Fantasia 2000

Fantasia 2000
Name	Fantasia 2000
Director	James Algar, Gaëtan Brizzi, Paul Brizzi, Hendel Butoy, Francis Glebas, Eric Goldberg, Don Hahn, Pixote Hunt
Producer	Donald W. Ernst, Roy E. Disney
Music	Chicago Symphony Orchestra, conducted by James Levine
Studio	Walt Disney Feature Animation
Distributor	Walt Disney Pictures
Released	December 17, 1999
Runtime	75 minutes

Fantasia 2000. This animated anthology film is a direct sequel to the 1940 classic *Fantasia*, conceived as a grand celebration of animation and classical music. Produced by Roy E. Disney and featuring the Chicago Symphony Orchestra under conductor James Levine, the film presents seven new segments alongside a restored version of the original's *The Sorcerer's Apprentice*. It premiered in a unique IMAX theatrical engagement before a wider release, marking a significant technological and artistic endeavor for Walt Disney Feature Animation.

Overview

The project was a long-held ambition of Walt Disney himself, who envisioned *Fantasia* as a continually evolving work. Decades later, Roy E. Disney championed the revival, aiming to introduce the concept to new generations with modern animation techniques. Structured as a concert feature, it pairs animated visuals with famous orchestral pieces, continuing the original's mission of visualizing classical music. Notable hosts, including Steve Martin, Itzhak Perlman, Quincy Jones, Bette Midler, James Earl Jones, Penn & Teller, and Angela Lansbury, introduce each segment, providing context and thematic bridges between the wildly varied artistic interpretations.

Segments

The film opens with an abstract visualization of Beethoven's *Symphony No. 5*, directed by Pixote Hunt, which uses stylized butterfly forms battling darkness. Eric Goldberg then directs a vibrant, Al Hirschfeld-inspired romp set to Respighi's *Pines of Rome*, featuring a community of New York Green Village inhabitants. The third segment, set to Gershwin's *Rhapsody in Blue* and also directed by Goldberg, is a Depression-era Manhattan story drawn in the style of cartoonist Al Hirschfeld. *The Steadfast Tin Soldier*, based on the Hans Christian Andersen tale and set to Shostakovich's *Piano Concerto No. 2*, is directed by Hendel Butoy. Donald Duck appears in a segment set to Elgar's *Pomp and Circumstance Marches*, which humorously reimagines the biblical flood story, directed by Francis Glebas and Butoy. The film concludes with the majestic "The Firebird" segment, directed by Gaëtan and Paul Brizzi, depicting a spring sprite confronting a volcanic entity.

Production

Development began in earnest in the early 1990s under executive producer Roy E. Disney, with Donald W. Ernst serving as producer. The production involved a global array of animators and directors across Walt Disney Feature Animation studios, including facilities in Burbank and Paris. Technological advancements were crucial, with segments like "Pines of Rome" utilizing pioneering computer-generated imagery to create photorealistic whales that fly through space. The project required meticulous coordination with conductor James Levine and the Chicago Symphony Orchestra to record the new soundtrack, while also restoring the audio for the *Sorcerer's Apprentice* segment featuring Mickey Mouse.

Release

The film had a groundbreaking premiere strategy, first released exclusively in the large-format IMAX system for a four-month engagement beginning on December 17, 1999, at the California Science Center. This marked the first full-length animated feature presented in the IMAX format. Its wider conventional theatrical release followed on June 16, 2000. The marketing campaign emphasized its status as a major Walt Disney Pictures millennium event, with promotions tied to the Walt Disney Company's broader celebrations. It was later released on VHS and DVD formats, introducing the film to the home video market.

Reception

Critical reception was mixed, with praise for its technical ambition and specific segments like "Rhapsody in Blue" but criticism for its uneven tone and host sequences. It performed modestly at the box office, grossing approximately $90 million worldwide against a high production budget. The film was nominated for and won several awards, including the Annie Award for Best Animated Feature. Reviews often compared it to the original *Fantasia*, with many noting it struggled to match the cultural impact and artistic cohesion of its predecessor, though it was commended for its visual innovation.

Legacy

While not achieving the iconic status of the original, it solidified the concept of the animated concert film for a contemporary audience and demonstrated the potential of IMAX for feature-length animation. The film's segments, particularly "Rhapsody in Blue" and "The Firebird," are frequently excerpted and celebrated in anthologies of Disney animation. It also reinforced Roy E. Disney's legacy as a steward of the studio's artistic heritage. The project stands as a notable, if flawed, experiment in the history of animation, representing a major studio's commitment to a non-narrative, musically driven form during the late 1990s.

Category:1999 animated films Category:American anthology films Category:Walt Disney Pictures films