The Fantasia Anthology
**I also wrote about “Fantasia” as part of Film for Thought’s “Ultimate Choice” blog on favorite Walt Disney Animation Movies here.
Inspired before going to a performance of “The Nutcracker” Ballet, I revisited Disney’s landmark “Fantasia” and once again became immersed in its’ fusion of music and animation. It is the best film the studio has ever released, and while other animated films may be more popular or acclaimed, it’s unlikely any film released under Walt Disney’s care in those early films was as influential, not just to the art form but to popular culture in general. It’s not out of the question to say that these were the first music videos (although one can certainly make a case for Disney’s earlier “Silly Symphonies” series, “Fantasia” set the benchmark to come).
To describe “Fantasia” would be to simply describe its’ form. The title is a musical term, which means “Free instrumental piece of fairly large dimensions, in an improvisational style” (as defined by the Essentials of Music website). Is there a better definition of what this film is? Except for the interstitial segments with radio host/composer Deems Taylor between each of the segments (many of which, this time around, struck me as too long and explanatory of what was to come), “Fantasia” is gloriously varied in its’ approach to the concept, at once imaginatively abstract and indistinct, at other times beautifully lush and encompassing, and yet others a master class in non-verbal storytelling, and some times in ways you wouldn’t necessarily expect (the clever little segment with Taylor interacting with the “soundtrack” only dates because we’re so used to seeing visual representations of sound nowadays).
It’s so entrenched as an acknowledged masterpiece from the studio (and for animation in general) that one forgets how audacious the experiment was at the time, and- in a way- still feels today. The “Toccata and Fugue in D-Minor” segment that opens the program may not be as bold as Disney initially had in mind, but its’ stream of conscious images are as if the listener dozed off in the middle of the performance and, while still conscious of Bach’s visceral music, were whisked away into whatever images their mind conjured during the performance, with no rhyme or reason until the listener awakes for the dramatic conclusion of the piece by Leopold Stokowski and the Philadelphia Orchestra. And while no one would likely argue against the inclusion of Tchaikovsky’s “The Nutcracker Suite,” how risky to remove it from its’ known context and story to create a free form tribute to the wonders of nature and the passing of the seasons that still holds up today in visual wonder. And who else but an artist of Disney’s stature could possibly visualize science’s understanding of how the Earth formed 20 years after the famous Scopes trial, and set it to Stravinsky’s innovative “The Rite of Spring,” itself an artistic work so powerful its’ premiere caused a riot? Of all of the sequences in “Fantasia,” it’s this one that holds up strongest now (along with, I would argue, the closing duo of Mussorgsky’s “A Night on Bald Mountain” and Schubert’s “Ave Maria” and its’ memorable combination of the sacred and the profane), not simply for it being inspired by the most contemporary piece on the program but for how richly animated it is (the dinosaur animation holds up, in many ways, even better than later work in “Jurassic Park” and “Dinosaur” does)- this sequence above any other points to the modern standard of what we know to be cel animation before even Disney was prepared to commit to it in their features.
This being Disney, however, we have to of course expect escapist entertainment from their work, even (especially, actually) as it achieves artistic marvels. The film’s iconic segment, an adaptation of Dukas’ “The Sorcerer’s Apprentice” starring Mickey Mouse, is pure fun as the beloved star of their animated cast gets into some hot water and over his head as he tries his hand at magic. The satirical jab at ballet, and specifically Ponchielli’s “Dance of the Hours,” is the precursor to all of their musical comedies to come, as ostriches, hippos, elephants, and alligators dance through the hours of the day, and the entire spectrum of human emotions. Only the mythic setting of Beethoven’s “Pastoral” Symphony doesn’t hold up. It has moments of pleasure, and Lord knows the music is astonishing, but it goes on too long, and is too “cartoony” compared to the rest of the program, a precursor- if you will- to the lesser Disney films we’d see in recent years, which were pretty to look at but not necessarily that entertaining to watch.
The film- like all others the studio put out in those early years- is generally credited to the artistic vision of Walt Disney, but he didn’t draw the cels of animation, he didn’t operate the cameras or create the special effects- he just provided the guiding vision (and in this film’s case, the inspiration to get music by famed conductor Stokowski and the Philadelphia Orchestra). As much of a showman as he was, however, he was never shy about giving credit where it was due to his animators who brought the vision to life, and so it goes here that I will mention James Algar, Samuel Armstrong, Ford Beebe, Norm Ferguson, Jim Handley, T. Hee, Wilfred Jackson, Hamilton Luske, Bill Roberts, Paul Satterfield, and Ben Sharpsteen, the directors responsible for bringing “Fantasia” to life.
Other names I’d like to mention are Gaëtan and Paul Brizzi, Hendel Butoy, Francis Glebas, Eric Goldberg, Don Hahn, and Pixote Hunt. These are the directors responsible for “Fantasia/2000”, the brainchild of Roy E. Disney and the continuation of Walt’s original idea of “Fantasia” as a continual work in progress (for more on that, check out the amazing “Fantasia Anthology” box set). I’ve already said much about this film on my commentary for the film (also on Sonic Cinema, linked to above), but found it prudent to acknowledge here since a) I find it to be as worthy a film on the animation side for praise as the original film (even if it’s approach is more in keeping with “modern Disney” than Walt’s original ambitions), and b) I would gladly put “Pines of Rome,” “Rhapsody in Blue” (itself a virtuoso example of the art form for Goldberg, and arguable “2000’s” crowning accomplishment), “The Steadfast Tin Soldier” (set to Shostakovich’s “Piano Concerto No. 2,” a perfect match of story and music), and the closing “Firebird Suite” (the rights to which were sold to Disney by Stravinsky when he allowed them to use “The Rite of Spring”) alongside any of the original film’s segments. But like I said, for a more comprehensive look at “Fantasia/2000”- as well as more on the “Fantasia” idea in general- check out my audio commentary for the second film.
I think my main appreciation for “Fantasia”- and the underlying artistic concept for it- comes from my experience as a composer more than as a moviegoer. Many of my own pieces were written with specific visual ideas in mind, some more abstract than others, but generally with a story to tell. As a moviegoer I find the film immensely entertaining, but as an artist I find it inspiring, and in a way, a rather spiritual experience. It’s the purest form of artistic accomplishment, and in the ideas it visualizes, it can’t help but make one think of the possibilities. If “Fantasia” and “Fantasia/2000” prove anything about art, it’s that the possibilities are limitless, and that success is only limited by one’s imagination. Of course any true artist knows that last part; it’s funny to think how someone who never picked up a pencil or paintbrush might have known that better than anybody.
**Although it’s not currently available now, I cannot urge you enough to pick up Disney’s magnificent “The Fantasia Anthology” DVD box set. Not only is it a comprehensive look at both films, it’s also a model for DVD production and innovation- still one of the best box sets you’ll ever find. For any fan of animation and cinema in general, this is a must have. Also, for some reason, the soundtrack to “Fantasia/2000” is not currently available for sale. Another must have for the wonderful performances by the Chicago Symphony Orchestra and conductor James Levine.**
