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  1. Fantasia (1940 film) - Wikipedia

    Fantasia is a 1940 American animated musical anthology film produced by Walt Disney Productions, with story direction by Joe Grant and Dick Huemer and production supervision by Walt Disney and Ben Sharpsteen. 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

    Fantasia is a 1940 American animated musical anthology film produced by Walt Disney Productions, with story direction by Joe Grant and Dick Huemer and production supervision by Walt Disney and Ben Sharpsteen. 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.

    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 by RKO Radio Pictures; the first bega…

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    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.
    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".
    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.
    The 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.
    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.
    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.
    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.

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    In 1936, Walt Disney felt that his cartoon studio's star character Mickey Mouse needed a boost in popularity as newcomers Donald Duck and Goofy had become a new favourite amongst audiences. He decided to star Mickey in The Sorcerer's Apprentice, a deluxe cartoon short based on Goethe's poem of the same name and set to the orchestral piece by Paul Dukas also inspired by the original tale. Although Disney had explored the concept of matching animation to classical music since 1928 with his Silly Symphony cartoons, he wanted to go beyond the usual slapstick in those shorts and produce ones where "sheer fantasy unfolds". Upon receiving the rights to use the Dukas piece in July 1937, Disney considered using a well-known conductor to record the music for added prestige. He happened to meet Leopold Stokowski, then the conductor of the Philadelphia Orchestra, at Chasen's restaurant in Hollywood and talked about his plans for the short. An enthusiastic Stokowski informed Disney that he liked the piece and offered to conduct for free.

    Disney's New York representative met Stokowski on a subsequent train journey, and reported the conductor was serious in his offer and "had some very interesting ideas on instrumental coloring, which would be perfect for an animation medium." Disney felt "all steamed up over the idea" and thought the partnership "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" on the new short that was to be promted as a special and unique film, outside of the Mickey Mouse cartoon series. On December 16, 1937, Stokowski signed a contract with Disney that allowed him to "select and employ a complete symphony orchestra" for the recording of The Sorcerer's Apprentice, and was paid $5,000 for his services. The three-hour recording session began at midnight on January 9, 1938 at Culver Studios in California, with 85 Hollywood musicians. When production costs surpassed $125,000, as much as four times greater than the average Silly Symphony, Disney and his brother Roy, who managed the studio's finances, realised that the short could never earn such a sum back on its own. Roy urged his brother to keep additional costs to a minimum "because of its very experimental and unprecedented nature ... we have no idea what can be expected from such a production." Ben Sharpsteen, a production supervisor on Fantasia, recalled that 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."

    Ideas to expand The Sorcerer's Apprentice and produce a ful…

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    RKO balked at the idea of distributing Fantasia, which it described as a "longhair musical", and believed its duration of two hours and five minutes plus intermission was too long for a general release. 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, 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, and were given a program booklet illustrated by Gyo Fujikawa.

    The first roadshow opened at the Broadway Theatre in New York City on November 13, 1940. 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. Proceeds made on the night went to the British War Relief Society following the Battle of Britain. 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. Fantasia ran at the Broadway for forty-nine consecutive weeks, the longest run achieved by a film at the time. Its run continued for a total of fifty-seven weeks until February 28, 1942.

    The remaining twelve roadshows were held throughout 1941, which included a 39-week run at the Carthay Circle Theatre in Los Angeles from January 29. Fantasia broke the long-run record at the venue in its twenty-eighth week; a record previously held by Gone with the Wind. 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. Engagements were also held at the Geary Theatre in San Francisco for eight months, the Hanna Theatre in Cleveland for nine weeks, the Majestic Theatre in Boston, the Apollo Theater in Chicago, and also in Philadelphia, Detroit, Buffalo, Minneapolis, Washington, D.C., and Baltimore.

    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. The first eleven roadshows earned a total of $1.3 million by April 1941, but the $85,000 in production and installation costs of a single Fantasound setup, along with theatres having to be leased, forced Disney to exc…

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    Fantasia garnered significant critical acclaim at the time of release and was seen by some critics as a masterpiece. 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. 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". Isabel Morse Jones, the newspaper's music critic, had high praise for the soundtrack to the film, describing it as a "dream of a symphony concert", and 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". 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." Peyton Boswell, an editor at Art Digest, called it "an aesthetic experience never to be forgotten". 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." 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". 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". 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. In a breakdown of reviews from both film and mus…

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