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Fantasia 2000
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Manufacturer: Walt Disney Video
Find all by Walt Disney Video
Directed By: Paul Brizzi, Hendel Butoy, Eric Goldberg, James Algar, Francis Glebas
Audience Rating: G (General Audience)
Picture Format: Anamorphic Widescreen
Aspect Ratio: 1.85:1
Theatrical Release: October 7, 2008
Average Rating: 4 out of 5 Stars
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Starring: Kathleen Battle, Paul Brizzi, Hendel Butoy, Eric Goldberg, Ralph Grierson
More ambitious in scope than any of its other animated films (before or to come), Disney's 1940 Fantasia was a dizzying, magical, and highly enjoyable marriage of classical music and animated images. Fantasia 2000 features some breathtaking animation and storytelling, and in a few spots soars to wonderful high points, but it still more often than not has the feel of walking in its predecessor's footsteps as opposed to creating its own path. A family of whales swimming and soaring to Respighi's The Pines of Rome is magical to watch, but ends all too soon; a forest sprite's dance of life, death, and rebirth to Stravinsky's The Rite of Spring too clearly echoes the original Fantasia's Night on Bald Mountain/Ave Maria sequence. But when it's on target, Fantasia 2000 is glorious enough to make you giddy. Hans Christian Andersen's "The Steadfast Tin Soldier" is a perfect narrative set to Shostakovich's Piano Concerto No. 2, and Donald Duck's guest appearance as the assistant to Noah (of ark fame) set to Elgar's Pomp and Circumstance marches is a welcome companion piece (though not an equal) to The Sorcerer's Apprentice, the one original Fantasia piece included here. The high point of Fantasia 2000, though, is a fantastic day-in-the-life sequence of 1930s New York City set to Gershwin's Rhapsody in Blue and animated in the style of cartoonist Al Hirschfeld; it's a perfect melding of music, story, and animation. Let's hope future Fantasias (reportedly in the works) take a cue from the best of this compilation. The music is provided by the Chicago Symphony Orchestra, conducted by James Levine, interspersed with negligible intros by Steve Martin, Bette Midler, Itzhak Perlman, James Earl Jones, and others. --Mark Englehart
User Submitted Fantasia 2000 Reviews
September 30, 2008
Not as good as the original
The original Fantasia is two hours long. Fantasia 2000 is only 75 minutes long. Sure, it's more attention-grabbing, but this is even less compelling than the original.
Beethoven's 5th is underused (only four minutes worth of music compared to the twenty minutes of the 6th). The second movement of "Pines of Rome" by Ottonio Respighi is entirely cut out. WHY? The Finale to "Carnival of the Animals" is more bombastic than it should be. "Rhapsody in Blue" by George Gershwin has some good points, so no loss there. "Pomp and Circumstance" by Sir Edward Elgar is a hit and miss. Donald Duck is supposed to be a nonchalant, hot-headed duck, but I guess political correctness got its wish here. Shostakovich's "Piano Concerto" is uninteresting, and it lacks the beauty and charm that's found in the original. And finally, they could've used the complete 1910 version of Igor Stravinsky's "Firebird" rather than the 1949 suite. The villain of the sequence is awe-inspiring, however.
So the animation is much better-looking than the original, but it lacks the intrigue and extreme risk-taking that was found in the original. So I give this a C+.
September 27, 2008
Not the original, but still nice
I know that "Fantasia" was suppose to be a continual work-in-progress, but this is several decades too late to capture Walt's true vision, I'm sure. Still, I think it warrants 4 stars for beautiful music and some great animation.
July 15, 2008
Continuing Walt's Fantasia Legacy
Roy E. Disney has worked tirelessly to bring Fantasia 2000 to the big screen. Created as a continuation of the dream of a concert movie experience created by Walt Disney 60 years ago with the original Fantasia this new film provides eight more animated segments presented with classical music.
The musical selections are unique. Many of them first broached by Walt Disney himself when making selections for the original film in 1940. Starting with an abstract rendering of Beethovan's Fifth Symphony, the selections include Ottorino Resphighi's Pines of Rome showcasing flying whales, Gershwin's Rhapsody in Blue (a New York story rendered in Hirshfeild line drawings); Piano Concerto No. 2, Allegro, Opus 102 by Shostakovich; Carnival of the Animals (Le Carnaval des Animaux), Finale by Saint Saens; Dukas Sorceror's Apprentice (the lone holdover from the original film); Pomp and Circumstance, Marches #1, 2, 3, & 4 by Edward Elgar and Stravinsky's Firebird Suite, 1919.
The animation techniques are quite good and varied in style and technique. The film was designed to be viewed on the Imax system and the print is nearly flawless. The sound carries over quite well on the Dolby DTS track that I listened to. The disc features quite a few outstanding extras including an hour long making of feature called Fantasia the Legacy Continues; two excellent commentaty tracks featuring Disney, Conductor James Levine and Producer Don Ernst and the second featuring the animators and art directors; a production reel and two shorts.
This one is well worth seeking out to complete your collection.
July 23, 2007
Much more enjoyable than the dated original
As much as I enjoyed the original Fantasia, this new installment tops it. Fantasia 2000 is much more bright, entertaining, and re-watchable. 2000 prefers upbeat and even humorous animation to the slow and often gloomy sequences that saturated the original. The vibrant colors and dramatic song intros are welcome and significant improvements over the dark animation and dry, dull silhouettes of the first. The animation matches the music to a much greater level of detail, offers drama and humor, and does not demand nearly as much patience. The Sorcerer's Apprentice is really the only piece that could stand up to Fantasia 2000's selection, and even this classic reveals the weaknesses of the original Fantasia.
April 27, 2007
The Art Form Of The Future
It's interesting to note that while the entertainment industry is bellyaching about piracy and the copying of DVDs, Disney being among the loudest bawlers, you can't buy a new copy of this marvelous DVD for love or money, either here or at Disney's own store, and the price for a used copy is higher than that of most new movies. Apparently the demand is there, but Disney doesn't care about supply. Disney is said to put their movies in "a vault," bringing them out only every ten years, but other animated features such as "Kronk's new Groove" (2005) and "Mickey's House of Villains" (2002) are readily available. Meanwhile, free segments of "Fantasia 2000" are being given away on YouTube. Smart.
I may've paid top dollar for my copy of "Fantasia 2000" but I have no buyer's remorse, as it's a great show. Those who remember the original (1940) "Fantasia" as something suitable only for children and the anile would be well advised to take a look at this production. The quality of the animation is at Disney's highest standards, but the concepts and the images depicted are far more sophisticated than almost any other animated feature I've seen, the sole exception being Tomek Baginski's "The Cathedral."
This sets the standard of what can be done in presenting visuals to serious music. When classical music is shown on television, there is absolutely nothing original or creative about the camera work, as they use the same shots they've used since the 1940s. There is the master shot of the orchestra, and each time an individual instrument or section makes an entrance, there is a close-up, as if to assure you that, Yah, dot iz ah trumpet. There is always the mandatory close-up of the mallets whenever the timpani has a roll, and you get to see the conductor waving his arms and making faces at the orchestra - none of which augments my enjoyment of Beethoven at all. The Naxos company is selling videos of rustic European towns and landscapes providing the visuals for the classics, but such a slide show is as dull as . . . as a slide show.
But this is different. The combination of images in motion, coordinated to the music, and intelligent story lines really do compliment the great music, and the most popular chapter, Respighi's "The Pines of Rome," is especially inspired. If your idea of "aht" is Jackson Pollock or Karen Finley, you may not feel exhilarated by it, but for the rest of us, it is American art at its finest.
Of interest to audiophiles is the astonishing sound of this DVD. As CDs were an obvious improvement over the sound of LPs (disputed only by the senile), the sound of the best DVDs is as much an improvement over CDs, and the sound here is spectacular. There is, I would judge, no compression and no limit to the frequency response. My 18-inch Velodyne HGS subwoofer has trouble reproducing the ultra-low frequencies at the beginning of "The Pines of the Appian Way," so those playing it on toy computer speakers should take caution.
This is a genuine work of art fit for grownups - now if only Disney would market it.
April 12, 2007
Walt Disney originally meant Fantasia to evolve
I don't see anything wrong with the Disney Studio's attempts on relishing the Disney legacy. Walt Disney meant to have his Fantasia concept expand, explore, and evolve. . from time to time. And it was done, and it was good!
I grew up with the original Fantasia in full spectrum. First seeing the dinosaur excerpt in school and narrated as primeval documentary. Later I discovered it was from Walt Disney's Fantasia, and bought the special (back then) 3 vinyl album released by Buena Vista. I still have it in storage, because I loved it. It contained illustrated insert program introducing all the sequences, and had incredible photos of Mr. Walt Disney and the conductor, Leopold Stokowski. I never drew on the program, although I was no more than 13. I saw the special re-releases of Fantasia on the movie big screen, and have been to Disneyland countless times to view the Main Street techniques of ancient art. During all this course, I pretty much saw nearly all of Walt Disney movies, and was a devoted watcher of his "Wonderful World Of Color", plus the infamous Mickey Mouse Club five days a week in the afternoons. I have also met Mr. Walt Disney briefly on rare occasion back in the very early 60's. I would sit and listen to Julie Andrew's original "Mary Poppins" soundtrack so much, I wore it out. Finally I bought a digitally remastered two volume cassette of the original Fantasia at the Tomorrowland souvenir shop back in 1990, and when I visit Disneyland the 20th Century Music Shop on Main Street (by the cinema) is a must stop for me.
The original Fantasia was classic, revolutionary art form, and a milestone for Walt Disney, and incredibly "gutsy." I have absolutely no ill feelings, or misgivings for this particular sequel, because at least it's earnst. The only critical thing I had was the unusual focus on the piano play, but other than that (I first saw this in Imax), I now own it on video (VHS original copy issue) and place it with all my other Disney showcases. I like it, simply put, and I don't even mind the star pre-commentary because at least they get on with it. The music is fabulous, and it can grow on you on special days of the year. My favorite piece is the Magic Bird Of Fire. I almost cry on this one, those sultry violins hit me real hard having lived the Disney life. Plan to go again, this summer (Disney Resort, Ca.). Anyone ready for Fantasia 2050?
March 10, 2007
The movie that came out in 1940 is better!
Gershwin's "Rhapsody in Blue" is one of my favorite musical pieces ever and I
loved the jazz era New York City setting that goes with this segment. And of course "The Sorcerer's Apprentice" is a much loved classic episode even more beloved by Micky's appearance as the sorcerer in the current night time extravaganza at some Disney parks. But why not watch this story on the original FANTASIA? Though Fantasia 2000 does have its worthy moments it can not compare to the groundbreaking original and is really quite unnecessary.
January 29, 2007
"Fantasia 2000" was a whoopee-cushion.
F2K represents what's wrong with Disney. Yes, Walt did intend for "Fantasia" to be a perpetually-updated film, and yes, the production values are above the industry standard. However, this is where all the goodness ends.
First of all, the idea itself is another manifestation of Disney's grave-robbing. Not just recycling "The Sorcerer's Apprentice" (yes, I know that the original concept called for some of the segments to come, go, and return), but the whole concept. We seem to be getting these direct-to-video part II and part III of their classic cannon. Come on! This is obvious exploiting of their thirty- and forty-year old cash cows . Fortunately, Disney has surrendered everything to Pixar, so hopefully the new blood will help.
Then there was the tedious drip of self-congratulating cameos. A host, be it Rod Serling in "Twilight Zone," Cecil B. DeMille in "The Ten Commandments," or Deems Taylor from the original "Fantasia," unifies the disparate stories, thereby allowing the movie to flow from segment to segment. What we got was a jangly kaleidoscope of talking heads and forced humor that would only appeal to missing links.
Lastly, you had a celebration of the ugly-absurd: flamingoes with yo-yos, flying whales (very Politically Correct), flying fat men (it was funny in "Dune" but not here), and the odd environmental piece at the end. OK--volcanoes are part of nature, "red in tooth and claw" just as much as the green flatfish-sprite. Destruction is part of nature, just as it is part of life. To preserve the forest (more Political Correctness again), therefore, is unnatural.
This is Disney's overall problem: it used to be good, then Walt died; it slumped, then it used to be good when Eisner was hired in the 1980's; it has now slumped again, and hopefully Pixar can get them out. However, in the mean time we are stuck with a likeable brad name--and nothing else.
(In fact, every time I see a Pixar movie, I always think "Disney used to make films like this. USED to.")
I do congratulate them on the wonderful way they brought to life Al Hirschfeld's distinct style. It was a wonderful marriage of period music to period art, and in a way, it almost saves the project. However, the storytelling left much to be desires. The Flying Fat Man seemed out of place--even for a cartoon. And the characters seemed clichéd and flat. They managed the threads well, and story worked on a Movie-of-the Week level, but more was desired.
The "Pomp and Circumstance" segment comes close to the feel of the original. We had a familiar piece of music, that we associate with processionals. The processional, in turn, became the procession of animals to Noah's Ark. The subplot of the missing Donald was genuinely tender, considering the danger--and if we willfully suspend disbelief about a duck being able to fly and swim. And the scene with the dragons and unicorns was hilarious, a joke my mother had been telling me since I was a lad.
The film was a technical masterpiece, and it had its moments. But the annoying interlude gags had a "gala celebration" feel to it. But what was missing was a sense of "we are approaching beauty" which the first film emanated. "Fantasia" was about visually interpreting classical music--a high concept film combining art, music, and culture. "Fantasia 2000" was a whoopee-cushion.
Or a flamingo with a yo-yo.
January 3, 2007
A Great Sequel!
After seeing the first Fantasia, and loving it, I decided to watch Fantasia 2000. It is much shorter than the first, but I actually ended up loving the movie! There are many good pieces in this movie, mine being the Firebird. Some little children might find this piece a little frightening, but I found it beautiful, especially at the end, where there is beauty and renewal. Some other favorites of mine are the Pines of Rome which had gorgeous computer animated backgrounds and characters. I especially like the ending. I also enjoyed the (very) short piece "Carnival of the Animals" finale, and it also is fun to see the Sorcerer's Apprentice, restored and remastered too.
Overall, Fantasia 2000 is (in my opinion) Disney's best sequel, and also one of my favorite Disney movies! Better than the first, and I think everyone will like this movie, if you liked the first one!
September 30, 2006
If Fantasia Was A Perfect 100, Fantasia 2000 Is About An 89
Not quite up to par with the original, this LONG awaited second installment (not the same thing as a sequel) was hampered by interruptions when celebrities came on-screen to discuss the works. Not only did this in my opinion disrupt the continuity of the visual accompaniments to some of the human species' most beautiful music, but in fifty years people aren't going to know who most of those by-then long-dead women and men are, and this is supposed to be a classic for the ages. I also think Fantasia 2000 was missing the delight elements of abstraction and darkness the first film had. Finally I wish it had broken the mold of modern animation by being hand-drawn and painted, instead of making the extensive use of computers as the producers so clearly did.
Now, what this film did right it REALLY did right. The Firebird segment is absolute perfection that thrills me with each viewing, and the centerpiece of the film, wherein an Al Hirschfeld-themed New York City panorama spreads out to an unabridged accompaniment of George Gershwin's magnificent Rhapsody In Blue, THAT was one to love! The re-use of The Sorcerer's Apprentice took up time that might've been made available for fresh material, but seeing that old favorite restored to lavish color was a treat. Some segments in Fantasia 2000 were more uneven than others, but I don't think there was a bad one in the bunch. This, like 1940's Fantasia before it, is a joy to watch time after time.
Fantasia 2000 stands on its own as a work of originality, and I hope a third volume in this series will be arriving soon.
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