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Fantasia (1940)

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A collection of animated interpretations of great works of Western classical music.

Directors:

James Algar (uncredited), Samuel Armstrong (uncredited) | 10 more credits »

Writers:

Joe Grant (story direction), Dick Huemer (story direction) | 23 more credits »
8 wins & 1 nomination. See more awards »

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Cast

Complete credited cast:
Leopold Stokowski ... Himself - Conductor of The Philadelphia Orchestra
Deems Taylor Deems Taylor ... Himself - Narrative Introductions
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Storyline

Disney animators set pictures to Western classical music as Leopold Stokowski conducts the Philadelphia Orchestra. "The Sorcerer's Apprentice" features Mickey Mouse as an aspiring magician who oversteps his limits. "The Rite of Spring" tells the story of evolution, from single-celled animals to the death of the dinosaurs. "Dance of the Hours" is a comic ballet performed by ostriches, hippos, elephants, and alligators. "Night on Bald Mountain" and "Ave Maria" set the forces of darkness and light against each other as a devilish revel is interrupted by the coming of a new day. Written by David Thiel <d-thiel@uiuc.edu>

Plot Summary | Add Synopsis

Taglines:

Where every sound creates a picture See more »


Certificate:

G | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

USA

Language:

English

Release Date:

20 June 1941 (USA) See more »

Also Known As:

Walt Disney's Fantasia See more »

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Box Office

Budget:

$2,280,000 (estimated)

Opening Weekend USA:

$980,798, 10 February 1985, Limited Release

Gross USA:

$76,408,097
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

(2000 roadshow restoration) | (original 1940 roadshow release) | (1942 cut) | (VHS release) | (1946 cut)

Sound Mix:

3 Channel Stereo (RCA Sound System) (as Fantasound)

Color:

Color (Technicolor)

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

The character Sunflower from the "Pastoral Symphony" is a minor but rather famous character in this film. Sunflower is a Centaurette (female centaur) who is depicted as being a hybrid of a young black African girl and a donkey. She is shown performing duties as a servant and beautician to the other Centaurettes. In the 1960s there was controversy that the character represented a racist and negative depiction of black people, including both her design and her subservient role in the film. Reacting to the controversy, Disney deleted her scenes from the film in 1969. In 1990 the scenes were restored, but the shots involving Sunflower were cropped so that she could not be seen, which has remained true for all subsequent releases. However, the unedited scenes were preserved in old tapes and circulated among those interested in the character and her depiction. The scenes are widely available on the Internet, with a few articles and pages devoted to analyzing them. Sunflower and her depiction have also been discussed in published works by film critics and scholars specializing in the depiction of minorities in film and animation. Despite Disney's efforts to de-emphasize her, Sunflower has more of a presence in public consciousness than most other characters from the same film. See more »

Goofs

Two of the dancing mushrooms in the "Nutcracker Suite" inexplicably change size and shape (from wide and medium height to skinny and tall) when the angle changes. See more »

Quotes

[first lines]
Deems Taylor: How do you do? Uh, my name is Deems Taylor, and it's my very pleasant duty to welcome you here on behalf of Walt Disney, Leopold Stokowski, and all the other artists and musicians whose combined talents went into the creation of this new form of entertainment, "Fantasia". What you're going to see are the designs and pictures and stories that music inspired in the minds and imaginations of a group of artists. In other words, these are not going to be the interpretations of trained ...
See more »

Crazy Credits

Originally, the production credits were on a booklet distributed at the roadshow showings. They were finally put on screen for the 50th anniversary re-release. See more »

Alternate Versions

For its first wide release in January 1942, RKO had the film severely edited down to 81 minutes and re-issued it with the tagline "Fantasia will Amazia!" Practically all of the Deems Taylor interstitual footage was removed, as well as the entire "Toccata and Fugue in D Minor" sequence. This chopped version of the film (which was usually booked in theatres as a "B" picture) did disastrous box-office and was pulled from distribution after a relatively short run. See more »

Connections

Referenced in The Cinema Snob: Driller: A Sexual Thriller (2014) See more »

Soundtracks

A Night on Bald Mountain/Ave Maria
"A Night on Bald Mountain" (1867) Composed by Modest Mussorgsky (as Modeste Moussorgsky)
"Ave Maria, Op. 52 No. 6" (1825) Composed by Franz Schubert
Orchestrated by Leopold Stokowski (uncredited)
Both Works and Transitional Material Arranged by Leopold Stokowski (uncredited)
Played by The Philadelphia Orchestra
Special Lyrics for "Ave Maria" by Rachel Field
Sung in English by the Westminster Choir of Westminster Choir College with soprano soloist Julietta Novis
Choral Director: Charles Henderson
Conducted by Leopold Stokowski
See more »

Frequently Asked Questions

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User Reviews

 
Fantastic
23 July 1999 | by SpleenSee all my reviews

There cannot be one verdict on "Fantasia". There must be eight: one for each of the seven segments, and an eighth for the film as a whole - for, varied though the seven segments are, they undeniably belong together. And, alas, space does not permit me to lay out all eight verdicts. I shall have to confine myself to details representative of the whole. At any rate, I shall try.

We learn the modus operandi of "Fantasia", the linking theme, in the second segment - an abridged version of Tchaikovsky's "Nutcracker" suite. (Missing are the overture and the march.) Tchaikovsky's ballet involves anthropomorphising inanimate things, plus the odd tiny animal. So does Disney's "Nutcracker". But Disney has thrown out the particular details. The Chinese Dance is danced by mushrooms (who look, but are not, Chinese); the Arabian Dance by "Arabian" goldfish; the Russian dance by "Russian" thistles and orchids. Sometimes it goes further: "Waltz of the Flowers" shows two entire changes of seasons, with leaves, fairies, seed pods, seeds, snowflakes - everything but flowers. But in ignoring the letter of the instructions Disney is perfectly true to the spirit. Indeed he is more true to the spirit than the original ballet - for, let's face it: stage ballet is a degenerate and over-formalised art, which makes some of the world's most exciting music dull as wallpaper. Disney's amazing images express Tchaikovsky's sense of motion more than earthbound dancers ever could. This, one feels, is the kind of thing ballet music was TRULY designed for. The same goes to a lesser extent for the other two pieces of ballet music on the program.

This basic device - ignoring explicit instructions, but remaining true to the spirit - is carried through into every segment. (Some segments are better than others, but none can be called a failure.) Dukas's "The Sorcerer's Apprentice" has been turned into a Mickey Mouse cartoon - but it's the best Mickey Mouse cartoon ever made; and we realise that the story of the Sorcerer's Apprentice is really the archetype that all of the best Mickey Mouse cartoons had been reaching towards, all along. The Pastoral Symphony adheres to Beethoven's program but moves everything from the woods of Central Europe to a dreamland from classical mythology. (The second movement - the section with the courting centaurs - is a failure. For once the spirit as well as the letter of Beethoven is ignored. Unfortunately some critics cannot see beyond this movement to the superb interpretations that flank it on either side.)

I doubt that so much genuine creative work has gone into a film, before or since - even if you don't count the contributions made by the composers. What's my favourite film? I really don't know. But if you tell me that I must sit in a large dark cinema for two hours; and ask me what I would like to occupy my eyes and ears over those two hours, I would answer, without hesitation, Fantasia.


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