Morning Hyacinth Hippo and her servants Afternoon Elephanchine and her bubble blowing elephant troupe Evening and Ben Ali Gator and his troop of alligators Night The finale finds all of the characters dancing together until their palace collapses 12 Night on Bald Mountain by Modest Mussorgsky and Ave Maria by Franz Schubert At midnight the devil Chernabog awakes and summons evil spirits and restless souls from their graves to Bald Mountain The spirits dance and fly through the air until driven back by the sound of an Angelus bell as night fades into dawn A chorus is heard singing Ave Maria as a line of robed monks is depicted walking with lighted torches through a forest and into the ruins of a cathedral 13 ProductionDevelopment The Sorcerer s Apprentice Leopold Stokowski conducted the film s score In 1936 Walt Disney felt that the Disney studio s star character Mickey Mouse needed a boost in popularity He decided to feature the mouse in The Sorcerer s Apprentice a deluxe cartoon short based on the 1797 poem written by Johann Wolfgang von Goethe and set to the 1897 orchestral piece by Paul Dukas inspired by the original tale 14 The concept of matching animation to classical music was used as early as 1928 in Disney s cartoon series the Silly Symphonies but he wanted to go beyond the usual slapstick and produce shorts where sheer fantasy unfolds action controlled by a musical pattern has great charm in the realm of unreality 15 16 Upon receiving the rights to use the music by the end of July 1937 17 Disney considered using a well known conductor to record the music for added prestige He happened to meet Leopold Stokowski conductor of the Philadelphia Orchestra since 1912 at Chasen s restaurant in Hollywood and talked about his plans for the short Stokowski recalled that he did like the music was happy to collaborate on the project and offered to conduct the piece at no cost 18 Following their meeting Disney s New York representative ran into Stokowski on a train headed for the East Coast In writing to Disney he reported that Stokowski was really serious in his offer to do the music for nothing He had some very interesting ideas on instrumental coloring which would be perfect for an animation medium 18 In his excited response dated October 26 1937 Disney wrote that he felt all steamed up over the idea of Stokowski working with us The union of Stokowski and his music together with the best of our medium would be the means of a success and should lead to a new style of motion picture presentation He had already begun working on a story outline and wished to use the finest men from color down to animators 19 on the short The Sorcerer s Apprentice was to be promoted as a special and rented to theatres as a unique film outside of the Mickey Mouse cartoon series 18 20 An agreement signed by Disney and Stokowski on December 16 1937 allowed the conductor to select and employ a complete symphony orchestra for the recording 21 Stokowski was paid 5 000 for his work 22 Disney hired a stage at the Culver Studios in California for the session It began at midnight on January 9 1938 and lasted for three hours using eighty five Hollywood musicians 23 Expansion to feature film As production costs of The Sorcerer s Apprentice climbed to 125 000 it became clearer to Disney and his brother Roy who managed the studio s finances that the short could never earn such a sum back on its own 14 Roy wanted his brother to keep any additional costs on the film to a minimum He said because of its very experimental and unprecedented nature we have no idea what can be expected from such a production 18 Ben Sharpsteen a production supervisor on Fantasia noted that its budget was three to four times greater than the usual Silly Symphony but Disney saw this trouble in the form of an opportunity This was the birth of a new concept a group of separate numbers regardless of their running time put together in a single presentation It turned out to be a concert something novel and of high quality 24 Ideas to produce a complete feature film were pursued in February 1938 when inquiries were made to extend Stokowski s contract 24 In August Disney asked Stokowski s representative to have him return to the studios to select material for the new film which was initially titled The Concert Feature 18 Disney agreed to pay Stokowski 80 000 plus royalties for his services 22 The pair further thought of presenting the film with an on screen host to introduce each number in the program Both had heard composer and music critic Deems Taylor provide intermission commentary during radio broadcasts of the New York Philharmonic and agreed he would be most suitable for the role 25 Disney did contact Taylor about the project but by then work on Pinocchio Bambi and development on his new Burbank studio kept him too busy to work on the new feature 26 In a change of plans Taylor was asked during a call on September 3 1938 leave to come to the studios as soon as possible He left New York City for Los Angeles by train two days later for a month s visit 25 Story meetings and program selection Deems Taylor was the film s Master of Ceremonies who introduced each segment in live action interstitial scenes Taylor arrived at the studio one day after a series of meetings began to select the musical pieces for The Concert Feature Disney made story writers Joe Grant and Dick Huemer gather a preliminary selection of music and along with Stokowski Taylor and the heads of various departments discussed their ideas 24 Each meeting was recorded verbatim by stenographers with participants being given a copy of the entire conversation for review As selections were considered a recording of the piece was located and played back at the next gathering 27 Disney did not contribute much to early discussions he admitted that his knowledge of music was instinctive and untrained 28 In one meeting he inquired about a piece on which we might build something of a prehistoric theme with animals 29 The group was considering The Firebird by Igor Stravinsky but Taylor noted that his Le Sacre du printemps would be something on that order to which Disney replied upon hearing a recording This is marvelous It would be perfect for prehistoric animals There would be something terrific in dinosaurs flying lizards and prehistoric monsters There could be beauty in the settings 30 Numerous choices were discarded as talks continued including Moto Perpetuo by Niccolo Paganini with shots of dynamos cogs pistons and whirling wheels to show the production of a collar button Other deleted material included Prelude in G minor and Troika by Sergei Rachmaninoff and a rendition of The Song of the Flea by Mussorgsky which was to be sung by Lawrence Tibbett 31 On September 29 1938 around sixty of Disney s artists gathered for a two and a half hour piano concert while he provided a running commentary about the new musical feature A rough version of The Sorcerer s Apprentice was also shown that according to one attendee had the crowd applauding and cheering until their hands were red 32 The final pieces were chosen the following morning which included Toccata and Fugue in D minor Cydalise et le Chevre pied by Gabriel Pierne The Nutcracker Suite Night on Bald Mountain Ave Maria Dance of the Hours Clair de Lune by Claude Debussy The Rite of Spring and The Sorcerer s Apprentice 32 Disney had already begun working out the details for the segments and showed greater enthusiasm and eagerness as opposed to his anxiety while starting on Pinocchio 33 Clair de Lune was soon removed from the Fantasia program but Disney and his writers encountered problems of setting a concrete story to Cydalise Its opening march The Entry of the Little Fauns attracted Disney to the piece which at first provided suitable depictions of fauns he wanted On January 5 1939 following a search for a stronger piece to fit the mythological theme the piece was replaced with sections of Beethoven s sixth symphony 34 Stokowski disagreed with the switch believing that Disney s idea of mythology is not quite what this symphony is about He was also concerned about the reception from classical music enthusiasts who would criticize Disney for venturing too far from the composer s intent 35 Taylor on the other hand welcomed the change describing it as a stunning one and saw no possible objection to it 36 The new feature continued to be known as The Concert Feature or Musical Feature as late as November 1938 Hal Horne a publicist for Disney s film distributor RKO Radio Pictures wished for a different title and gave the suggestion Filmharmonic Concert Stuart Buchanan then held a contest at the studio for a title that produced almost 1 800 suggestions including Bach to Stravinsky and Bach and Highbrowski by Stokowski Still the favorite among the film s supervisors was Fantasia an early working title that had even grown on Horne It isn t the word alone but the meaning we read into it 37 From the beginning of its development Disney expressed the greater importance of music in Fantasia compared to his past work In our ordinary stuff our music is always under action but on this we re supposed to be picturing this music not the music fitting our story 38 Disney had hoped that the film would bring classical music to people who like himself had previously walked out on this kind of stuff 39 Segments Over 1 000 artists and technicians were used in the making of Fantasia 40 which features more than 500 animated characters 41 Segments were color keyed scene by scene so the colors in a single shot would harmonize between preceding and following ones 42 Before a segment s narrative pattern was complete an overall color scheme was designed to the general mood of the music and patterned to correspond with the development of the subject matter 42 The studio s character model department would also sculpt three dimensional clay models so the animators could view their subject from all angles 43 The live action scenes were filmed using the three strip Technicolor process while the animated segments were shot in successive yellow cyan and magenta exposed frames The different pieces of film were then spliced together to form a complete print 44 A multiplane camera that could handle seven levels three more than the old multiplane camera was built 45 Toccata and Fugue in D Minor Disney had been interested in producing abstract animation since he saw A Colour Box by Len Lye from 1935 He explained the work done in the Toccata and Fugue was no sudden idea they were something we had nursed along several years but we never had a chance to try 46 Preliminary designs included those from effects animator Cy Young who produced drawings influenced by the patterns on the edge of a piece of sound film 34 In late 1938 Disney hired Oskar Fischinger a German artist who had produced numerous abstract animated films including some with classical music to work with Young Upon review of three leica reels produced by the two Disney rejected all three According to Huemer all Fishinger did was little triangles and designs it didn t come off at all Too dinky Walt said 47 Fischinger like Disney was used to having full control over his work and not used to working in a group Feeling his designs were too abstract for a mass audience 14 Fishinger left the studio in apparent despair before the segment was completed in October 1939 48 Disney had plans to make the Toccata and Fugue an experimental three dimensional film with audiences being given cardboard stereoscopic frames with their souvenir programs but this idea was abandoned 46 The Nutcracker Suite In The Nutcracker Suite animator Art Babbitt is said to have credited The Three Stooges as a guide for animating the dancing mushrooms in the Chinese Dance routine He drew with a music score pinned to his desk to work out the choreography so he could relate the action to the melody and the counterpoint those nasty little notes underneath so something has to be related to that 49 The studio filmed professional dancers Joyce Coles and Marjorie Belcher wearing ballet skirts that resembled shapes of blossoms that were to sit above water for Dance of the Flutes An Arabian dancer was also brought in to study the movements for the goldfish in Arab Dance 50 Jules Engel also worked on the choreography and color keying for this sequence 51 To avoid hard ink outlines new techniques like transparent paint was used on the cels The snowflakes used in the snowflake fairies sequence was difficult to draw by hand so a man named Leonard Pickley from the Special Effects Department came up with the idea of using stop motion animation Diagrams of real snowflakes were traced by the Ink and Paint Department who used a material a little heavier that regular cels and painted them in translucent white They were then cut out and placed on revolving spools attached to small steel rails The mechanics was hidden under black velvet as the snowflakes were moved one frame at the time The hand drawn animation was added later 52 The Sorcerer s Apprentice Disney acting out a scene in The Sorcerer s Apprentice for Taylor and Stokowski Animation on The Sorcerer s Apprentice began on January 21 1938 when James Algar the director of the segment assigned animator Preston Blair to work on the scene when Mickey Mouse wakes from his dream 43 Each of the seven hundred members of staff at the time received a synopsis of Goethe s 1797 poem Der Zauberlehrling and were encouraged to complete a twenty question form that requested their ideas on what action might take place 53 Layout artist Tom Codrick created what Dick Huemer described as brilliantly colored thumbnails from preliminary storyboard sketches using gouache paints which featured bolder use of color and lighting than any previous Disney short 54 Mickey was redesigned by animator Fred Moore who added pupils to his eyes for the first time to achieve greater ranges of expression 17 55 Most of the segment was shot in live action including a scene where a UCLA athlete was asked to run and jump across one of the studio s sound stages with barrels in the way which was used for reference when Mickey traverses through water 56 Rite of Spring An early concept for Rite of Spring was to extend the story to the age of mammals and the first humans and the discovery of fire and man s triumph John Hubley the segment s art director explained that it was later curtailed by Disney to avoid controversy from creationists who promised to make trouble should he connect evolution with humans 57 To gain a better understanding of the history of the planet the studio received guidance from Roy Chapman Andrews the director of the American Museum of Natural History English biologist Julian Huxley paleontologist Barnum Brown and astronomer Edwin Hubble 58 19 Animators studied comets and nebulae at the Mount Wilson Observatory and observed a herd of iguanas and a baby alligator that were brought into the studio 59 The viewpoint was kept low throughout the segment to heighten the immensity of the dinosaurs 58 The Pastoral Symphony According to Ward Kimball the animators were extremely specific on touchy issues In the making of The Pastoral Symphony Greek mythological segment the female centaurs were originally drawn bare breasted but the Hays office enforcing the Motion Picture Production Code insisted that they discreetly hung garlands around the necks 60 The male centaurs were also toned down to appear less intimidating to the audience Originally the segment included a pair of black centaurs who tended to the others but these were cut from the film in later releases for sensitivity reasons see Controversies 60 Dance of the Hours Dance of the Hours was directed by Norman Ferguson and Thornton Hee and was completed by eleven animators 61 Most of the story was outlined in a meeting in October 1938 including the creation of the main alligator character Ben Ali Gator Its story direction layout and animation underwent several rewrites yet Disney wanted to present animals perform a legitimate caricature ballet sequence with comedic slips 62 The design of the elephants and alligators were based on those by German illustrator Heinrich Kley while the hippos and ostriches were based on those by cartoonist T S Sullivant To gain a better idea on the animals movements the crew visited Griffith Park Zoo in Los Angeles 63 Animator John Hench was assigned to work on the segment but resisted as he knew little about ballet Disney then gave Hench season tickets to the Ballet Russe de Monte Carlo with backstage access so he could learn more about it 64 The studio filmed several people in live action to help with the animation of the characters The lead ostrich Madmoiselle Upanova is based on Irina Baronova 65 55 66 Hyacinth Hippo the prima ballerina was inspired by dancers Marge Champion and Tatiana Riabouchinska and actress Hattie Noel who weighed over 200 pounds 91 kg the animators studying the least quiver of her flesh noticing those parts of her anatomy that were subjected to the greatest stress and strain 67 65 Riabouchinska s husband David Lichine was used for Ben Ali Gator s movements 66 Night on Bald Mountain and Ave Maria Night on Bald Mountain was directed by Wilfred Jackson Its story closely follows the descriptions that Mussorgsky had written on his original score of the tone poem 68 Chernabog was animated by Vladimir Bill Tytla his design inspired from a pencil sketch by Swiss artist Albert Hurter of a demon sitting atop a mountain unfolding its wings Despite Hurter never producing animation for Disney the studio temporarily hired him to produce pencil sketches for the animators to gain inspiration from 68 Chernabog and parts of the segment were developed further by Danish born illustrator Kay Nielsen 68 Tytla conducted research on all the characters he had animated and being Ukrainian was familiar with the folklore that the story detailed 68 Actor Bela Lugosi best known for his role in Dracula 1931 was brought in to provide reference poses for Chernabog but Tytla disliked the results He then got Jackson to pose shirtless which gave him the images he needed 14 At one point in its development the idea of using black cats to represent evil was considered but Disney rejected it as he thought cats had always been used 69 The film s program reads that Ave Maria provides an emotional relief to audiences tense from the shock of Night on Bald Mountain 70 Disney did not want much animated movement but wanted the segment to bring the background artwork to the forefront 71 An early story outline had the segment end with a Madonna presented on the screen with the clouds but Disney decided against this as he did not want to suggest overly religious imagery 72 There were ideas of releasing scents throughout the theater during Fantasia including the smell of incense during Ave Maria 73 The lyrics to Ave Maria were sung by Julietta Novis 74 On the sleeve notes of the LP version of the sound track Disney acknowledged the original words as written by Sir Walter Scott but said that it had been decided to use words specially written for Fantasia by the distinguished American author Rachel Field Soundtrack Recording The film s score was recorded at the Philadelphia Academy of Music Disney wanted to experiment in more sophisticated sound recording and reproduction techniques for Fantasia Music emerging from one speaker behind the screen sounds thin tinkly and strainy We wanted to reproduce such beautiful masterpieces so that audiences would feel as though they were standing at the podium with Stokowski 75 For the recording of The Sorcerer s Apprentice in January 1938 23 engineers at Disney collaborated with RCA Corporation for using multiple audio channels which allowed any desired dynamic balance to be achieved upon playback The stage was altered acoustically with double plywood semi circular partitions that separated the orchestra into five sections to increase reverberation 76 Though as the production of Fantasia developed the setup used for The Sorcerer s Apprentice was abandoned for different multi channel recording arrangements 76 On January 18 1939 Stokowski signed an eighteen month contract with Disney to conduct the remaining pieces with the Philadelphia Orchestra 21 Recording began that April and lasted for seven weeks at the Academy of Music the orchestra s home which was chosen for its excellent acoustics 75 77 In the recording sessions thirty three microphones were placed around the orchestra that captured the music onto eight optical sound recording machines placed in the hall s basement Each one represented an audio channel that focused on a different section of instruments cellos and basses violins brass violas and woodwinds and tympani The seventh channel was a combination of the first six while the eighth provided an overall sound of the orchestra at a distance 75 78 79 A ninth channel provided a click track function for the animators to time their drawings to the music 78 80 In the forty two days of recording 483 000 feet 147 000 m of film was used 75 Disney paid all the expenses which included the musician s wages stage personnel a music librarian and the orchestra s manager that cost almost 18 000 21 When the finished recordings arrived at the studio a meeting was held on July 14 1939 to allow the artists working on each segment to listen to Stokowski s arrangements and suggest alterations in the sound to work more effectively with their designs 81 Fantasound Main article Fantasound The Disney brothers contacted David Sarnoff of RCA regarding the manufacture of a new system that would create the illusion that the actual symphony orchestra is playing in the theater Sarnoff backed out at first for financial reasons but agreed in July 1939 to make the equipment so long as the Disneys could hold down the estimated 200 000 in costs equivalent to about 3 9 million in 2021 82 Though it was not exactly known how to achieve their goal engineers at Disney and RCA investigated many ideas and tests made with various equipment setups 76 The collaboration led to the development of Fantasound a pioneering stereophonic surround sound system which innovated some processes widely used today including simultaneous multitrack recording overdubbing and noise reduction 78 Fantasound developed in part by Disney engineer William Garity employed two projectors running at the same time With one containing the picture film with a mono soundtrack for backup purposes the other ran a sound film that was mixed from the nine tracks recorded at the Academy to four three of which contained the audio for the left center and right stage speakers respectively while the fourth became a control track with amplitude and frequency tones that drove variable gain amplifiers to control the volume of the three audio tracks 76 In addition were three house speakers placed on the left right and center of the auditorium that derived from the left and right stage channels which acted as surround channels 78 As the original recording was captured at almost peak modulation to increase signal to noise ratio the control track was used to restore the dynamics to where Stokowski thought they should be For this a tone operated gain adjusting device was built to control the levels of each of the three audio tracks through the amplifiers 78 The illusion of sound traveling across the speakers was achieved with a device named the pan pot which directed the predetermined movement of each audio channel with the control track Mixing of the soundtrack required six people to operate the various pan pots in real time while Stokowski directed each level and pan change which was marked on his musical score To monitor recording levels Disney used oscilloscopes with color differentiation to minimize eye fatigue 83 To test recording equipment and speaker systems Disney ordered eight electronic oscillators from the newly established Hewlett Packard company 84 85 Between the individual takes prints and remakes approximately three million feet of sound film was used in the production of Fantasia 75 Almost a fifth of the film s budget was spent on its recording techniques 86 Release historyTheatrical runs 1940 1941 roadshows with Fantasound The film s first roadshow opened at the Broadway Theatre in New York City on November 13 1940 RKO balked at the idea of distributing Fantasia which it described as a longhair musical 87 and believed its duration of two hours and five minutes plus intermission was too long for a general release 88 89 It relaxed its exclusive distribution contract with Disney who wanted a more prestigious exhibit in the form of a limited run roadshow attraction A total of thirteen roadshows were held across the United States each involving two daily screenings with seat reservations booked in advance at higher prices and a fifteen minute intermission Disney hired film salesman Irving Ludwig to manage the first eleven engagements 90 who was given specific instructions regarding each aspect of the film s presentation including the setup of outside theater marquees and curtain and lighting cues Patrons were taken to their seats by staff hired and trained by Disney 91 and were given a program booklet illustrated by Gyo Fujikawa 92 The first roadshow opened at the Broadway Theatre in New York City on November 13 1940 92 The Disneys had secured a year s lease with the venue that was fully equipped with Fantasound which took personnel a week working around the clock to install 93 Proceeds made on the night went to the British War Relief Society following the Battle of Britain 94 Ticket demand was so great that eight telephone operators were employed to handle the extra calls while the adjoining store was rented out to cater the box office bookings 95 Fantasia ran at the Broadway for forty nine consecutive weeks the longest run achieved by a film at the time 96 Its run continued for a total of fifty seven weeks until February 28 1942 97 The remaining twelve roadshows were held throughout 1941 which included a 39 week run 96 at the Carthay Circle Theatre in Los Angeles from January 29 98 99 Fantasia broke the long run record at the venue in its twenty eighth week a record previously held by Gone with the Wind 100 Its eight week run at the Fulton Theatre in Pittsburgh attracted over 50 000 people with reservations being made from cities located one hundred miles from the venue 101 Engagements were also held at the Geary Theatre in San Francisco for eight months 92 the Hanna Theatre in Cleveland for nine weeks 102 103 the Majestic Theatre in Boston 92 the Apollo Theater in Chicago 104 and also in Philadelphia Detroit Buffalo Minneapolis Washington D C and Baltimore 105 Fantasia grossed over 300 000 in the first sixteen weeks in New York over 20 000 in the opening five weeks in San Francisco and almost the same amount in the first ten weeks both in Los Angeles and Boston 95 The first eleven roadshows earned a total of 1 3 million by April 1941 96 but the 85 000 in production and installation costs of a single Fantasound setup 78 lt 106 along with theatres having to be leased 107 forced Disney to exceed their loan limits 108 The onset of the Second World War prevented plans for a potential release in Europe normally the source of as much as forty five per cent of the studio s income 94 Up to eighty eight engagements were outlined across five years but wartime demands for material limited the number of Fantasound prints to sixteen 96 All but one of the Fantasound setups were dismantled and given to the war effort 2 Upon acquiring the film s distribution rights in April 1941 RKO initially continued the roadshow booking policy but presented the film in mono which was easier to exhibit 109 96 The combined average receipts from each roadshow was around 325 000 which placed Fantasia at an even greater loss than Pinocchio 110 1942 1963 runs Disney allowed RKO to handle the general release of Fantasia but fought their decision to have the film cut He gave in as the studio needed as much income as possible to remedy its finances but refused to cut it himself You can get anybody you want to edit it I can t do it 111 With no input from Disney musical director Ed Plumb and Ben Sharpsteen reduced Fantasia to one hour and forty minutes at first then to one hour and twenty minutes by removing most of Taylor s commentary and the Toccata and Fugue 108 112 Fantasia was re released in January 1942 at more popular prices with a mono soundtrack and was placed on the lower half of double bills with the Western film Valley of the Sun 113 RKO reissued Fantasia once more on September 1 1946 with the animated sequences complete and the scenes of Taylor Stokowski and the orchestra restored but shortened Its running time was restored to one hour and fifty five minutes This edit would be the standard form for subsequent re releases and was the basis for the 1990 restoration 89 I wanted a special show just like Cinerama plays today I had Fantasia set for a wide screen I had dimensional sound To get that wide screen I had the projector running sideways I had the double frame But I didn t get to building my cameras or my projectors because the money problem came in The compromise was that it finally went out standard with dimensional sound I think if I d had the money and I could have gone ahead I d have a really sensational show at that time Walt Disney on the widescreen release in 1956 110 By 1955 the original sound negatives began to deteriorate though a four track copy had survived in good condition Using the remaining Fantasound system at the studio a three track stereo copy was transferred across noise free telephone wires onto magnetic film at an RCA facility in Hollywood 2 44 This copy was used when Fantasia was reissued in stereo by Buena Vista Distribution in SuperScope a derivative of the anamorphic widescreen CinemaScope format on February 7 1956 89 The projector featured an automatic control mechanism designed by Disney engineers that was coupled to a variable anamorphic lens which allowed the picture to switch between its Academy standard aspect ratio of 1 33 1 to the wide ratio of 2 35 1 in twenty seconds without a break in the film This was achieved by placing the cues that controlled the mechanism on a separate track in addition to the three audio channels Only selected parts of the animation were stretched while all live action scenes remained unchanged 114 This reissue garnered some criticism from viewers as the widescreen format led to the cropping and reframing of the images 115 On February 20 1963 Fantasia was re released in both standard and SuperScope versions with stereo sound though existing records are unclear Its running time was fifty six seconds longer than the previous issue which is unexplained 89 This was the final release that occurred before Disney s and Taylor s death in 1966 89 1969 1990 runs 1969 psychedelic style re release poster Fantasia began to make a profit from its 2 28 million budget after its return to theaters on December 17 1969 2 89 The film was promoted with a psychedelic styled advertising campaign and it became popular among teenagers and college students who reportedly appreciated it as a psychedelic experience 116 Animator Ollie Johnston recalled that young people thought we were on a trip when we made it every time we d go to talk to a school or something they d ask us what we were on 117 The release is also noted for the removal of four scenes from The Pastoral Symphony over racial stereotyping Fantasia was issued on a regular basis typically for exhibition in art houses in college towns until the mid 1970s 89 The film was reissued nationwide once more on April 15 1977 the same year as Stokowski s death this time with simulated stereo sound 2 94 This edit featured the RKO distribution logo being replaced with that of Buena Vista Distribution since RKO had not been part of a release since 1946 It had not been removed earlier as the credit sequence would have required to be re shot A two and a half minute reduction in the film s running time in this version remains unclear in existing records 89 In 1980 the studio shipped a damaged segment of The Nutcracker Suite to various film restoration companies each advised that the sound recording could not be upgraded to a quality suitable for theatre screenings 118 By early 1982 Disney decided to replace the Stokowski soundtrack with a new digital recording in Dolby Stereo with conductor Irwin Kostal Disney executive Ron W Miller said that the original had degraded and no longer matched the extraordinary visuals 119 Kostal directed a 121 piece orchestra and 50 voice choir for the recording that took place over 18 sessions at CBS Studio Center in Los Angeles and cost 1 million to produce 119 120 Kostal had the task of pacing his conducting to match Stokowski s but chose Nikolay Rimsky Korsakov s orchestration of Night on Bald Mountain instead of Stokowski s own arrangement that was used in the original The new recording also corrected a two frame lag in projection caused by the recording techniques used at the time the film was made 3 The Kostal soundtrack was prepared for the film s reissue from April 2 1982 which had Taylor s scenes replaced with briefer voiceover narration from Hugh Douglas as the studio felt audiences by now had become more sophisticated and knowledgeable about music 89 3 The 1982 version was reissued from February 1985 which kicked off with a run at the Plitt Century Plaza Theatre in Los Angeles that was fitted with the HPS 4000 digital speaker system This allowed the digital stereo recording of the Kostal soundtrack to be presented for the first time and made Fantasia the first theatrical feature film presented in digital stereo sound 121 The standard recording was used for the film s wide release to around 400 theaters 122 This time actor Tim Matheson provided the narration 123 For its fiftieth anniversary reissue Fantasia underwent a two year restoration process that began with a six month search to locate the original negatives which had been in storage since 1946 and piece them together This was the first time since then that a print of the film had been prepared using the original negative and not a copy 124 A new print was formed that was identical to the 1946 version with Taylor s introductions restored but with a new end credits sequence added As the original opening shots of Rite of Spring could not be found footage from the Disney educational film A World is Born which used footage from the segment was used instead This was also the case for a sequence in The Pastoral Symphony so a duplicate was used 44 Each of the 535 680 frames were restored by hand with an untouched print from 1951 used for guidance on the correct colors and tone 124 125 Theaters that agreed to screen the film were required to install specific stereo sound equipment and present it in its original 1 33 1 aspect ratio 117 126 The 1990 reissue also had the Stokowski soundtrack restored which underwent digital remastering by Terry Porter who worked with the 1955 magnetic soundtrack He estimated 3 000 pops and hisses were removed from the recording 77 78 126 Released on October 5 1990 the reissue grossed 25 million domestically 127 Home media Audio Disney considered releasing the film s soundtrack around the time of the film s roadshow release but this idea was not realized 21 The soundtrack was first released as a mono three LP set 128 in sixteen countries 129 by Disneyland and Buena Vista Records in 1957 containing the musical pieces without the narration A stereo edition LP was issued by Buena Vista Records in 1961 130 Disney was required to obtain permission from Stokowski who initially rejected its sale unless the Philadelphia Orchestra Association received a share of the royalties 129 The Kostal recording was released on two CDs two LPs and two audio cassettes by Buena Vista Records in 1982 119 131 132 In September 1990 the remastered Stokowski soundtrack was released on CD and audio cassette by Buena Vista Records 133 134 and was later re released in 2006 In the United States it debuted the Billboard 200 chart at number 190 its peak position for the week of November 17 1990 135 Two months after its release the album was certified gold by the Recording Industry Association of America RIAA for 500 000 copies sold in the United States In January 1993 it was certified platinum for sales in excess of one million copies 136 For the film s 75th anniversary in 2015 the Stokowski and Kostal recordings were released by Walt Disney Records on a four disc album as the fifth volume of The Legacy Collection The set includes Stokowski s recording of the deleted Clair de Lune segment and a recording of The Sorcerer s Apprentice and Peter and the Wolf from Make Mine Music with added narration by Sterling Holloway 137 Video Fantasia has received four home video releases The first featuring the 1990 restored theatrical version was released on VHS Betamax and LaserDisc on November 1 1991 as part of the Walt Disney Classics line The original soundtrack returned when Fantasound was also recreated in Dolby Stereo for the film s 1990 theatrical release The result named Fantasound 90 was used as a basis of the audio for these releases 138 The release was limited to just 50 days prompting 9 25 million advance orders for cassettes and a record 200 000 for discs doubling the figure of the previous record The Deluxe Edition package included the film a making of feature a commemorative lithograph a 16 page booklet a two disc soundtrack of the Stokowski score and a certificate of authenticity signed by Roy E Disney the nephew of Walt 127 In 1992 Fantasia became the biggest selling sell through cassette of all time in the US with 14 2 million copies being purchased 139 The record was surpassed later that year by Beauty and the Beast 140 By October 1994 21 7 million copies of the video had been sold worldwide 141 The video portion of this was also released outside of the U S as a DVD in 2000 again under the Walt Disney Classics banner but with 5 1 surround sound featured in the 2000 US DVD release 142 In November 2000 Fantasia was released on video for the second time this time along with Fantasia 2000 on DVD with 5 1 surround sound The films were issued both separately and in a three disc set called The Fantasia Anthology A variety of bonus features were included in the bonus disc The Fantasia Legacy This edition attempted to follow as closely as possible the runtime and format of the original roadshow version and included additional restored live action footage of Taylor and the orchestra including the bookends to the film s intermission 143 Since the 2000 release Taylor s voice was re recorded throughout by Corey Burton because most of the audio tracks to Taylor s restored scenes had deteriorated to the point that they could no longer be used 144 Both films were reissued again by Walt Disney Studios Home Entertainment in November 2010 separately as a two disc DVD Blu ray set and a combined DVD and Blu ray four disc set named the Fantasia 2 Movie Collection that featured 1080p high definition video and 7 1 surround sound 145 The 2010 version of Fantasia featured a new restoration by Reliance MediaWorks and a new sound restoration 146 but was editorially identical to the 2000 version 147 This also marked the first time the roadshow version was released in Europe Fantasia was withdrawn from release and returned to the Disney Vault moratorium on April 30 2011 148 149 In 2021 both films along with the 2018 compilation Celebrating Mickey a collection of 13 Mickey Mouse shorts were reissued on DVD Blu ray and digitally as part of the U S Disney Movie Club exclusive The Best of Mickey Collection 150 They were also released for the first time on multiple U S purchased streaming platforms including Movies Anywhere and its retailers 151 152 ReceptionCritical response Early reviews The film opened at the Carthay Circle Theatre on January 30 1941 Fantasia garnered significant critical acclaim at the time of release and was seen by some critics as a masterpiece 153 The West Coast premiere at the Carthay Circle Theatre was a grand affair attracting some 5000 people including Shirley Temple Cecil B DeMille Forrest Tucker James Cagney Robert Montgomery James Murphy Edgar Bergen and many other notables in the film industry 153 Among those at the film s premiere was film critic Edwin Schallert of the Los Angeles Times who considered the film to be a magnificent achievement in film which would go down in cinematic history as a landmark film noting the rapturous applause the film received by the audience during the various interludes He stated that Fantasia was caviar to the general ambrosia and nectar for the intelligentsia and considered the film to be courageous beyond belief 153 Music critic of the newspaper Isabel Morse Jones was highly praising of the soundtrack to the film believing it to be a dream of a symphony concert an enormously varied concert of pictorial ideas of abstract music by acknowledged composers of performers Leopold Stokowski and orchestra players of Hollywood and Philadelphia and for the vast majority new and wonderful sound effects 153 Bosley Crowther of The New York Times also at the premiere noted that motion picture history was made last night Fantasia dumps conventional formulas overboard and reveals the scope of films for imaginative excursion Fantasia is simply terrific 94 Peyton Boswell an editor at Art Digest called it an aesthetic experience never to be forgotten 106 Time magazine described the premiere as stranger and more wonderful than any of Hollywood s and the experience of Fantasound as if the hearer were in the midst of the music As the music sweeps to a climax it froths over the proscenium arch boils into the rear of the theatre all but prances up and down the aisles 59 Dance Magazine devoted its lead story to the film saying that the most extraordinary thing about Fantasia is to a dancer or balletomane not the miraculous musical recording the range of color or the fountainous integrity of the Disney collaborators but quite simply the perfection of its dancing 94 Variety also hailed Fantasia calling it a successful experiment to lift the relationship from the plane of popular mass entertainment to the higher strata of appeal to lovers of classical music 154 The Chicago Tribune assigned three writers to cover the film s Chicago premiere society columnist Harriet Pribble film critic Mae Tinee and music critic Edward Barry Pribble left amazed at the brilliantly attired audience while Tinee felt the film was beautiful but it is also bewildering It is stupendous It is colossal It is an overwhelmingly ambitious orgy of color sound and imagination Barry was pleased with the program of good music well performed and beautifully recorded and felt pleasantly distracted from the music to what was shown on the screen 104 In a breakdown of reviews from both film and music critics Disney author Paul Anderson found 33 to be very positive 22 both positive and positive and negative and 11 negative 155 Those who adopted a more negative view at the time of the film s release came mostly from the classical music community Many found fault with Stokowski s rearrangements and abridgements of the music Igor Stravinsky the only living composer whose music was featured in the film expressed displeasure at how in Stokowski s arrangement of The Rite of Spring the order of the pieces had been shuffled and the most difficult of them eliminated and criticized the orchestra s performance observing that the simplification of the score did not save the musical performance which was execrable 156 157 Other composers and music critics leveled criticism at the premise of the film itself arguing that presenting classical music with visual images would rob the musical pieces of their integrity Composer and music critic Virgil Thomson praised Fantasound which he thought offered good transmission of music but disliked the musical taste of Stokowski with exception to The Sorcerer s Apprentice and The Rite of Spring 94 Olin Downes of The New York Times too hailed the quality of sound that Fantasound presented but said much of Fantasia distracted from or directly injured the scores 94 Film critic Pauline Kael dismissed parts of Fantasia as grotesquely kitschy 158 Some parents resisted paying the higher roadshow prices for their children and several complained that the Night on Bald Mountain segment had frightened them 111 There were also a few negative reactions that were more political in nature especially since the film s release happened at a time when Nazi Germany reigned supreme in Europe One review of the film in this manner written by Dorothy Thompson for The New York Herald Tribune on November 25 1940 was especially harsh Thompson claimed that she left the theater in a condition bordering on nervous breakdown because the film was a remarkable nightmare Thompson went on to compare the film to rampant Nazism which she described as the abuse of power and the perverted betrayal of the best instincts Thompson also claimed that the film depicted nature as being titanic while man was only a moving lichen on the stone of time She concluded that the film was cruel brutal and brutalizing and a negative caricature of the Decline of the West In fact Thompson claimed that she was so distraught by the film that she even walked out of it before she saw the two last segments Night on Bald Mountain and Ave Maria because she did not want to be subject to any more of the film s brutalization 159 Later reviews On the review aggregator website Rotten Tomatoes 95 of 56 critics reviews are positive with an average rating of 8 6 10 The website s consensus reads 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 160 Metacritic which uses a weighted average assigned the film a score of 96 out of 100 based on 18 critics indicating universal acclaim 161 TV Guide awarded the film four stars calling it the most ambitious animated feature ever to come out of the Disney studios noting how the film integrates famous works of classical music with wildly uneven but extraordinarily imaginative visuals that run the gamut from dancing hippos to the purely abstract 162 Roger Ebert of the Chicago Sun Times rated the film four stars out of four and noted that throughout Fantasia Disney pushes the edges of the envelope 163 However Empire magazine only rated it 2 stars out of 5 poor concluding this is a very patchy affair while some of the animated pieces work others come across as downright insane 164 Remarks have also been made about Fantasia not being a children s film Religion writer Mark I Pinsky considers Fantasia to be one of the more problematic of Disney s animated features in that it was intended as much as for adults as children and not what people had come to expect 165 Awards and honors Fantasia was ranked fifth at the 1940 National Board of Review Awards in the Top Ten Films category 166 Disney and Stokowski won a Special Award for the film at the 1940 New York Film Critics Circle Awards 167 Fantasia was the subject of two Academy Honorary Awards on February 26 1942 one for Disney William Garity John N A Hawkins and the RCA Manufacturing Company for their outstanding contribution to the advancement of the use of sound in motion pictures through the production of Fantasia and the other to 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 168 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 169 On the 100th anniversary of cinema in 1995 the Vatican included Fantasia in its list of 45 great films made under the Art category the others being Religion and Values 170 Fantasia is featured in three lists that rank the greatest American films as determined by the American Film Institute The film ranked number 58 in 100 Years 100 Movies in 1998 171 before it was dropped from its ranking in the 10th Anniversary revision in 2007 172 though it was nominated for inclusion 173 The 10 Top 10 list formed in 2008 placed Fantasia fifth under Animation 171 Controversies See also Disney animators strike In April 1942 the Irish Film Censor insisted the film cut Taylor s scientific introduction to The Rite of Spring due to its materialistic portrayal of the origins of life 174 In the late 1960s four shots from The Pastoral Symphony were removed that depicted two characters in a racially stereotyped manner A black centaurette called Sunflower was depicted polishing the hooves of a white centaurette and a second named Otika appeared briefly during the procession scenes with Bacchus and his followers 175 According to Disney archivist David Smith the sequence was aired uncut on television in 1963 before the edits were made for the film s 1969 theatrical reissue 176 John Carnochan the editor responsible for the change in the 1991 video release said It s sort of appalling to me that these stereotypes were ever put in 177 Film critic Roger Ebert commented on the edit While the original film should of course be preserved for historical purposes there is no need for the general release version to perpetrate racist stereotypes in a film designed primarily for children 178 The edits have been in place in all subsequent theatrical and home video reissues 178 However fans online took it upon themselves to restore the cut scenes back into the movie 179 180 181 In May 1992 the Philadelphia Orchestra Association filed a lawsuit against The Walt Disney Company and Buena Vista Home Video The orchestra maintained that as a co creator of Fantasia the group was entitled to half of the estimated 120 million in profits from video and laser disc sales 182 The orchestra dropped its case in 1994 when the two parties reached an undisclosed settlement out of court 183 British music publisher Boosey amp Hawkes filed a further lawsuit in 1993 contending that Disney did not have the rights to distribute The Rite of Spring in the 1991 video releases because the permission granted to Disney by Stravinsky in 1940 was only in the context of a film to be shown in theaters 184 A federal district court backed Boosey amp Hawkes s case in 1996 185 186 but the Second Circuit Court of Appeals reversed the ruling in 1998 stating that Disney s original license for motion picture rights extends to video format distribution 187 188 Additional materialDisney had wanted Fantasia to be an ongoing project with a new edition being released every few years 189 His plan was to replace one of the original segments with a new one as it was completed so audiences would always see a new version of the film 92 From January to August 1941 story material was developed based on additional musical works including Ride of the Valkyries by Richard Wagner The Swan of Tuonela by Jean Sibelius Invitation to the Dance by Carl Maria von Weber the Polka and Fugue from Schwanda the Bagpiper by Jaromir Weinberger a baby ballet set to Berceuse by Frederic Chopin and a bug ballet set to Flight of the Bumblebee by Nikolai Rimsky Korsakov 14 92 which was later adapted into the Bumble Boogie segment in Melody Time 1948 The film s disappointing initial box office performance and the USA s entry into World War II brought an end to these plans 190 Deems Taylor prepared introductions for The Firebird by Stravinsky La Mer by Claude Debussy Adventures in a Perambulator by John Alden Carpenter Don Quixote by Richard Strauss and Pictures at an Exhibition by Mussorgsky to have them for the future in case we decided to make any one of them 189 191 Another segment Debussy s Clair de lune was developed as part of the film s original program After being completely animated it was cut out of the final film to shorten its lengthy running time The animation depicted two Great white herons flying through the Florida Everglades on a moonlit night with more focus towards the segment s background art than story and animation The sequence was later edited and re scored for the Blue Bayou segment in Make Mine Music 1946 In 1992 a workprint of the original was discovered and Clair de Lune was restored complete with the original soundtrack of Stokowski with the Philadelphia Orchestra It was included as a bonus feature in The Fantasia Anthology DVD in 2000 192 Destino a collaboration between Walt Disney and surrealist artist Salvador Dali was also considered for inclusion as a future Fantasia segment but was shelved until it was re discovered during production of Fantasia 2000 LegacySequel Fantasia is timeless It may run 10 20 or 30 years It may run after I m gone Fantasia is an idea in itself I can never build another Fantasia I can improve I can elaborate That s all Walt Disney 14 In 1980 the Los Angeles Times reported that Wolfgang Reitherman and Mel Shaw had begun work on Musicana an ambitious concept mixing jazz classical music myths modern art and more following the old Fantasia format 193 Animation historian Charles Solomon wrote that development took place between 1982 and 1983 which combined ethnic tales from around the world with the music of the various countries Proposed segments for the film included a battle between an ice god and a sun goddess set to Finlandia by Sibelius one set in the Andes to the songs of Yma Sumac another featuring caricatures of Louis Armstrong and Ella Fitzgerald and an adaptation of The Emperor s Nightingale which would have featured Mickey as the nightingale s owner similar to his role in The Sorcerer s Apprentice The project was shelved in favor of Mickey s Christmas Carol 194 though the artwork made for The Emperor s Nightingale would later be used for a book adaptation by Teddy Slater in 1992 Roy E Disney the nephew of Walt co produced Fantasia 2000 which entered production in 1990 and features seven new segments performed by the Chicago Symphony Orchestra with conductor James Levine 195 The Sorcerer s Apprentice is the only segment retained from the original film Fantasia 2000 premiered at Carnegie Hall on December 17 1999 as part of a five city live concert tour followed by a four month engagement in IMAX cinemas 196 and a wide release in regular theatres in 2000 197 Early development for a third film began in 2002 with a working title of Fantasia 2006 The proposed segments included The Little Matchgirl by Roger Allers One by One by Pixote Hunt Lorenzo by Mike Gabriel and Destino by Dominique Monfery 198 The project was shelved in 2004 with the proposed segments released as individual short films 199 On October 25 2019 it was announced that Disney is developing a project based on Fantasia for its streaming service Disney 200 Live action adaptations The Sorcerer s Apprentice segment was adapted by Jerry Bruckheimer into the feature length movie The Sorcerer s Apprentice 2010 The Nutcracker Suite segment serves as a partial inspiration for the feature length movie The Nutcracker and the Four Realms 2018 which itself contains several references to Fantasia The Night on Bald Mountain segment was reported in 2015 as being in development by Disney Productions for a feature length live action film with a treatment written by Matt Sazama and Burk Sharpless 201 In 2021 it was reported that the project had been scrapped citation needed Parodies and spin offs Fantasia is parodied in A Corny Concerto a Warner Bros cartoon from 1943 of the Merrie Melodies series directed by Bob Clampett The short features Elmer Fudd 202 in the role of Taylor wearing his styled glasses who introduces two segments set to pieces by Johann Strauss Tales from the Vienna Woods and the Blue Danube Waltz the former featuring Porky and Bugs and the latter featuring Daffy In 1976 Italian animator Bruno Bozzetto produced Allegro Non Troppo a feature length parody of Fantasia 203 The animated television series The Simpsons references Fantasia in a few episodes Matt Groening the creator of the series expressed a wish to make a parody film named Simpstasia it was never produced partly because it would have been too difficult to write a feature length script 204 In Treehouse of Horror IV director David Silverman had admired the animation in Night on Bald Mountain and made the first appearance of Devil Flanders resemble Chernabog 205 The episode Itchy amp Scratchy Land references The Sorcerer s Apprentice in a snippet titled Scratchtasia which features the music and several shots parodying it exactly 206 In 2014 BBC Music created a music education scheme similar to Fantasia called Ten Pieces intended to introduce children to classical music Spanning two films in 2014 and 2015 several pieces featured in the Fantasia films are also included 207 The 2018 film Teen Titans Go To the Movies references Fantasia during the musical sequence My Superhero Movie citation needed Theme parks The Sorcerer s Hat in Disney s Hollywood Studios From 2001 to 2015 the Sorcerer s Hat was the icon of Disney s Hollywood Studios one of the four theme parks located at Walt Disney World Resort The structure was of the magic hat from The Sorcerer s Apprentice 208 Also located at the resort is Fantasia Gardens a miniature golf course that integrates characters and objects from the film in each hole 209 The fireworks and water show Fantasmic features scenes from The Sorcerer s Apprentice and other Fantasia segments on water projection screens and involves the plot of Mickey as the apprentice doing magic whilst also battling the Disney Villains 210 For the 20th anniversary of Disneyland Paris Mickey was depicted in a special version of his Sorcerer s Apprentice outfit with his friends wearing similar outfits The Night on Bald Mountain segment is featured in the Storybook Land Canal Boats attraction at Disneyland Park in Paris 211 Video games In 1983 Atari released a game called Sorcerer s Apprentice for the Atari 2600 based on that segment of Fantasia The player as Mickey Mouse must collect falling stars and comets which will prevent the marching brooms from flooding Yen Sid s cavern 212 In 1991 a side scrolling Fantasia video game developed by Infogrames was released for the Sega Mega Drive Genesis system The player controls Mickey Mouse who must find missing musical notes scattered across four elemental worlds based upon the film s segments 213 There are several film reel levels based on some of the movie s segments such as Sorcerer s Apprentice and Night on Bald Mountain that appear in the Epic Mickey games Yen Sid and Chernabog also make cameo appearances in the games Yen Sid the sorcerer from The Sorcerer s Apprentice narrates the openings and endings of the two games and served as the creator of the Wasteland Chernabog the demon from the Night on Bald Mountain Ave Maria segment appears as a painting in the first game and appears in the Night on Bald Mountain film reel levels in the second 214 The Disney Square Enix crossover game series Kingdom Hearts features Chernabog as a boss in the first installment 215 The Night on Bald Mountain piece is played during the fight Yen Sid appears frequently in the series beginning with Kingdom Hearts II voiced in English by Corey Burton Symphony of Sorcery a world based on the movie appears in Kingdom Hearts 3D Dream Drop Distance Like the Timeless River world in Kingdom Hearts II it is featured as a period of Mickey Mouse s past 216 Fantasia Music Evolved a music game was developed by Harmonix in association with Disney Interactive for the Xbox 360 and Xbox One consoles The game utilizes the Kinect device to put players in control of music in a manner similar to Harmonix previous rhythm games affecting the virtual environment and interactive objects within it The game features licensed contemporary rock music such as Queen and Bruno Mars 217 Mickey in his Sorcerer s Apprentice guise appears as a playable character in Disney Infinity 218 Concert A live concert presentation of the film named Disney Fantasia Live in Concert showcases various segments from both Fantasia and Fantasia 2000 The concert version features a live symphony orchestra and piano soloist accompanying projected high definition video segments The Fantasia concert was still touring throughout the world as late as 2022 219 220 221 Television Several elements from the film appear in television series Once Upon a Time The hat from The Sorcerer s Apprentice appears in the fourth season episode A Tale of Two Sisters As the series progressed the hat was shown to have the ability to absorb others and those it absorbed would appear as a star on the hat The Sorcerer s Apprentice himself makes an appearance where he is an old man who guards the hat in the Enchanted Forest 222 Chernabog from Night On Bald Mountain also makes an appearance in the episode Darkness on the Edge of Town 223 CreditsMusical score conducted by Leopold Stokowski Performed by the Philadelphia Orchestra except as noted Segment PersonnelLive action scenes Master of Ceremonies and narrator Deems Taylor Cinematography James Wong HoweToccata and Fugue in D Minor Musical score Toccata and Fugue in D minor BWV 565 by Johann Sebastian Bach transcribed for orchestra by Leopold Stokowski Director Samuel Armstrong Story development Lee Blair Elmer Plummer and Phil Dike Art director 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 WoodThe Nutcracker Suite Musical score The Nutcracker Suite Op 71a by Pyotr Ilyich Tchaikovsky excerpts Director 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 EngelThe Sorcerer s Apprentice Musical score The Sorcerer s Apprentice by Paul Dukas Performed by an orchestra of Los Angeles musicians conducted by Stokowski Director 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 BlairEdward Love Ugo D Orsi George Rowley and Cornett WoodRite of Spring Musical score The Rite of Spring by Igor Stravinsky abridged and arranged by Leopold Stokowski Directors Bill Roberts and Paul Satterfield Story development and 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 PickleyIntermission Meet the Soundtrack Narrator Deems Taylor Directors Ben Sharpsteen and David D Hand Animation Joshua Meador Art Palmer Harry Hamsell and George RowleyThe Pastoral Symphony Musical score Symphony No 6 in F major Op 68 Pastorale by Ludwig van Beethoven abridged Directors 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 ElliotteWalt Kelly Don Lusk Lynn Karp Murray McClellan Robert W Youngquist and Harry HamselDance of the Hours Musical score Dance of the Hours from the opera La Gioconda by Amilcare Ponchielli Directors T Hee and Norman Ferguson Character designs Martin Provensen James Bodrero Duke Russell and 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 TateHicks Lokey Art Elliott Grant Simmons Ray Patterson and Franklin GrundeenNight on Bald Mountain and Ave Maria Musical scores Night on Bald Mountain by Modest Mussorgsky and Ave Maria Op 52 No 6 by Franz Schubert both works and transitional material arranged by Leopold Stokowski Director 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 Rachel Field Choral director Charles Henderson Soprano 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 PickleyReferences FANTASIA U British Board of Film Classification July 21 1941 Retrieved January 10 2014 a b c d e Goldmark amp Taylor 2002 p 88 a b c Paris Barry November 13 1982 Fantasia gets a re recorded soundtrack Pittsburgh Post Gazette Retrieved March 6 2011 Fantasia Box Office Mojo IMDb Retrieved January 10 2022 Fantasia The Numbers Nash Information Services LLC Retrieved January 10 2022 Culhane 1983 p 35 Culhane 1983 p 45 Culhane 1983 p 79 Culhane 1983 p 107 Culhane 1983 pp 128 132 Culhane 1983 p 133 Culhane 1983 p 161 Culhane 1983 p 181 a b c d e f Solomon Charles August 26 1990 Fantastic Fantasia Disney Channel Takes a Look at Walt s Great Experiment in Animation Los Angeles Times Retrieved January 17 2011 Culhane 1983 p 13 Barrier 1999 p 242 a b Culhane 1983 pp 80 84 a b c d e Smith David R February 1976 The Sorcerer s Apprentice Birthplace of Fantasia Millimeter Magazine pp 18 20 22 24 64 67 a b Holliss Richard Fantasia Disney com Archived from the original on November 28 2006 Retrieved October 28 2011 Barrier 1999 p 243 a b c d Philadelphia Orchestra Association v Walt Disney Co 821 F Supp 341 1993 Retrieved October 16 2011 via Google Scholar a b Mosley 1985 p 176 a b Culhane 1983 pp 15 16 a b c Culhane 1983 p 18 a b Pegolotti 2003 p 235 Pegolotti 2003 p 233 Pegolotti 2003 p 236 Allan 2000 p 96 Pegolotti 2003 p 237 Culhane John January 14 1990 Disney Stravinsky and The Sock The New York Times Retrieved January 21 2011 Allan 2000 p 97 a b Gabler 2006 p 308 Barrier 1999 p 247 a b Barrier 1999 pp 252 253 Gabler 2006 pp 317 318 Culhane 1983 p 134 Gabler 2006 p 316 Barrier 1999 p 248 Solomon Charles October 7 1990 It Wasn t Always Magic Los Angeles Times Retrieved January 21 2011 Hente David October 29 1991 Fantasia marks anniversary with video The Southeast Missourian Retrieved January 16 2011 via Google News Archive Fantasia returning in complete version The Montreal Gazette May 8 1943 Retrieved February 12 2011 via Google News Archive a b Culhane 1983 p 150 a b Culhane 1983 p 22 a b c Hartl John September 30 1990 Restoring Classics Fantasia Leads Way The Seattle Times Retrieved September 13 2018 Lee N Madej K 2012 Disney Stories Getting to Digital SpringerLink Bucher Springer New York p 61 ISBN 978 1 4614 2101 6 Retrieved February 5 2021 a b Culhane 1983 pp 36 38 Barrier 1999 p 253 Culhane 1983 pp 42 43 Culhane 1983 pp 53 54 Culhane 1983 p 61 Biederman Patricia Ward November 11 1995 An Animated Personal Vision CalArts Teacher Jules Engel Is Honored for Lifetime in Film Los Angeles Times Archived from the original on October 30 2020 Retrieved October 30 2020 5 Fascinating Facts About Fantasia s Nutcracker Suite D23 Culhane 1983 pp 15 16 80 84 Barrier 1999 p 251 a b Adler Dick September 23 1990 The Fantasy Of Disney s Fantasia 50 Years Later It s Still A Classical Masterpiece Chicago Tribune Retrieved January 17 2011 Barrier 1999 p 244 Culhane 1983 p 126 a b Culhane 1983 pp 120 121 a b Music Disney s Cinesymphony Time November 18 1940 Archived from the original on January 4 2022 Retrieved February 12 2011 a b Pinsky 2004 p 36 Culhane 1983 p 170 Culhane 1983 pp 162 164 Culhane 1983 pp 167 168 Denney amp Williams 2004 p 136 a b Culhane 1983 pp 170 171 a b Rannie Alexander May 10 2014 Symphony at the Movies Program Notes Soundings Vol 11 no 5 Colorado Symphony Orchestra pp 28 29 Retrieved January 5 2019 via Issuu Pinsky 2008 p 36 sfn error no target CITEREFPinsky2008 help a b c d Culhane 1983 p 185 Culhane 1983 p 188 Culhane 1983 p 198 Culhane 1983 p 199 Culhane 1983 p 200 Barrier 1999 p 246 Julietta Novis BFI Retrieved February 5 2021 a b c d e Boone Andrew R January 1941 Mickey Mouse Goes Classical Popular Science pp 65 67 via Google Books a b c d Telotte 2008 pp 38 40 a b Duncombe Ted September 14 1990 Restored Fantasia returns to screen The Daily Gazette Retrieved February 7 2011 via Google News Archive a b c d e f g Shepherd 2003 pp 3 6 Artner Alan G September 23 1990 Conductor s Sound Innovations Make The Most Of The Music Chicago Tribune Retrieved January 21 2011 Garity William E Jones Watson July 1942 Experiences in Road Showing Walt Disney s Fantasia Journal of the Society of Motion Picture Engineers United States 39 6 15 doi 10 5594 J09876 Barrier 2008 p 146 Gabler 2006 pp 328 329 FANTASOUND The American Widescreen Museum 1998 Retrieved October 18 2016 Timeline History of Hewlett Packard Fox News February 9 2005 Archived from the original on January 3 2022 Retrieved October 18 2016 HP Virtual Museum Model 200B audio oscillator 1939 Hewlett Packard 2012 Retrieved October 18 2016 Gelder 1990 pp 87 90 Thomas 1994 p 161 sfn error no target CITEREFThomas 1994 help Grant 1998 p 178 a b c d e f g h i Re Release Schedule DVD The Fantasia Legacy Walt Disney Home Entertainment 2000 Gabler 2006 p 340 The Making of Fantasia Documentary film Walt Disney Home Entertainment 2000 a b c d e f Fanning Jim December 2 2010 15 Fascinating Facts About Fantasia D23 Archived from the original on January 9 2012 Retrieved January 16 2011 Gabler 2006 p 341 a b c d e f g Culhane 1983 pp 30 31 a b Gabler 2006 p 345 a b c d e Hall amp Neale 2010 p 110 Pryor Thomas M March 1 1942 By Way of Report The New York Times p X3 Kendall Read January 30 1941 Celebrities attend film premiere Los Angeles Times Retrieved June 6 2011 via Newspapers com Fantasia in last 2 weeks Oxnard Press Courier October 7 1941 Retrieved June 6 2011 via Google News Archive Fantasia passes Gone With Wind Theater Record Oxnard Press Courier August 5 1941 Retrieved February 12 2011 via Google News Archive Disney movie to be held at the Fulton Theater eighth and final week The Pittsburgh Press April 18 1941 Retrieved January 16 2011 via Google News Archive March W Ward May 8 1941 Fantasia Stays another Week The Cleveland Plain Dealer March W Ward March 19 1941 Disney at highest and best with Fantasia The Cleveland Plain Dealer a b Prescott David February 8 1985 The Film That Saved Mickey The Chicago Tribune Retrieved January 6 2012 Amernic amp Craig 2006 p 194 a b Goldmark amp Taylor 2002 p 87 Eagan 2010 pp 323 324 a b Gabler 2006 p 347 Churchill Douglas W April 28 1941 RKO Will Distribute Goldwyn Productions and Acquires Rights to Fantasia The New York Times a b Barrier 2008 p 162 a b Thomas 1994 p 162 Disney Roy E Levine James Canemaker John and MacQueen Scott 2000 Fantasia Audio commentary DVD Walt Disney Home Entertainment Thomas Bob September 28 1990 Fantasia success delayed The Press Courier Retrieved March 4 2011 via Google News Archive Wasserman Norman March 1956 Special Projection Process Gives Fantasia New Look International Projectionist United States 14 15 Bennett Colin August 29 1958 Favourite films revived The Age Retrieved June 6 2011 via Google News Archive Monahan Kaspar April 5 1970 Revisited Fantasia still thrills The Pittsburgh Press Retrieved March 6 2011 via Google News Archive a b Fantasia won t show locally Herald Journal October 5 1990 Retrieved March 25 2011 Aldred John December 1995 Fantastic Fantasia PDF The Newsletter of the Association of Motion Picture Sound No 16 p 7 Retrieved November 20 2020 via AMPS net a b c Various 1982 Walt Disney s Fantasia New Digital Motion Picture Soundtrack LP Buena Vista Records V 104 Thomas Bob March 13 1982 Disney Gives Fantasia New Sound Work Over Kentucky New Era Retrieved February 6 2011 via Google News Archive Blake Larry February 1986 Digital sound for motion pictures PDF Recording Vol 17 no 1 p 100 Retrieved November 14 2019 via American Radio History Fantasia to get new soundtrack Ocala Star Banner February 20 1985 Retrieved March 4 2011 via Google News Archive Matheson Tim D23 Archived from the original on September 6 2015 Retrieved January 3 2022 a b Archives providencejournal com The Providence Journal Pqasb pqarchiver com September 30 1990 Archived from the original on January 9 2015 Retrieved January 25 2014 Alexander Max September 30 1990 Disney Sweeps the Dust Off Fantasia at 50 The New York Times Retrieved January 16 2011 a b Toppman Lawrence October 5 1990 At 50 Disney s restored Fantasia is more fantastic Beaver County Times Retrieved March 25 2011 via Google News Archive a b Christiansen Richard October 31 1991 Fantasia A Hit With Video Audience Chicago Tribune Retrieved January 21 2011 Various 1957 Walt Disney s Fantasia LP Disneyland Records WDX 101 a b Ehrbar and Hollis pp 38 39 Various 1961 Walt Disney s Fantasia LP Buena Vista Records STER 101 Various 1982 Walt Disney s Fantasia Motion Picture Soundtrack CD Buena Vista Records CD 001 Various 1982 Walt Disney s Fantasia Music From the New Digital Motion Picture Soundtrack Audio cassette Buena Vista Records 104VC Various 1990 Walt Disney s Fantasia Remastered Original Soundtrack Edition CD Buena Vista Records 600072 Various 1990 Walt Disney s Fantasia Remastered Original Soundtrack Edition Audio cassette Buena Vista Records 600074 Billboard 200 The Week of November 17 1990 Billboard Retrieved September 15 2016 American album certifications Soundtrack Fantasia Recording Industry Association of America Retrieved September 15 2016 Legacy Collection Fantasia CD Disney Music Emporium July 18 2013 Retrieved September 15 2016 Ryan Desmond October 5 1990 Stokowski Restored Old Orchestra Sound Is Found In New Fantasia The Philadelphia Inquirer Retrieved August 18 2011 McCullaugh Jim August 1 1992 Weathering Desert Storm Basking in the Sell Through Reign Billboard Retrieved February 27 2011 via Google Books Nichols Peter M December 3 1992 Home Video The New York Times Retrieved January 21 2011 Taylor Cathy October 22 1994 Disney Waves Magic Wand And Sequel Comes To Life After 54 Years Orlando Sentinel Archived from the original on September 11 2016 Retrieved July 31 2015 Fantasia DVD 1941 Amazon com Retrieved August 9 2011 Kehr Dave November 24 2010 O K Hippos Grab Your Tutus The New York Times Retrieved March 20 2011 I ve Heard That Voice Before Corey Burton AllEars Net Retrieved December 4 2020 Fantasia amp Fantasia 2000 2 Movie Collection Special Edition Ultimate Disney DVDizzy September 1 2010 Retrieved March 8 2011 Idelson Karen June 28 2010 One stop global firms offer gamut of services Variety Fantasia and Fantasia 2000 Blu ray Review Thehdroom com November 30 2010 Retrieved January 25 2014 Fantasia Fantasia 2000 2 Movie Collection Special Edition Disney DVD Archived from the original on March 12 2011 Retrieved March 18 2011 Fantasia amp Fantasia 2000 Special Edition Leopold Stokowski James Levine Steve Martin Deems Taylor Corey Burton Walt Disney James MacDonald Julietta Novis Paul J Smith Ralph Grierson Kathleen Battle Itzhak Perlman Ben Sharpsteen Bill Roberts Don Hahn Eric Goldberg Ford Beebe Jr Francis Glebas Gaetan Brizzi Hamilton Luske Movies amp TV Amazon Retrieved January 25 2014 The Best of Mickey Collection Blu ray Blu ray com Retrieved May 23 2021 Fantasia Movies Anywhere Retrieved May 23 2021 Fantasia 2000 Movies Anywhere Retrieved May 23 2021 a b c d Fantasia Acclaimed as Film Masterpiece Los Angeles Times January 30 1941 Retrieved February 28 2014 C Flinn Sr John November 13 1940 Film Reviews Fantasia Variety p 16 Retrieved December 13 2021 via Internet Archive Gabler 2006 p 342 Anderson Don The Rite of Spring programme notes Toronto Symphony Orchestra Retrieved May 10 2015 permanent dead link Barron James January 22 1993 Who Owns the Rights to the Rite The New York Times Retrieved May 10 2015 Ward 2010 p 52 Thompson Dorothy November 25 1940 Minority Report The New York Herald Tribune Fantasia Rotten Tomatoes Fandango Media Retrieved May 21 2022 Fantasia Metacritic Fandom Inc Retrieved May 21 2022 Fantasia TV Guide Archived from the original on December 13 2021 Retrieved February 28 2014 Ebert Roger October 5 1990 Fantasia Chicago Sun Times Retrieved February 28 2011 via RogerEbert com Fantasia Empire Retrieved February 28 2014 Pinsky 2004 p 33 Awards for 1940 National Board of Review Archived from the original on November 9 2012 Retrieved March 11 2011 Screen Awards Are Presented By the Critics at a Reception The New York Times January 6 1941 Holden 1993 p 584 Gamarekian Barbara October 19 1990 Library of Congress Adds 25 Titles to National Film Registry The New York Times Retrieved February 12 2011 Vatican Best Films List Catholic News Service Media Review Office Archived from the original on April 22 2012 Retrieved October 31 2011 a b AFI s 10 Top 10 PDF American Film Institute 2008 Archived from the original PDF on July 7 2011 Retrieved March 9 2011 AFI s 100 Years 100 Movies 10th Anniversary Edition PDF American Film Institute 2007 Retrieved March 9 2011 AFI s 100 Years 100 Movies Official Ballot PDF American Film Institute 2006 Archived from the original PDF on September 21 2017 Retrieved March 9 2011 Irish Film Censors Records Fantasia Trinity College Dublin April 30 1942 Retrieved June 24 2021 Cohen p 69 Cohen p 201 Daly Steve November 29 1991 New Rating for Fantasia PC Entertainment Weekly Archived from the original on December 22 2008 Retrieved August 16 2007 a b Ebert 1997 p 176 https originaltrilogy com topic Fantasia Special Edition Laserdisc Restoration with Sunflower v2 2 id 96261 https originaltrilogy com topic Fantasia Special Edition Blu Ray Restoration V1 0 Released id 99856 https originaltrilogy com topic Fantasia Special Edition 35mm Restoration 1 0 released id 101085 Kozinn Allan May 7 1992 Fantasia Orchestra Sues Disney The New York Times Retrieved January 21 2011 Philadelphia Orchestra drops Disney lawsuit The Daily Gazette October 26 1994 Retrieved February 12 2011 via Google News Archive Barron James January 22 1993 Who owns the rights to Rite The New York Times Retrieved January 21 2011 Boosey amp Hawkes Music Publishers v Walt Disney 934 F Supp 119 S D N Y 1996 08 09 Music Publisher Court Backs Its Fantasia Case Orlando Sentinel August 10 1996 p C10 Retrieved December 13 2021 via Newspapers com Boosey amp Hawkes Music Publishers v Walt Disney 145 F 3d 481 2d Cir 1998 04 30 Rothenberg Stanley October 1998 Second Circuit Reversal Regarding Disney s Fantasia On Videocassettes FindLaw Archived from the original on August 7 2011 Retrieved May 10 2011 a b Pegolotti p 249 Michael February 8 2011 February 9 2011 Future Fantasias 1940 Progress City U S A Progress City U S A Retrieved August 14 2011 Pegolotti p 382 King Susan November 16 2000 Triple Dose for Fantasia Fans Los Angeles Times Retrieved March 20 2011 Warga Wayne October 26 1980 Disney Films Chasing the Changing Times Los Angeles Times Calendar pp 1 36 37 via Newspapers com Solomon 1995 p 154 Brennan Judy August 17 1997 Coming Sooner or Later Los Angeles Times Retrieved March 13 2011 Matthews Jack December 17 1999 Fantasia 2000 grows to IMAX height New York Daily News Archived from the original on November 25 2011 Retrieved February 12 2011 Robert W Welkos June 12 2000 Animated Clash of the Titan Los Angeles Times Retrieved February 12 2011 Ziebarth Christian May 5 2008 Roy Disney Presents At The Newport Film Festival 2008 Animated Views Retrieved May 26 2022 Hill Jim April 9 2004 Why For Jim Hill Media Archived from the original on May 5 2004 Retrieved May 26 2022 Palmer Roger October 25 2019 New Fantasia Jiminy Cricket Cheshire Cat amp Seven Dwarfs Animated Projects Rumored For Disney iO9 Retrieved October 25 2019 Ford Rebecca June 3 2015 Disney to Adapt Iconic Fantasia Sequence Into Live Action Movie Exclusive The Hollywood Reporter Retrieved September 23 2015 Kehr Dave November 2 2004 Shrek 2 More Looney Tunes and Animal Farm The New York Times Retrieved March 13 2011 Fantasia Satire Reissued But Don t Take The Kids Chicago Tribune October 18 1990 Retrieved February 12 2011 Groening Matt 2004 The Simpsons The Complete Fourth Season DVD commentary for the episode A Streetcar Named Marge DVD 20th Century Fox Silverman David 2004 The Simpsons season 5 DVD commentary for the episode Treehouse of Horror IV DVD 20th Century Fox Mirkin David 2005 The Simpsons season 6 DVD commentary for the episode Itchy amp Scratchy Land DVD 20th Century Fox CBBC Ten Pieces BBC Retrieved May 15 2015 Disney s Hollywood Studios Walt Disney World Resort Retrieved August 24 2011 Miniature Golf Walt Disney World Resort Retrieved August 24 2011 Fantasmic Disneyland Resort Retrieved August 24 2011 Disneyland Paris News Dlrppressinternational com April 1 2012 Retrieved January 25 2014 Sorcerer s Apprentice MobyGames Retrieved July 12 2014 Fantasia MobyGames Retrieved February 27 2011 Snider Mike November 22 2010 Epic Mickey designer lays waste to Magic Kingdom USA Today Retrieved March 14 2011 Birlew Dan 2003 Kingdom Hearts Official Strategy Guide BradyGames ISBN 978 0 7440 0198 3 Fantasia World Confirmed for Kingdom Hearts 3D News Nintendo World Report Retrieved January 25 2014 Snider Mike June 4 2013 Music movement are new realms for classic Fantasia USA Today Retrieved June 4 2013 Disney Infinity Figure Sorcerer s Apprentice Mickey Games Walmart com Retrieved January 25 2014 Fantasia Arts Centre Melbourne Arts Centre Melbourne 2022 Archived from the original on April 11 2022 Retrieved April 11 2022 Disney s Fantasia Live in Concert The Mann Center July 23 2013 Archived from the original on February 2 2014 Retrieved January 25 2014 Disney Fantasia Live in Concert Columbia Artists Management Inc July 23 2013 Archived from the original on March 2 2014 Retrieved March 2 2014 Once Upon a Time postmortem Rumple finds a surprising Disney icon Entertainment Weekly September 28 2014 Archived from the original on December 19 2014 Retrieved December 19 2014 Once Upon A Time Season 4 Episode 12 Recap With Spoilers Darkness on the Edge of Town Comicbook com Retrieved May 15 2015 BibliographyAllan Robin 2000 Walt Disney and Europe European Influences on the Animated Feature Films of Walt Disney Indiana University Press ISBN 978 0 253 21353 2 Amernic Joel Henry Craig Russell 2006 CEO Speak The Language of Corporate Leadership McGill Queen s Press ISBN 978 0 7735 3037 9 Barrier Michael 1999 Hollywood Cartoons American Animation in Its Golden Age Oxford University Press ISBN 978 0 19 516729 0 Barrier Michael 2008 The Animated Man A Life of Walt Disney University of California Press ISBN 978 0 520 25619 4 Cohen Karl F 2004 Forbidden Animation Censored Cartoons and Blacklisted Animators in America McFarland ISBN 978 0 7864 2032 2 Culhane John 1983 Walt Disney s Fantasia Harry N Abrams Inc ISBN 978 3 8228 0393 6 Denney Jim Williams Pat 2004 How to Be Like Walt Capturing the Disney Magic Every Day of Your Life HCI ISBN 978 0 7573 0231 2 Ebert Roger 1997 Questions for the Movie Answer Man Andrews McMeel Publishing ISBN 978 0 8362 2894 6 Eagan Daniel 2010 America s Film Legacy The Authoritative Guide to the Landmark Movies in the National Film Registry Continuum International Publishing Group ISBN 978 0 8264 2977 3 Ehrbar Greg Hollis Tim 2006 Mouse Tracks The Story of Walt Disney Records University Press of Mississippi ISBN 978 1 57806 849 4 Gabler Neal 2006 Walt Disney The Triumph of the American Imagination New York Vintage Books ISBN 978 0 6797 5747 4 Gelder Peter Van 1990 That s Hollywood A Behind the Scenes Look at 60 of the Greatest Films of All Time Harper Collins ISBN 978 0 06 096512 9 Goldmark Daniel Taylor Yuval 2002 The Cartoon Music Book Chicago Review Press ISBN 978 1 55652 473 8 Grant John 1998 The Encyclopedia of Walt Disney s Animated Characters From Mickey Mouse to Hercules 3rd ed Hyperion Books ISBN 978 0 7868 6336 5 Hall Sheldon Neale Stephen 2010 Epics Spectacles and Blockbusters A Hollywood History Wayne State University Press ISBN 978 0 8143 3008 1 Holden Anthony 1993 Behind the Oscar The Secret History of the Academy Awards Simon amp Schuster ISBN 978 0 671 70129 1 Kenworthy John 2001 The Hand Behind the Mouse An Intimate Biography of Ub Iwerks Disney Editions ISBN 978 0 7868 5320 5 Mosley Leonard 1985 Disney s World A Biography Stein and Day ISBN 978 0 812 83073 6 Pegolotti James A 2003 Deems Taylor A Biography UPNE ISBN 978 1 55553 587 2 Pinsky Mark I 2004 The Gospel According to Disney Faith Trust and Pixie Dust Westminster John Knox Press ISBN 978 0 664 23467 6 Shepherd Ashley 2003 Pro Tools for Video Film and Multimedia Cengage Learning ISBN 978 1 59200 069 2 Solomon Charles 1995 The Disney That Never Was The Stories and Art of Five Decades of Unproduced Animation Hyperion ISBN 978 0 7868 6037 1 Telotte Jean Pierre 2008 The Mouse Machine Disney and Technology University of Illinois Press ISBN 978 0 252 07540 7 Thomas Bob 1994 1976 Walt Disney An American Original New York Hyperion ISBN 978 0 7857 5515 9 Ward Glenn 2010 Understand Postmodernism Teach Yourself Hachette UK ISBN 978 1 4441 3398 1 External links Wikimedia Commons has media related to Fantasia 1940 film Wikiquote has quotations related to Fantasia 1940 film Fantasia at IMDb Fantasia at the TCM Movie Database Fantasia at AllMovie Fantasia at Rotten Tomatoes Fantasia at Box Office Mojo Fantasia essay by Daniel Eagan in America s Film Legacy The Authoritative Guide to the Landmark Movies in the National Film Registry A amp C Black 2010 ISBN 0826429777 pp 323 24 Portals Animation Disney Film Retrieved from https en wikipedia org w index php title Fantasia 1940 film amp oldid 1135232974, wikipedia, wiki, book, books, library,

article

, read, download, free, free download, mp3, video, mp4, 3gp, jpg, jpeg, gif, png, picture, music, song, movie, book, game, games.