Full page view
HISTORY

The working title of this film, which was Walt Disney's third feature-length picture, was Concert Feature. Although there are no onscreen credits on the film other than a title card, the credits within this Catalog entry were taken from a contemporary program. The credits are also listed at the end of the 1990 reissue print. Credits listed that are not related to a specific sequence were obtained from contemporary production information located at the Walt Disney Archives. The running time of 124 minutes was calculated from NYSA footage. Contemporary sources conflict as to the original running time, and are not always specific about whether the times given include the fifteen-minute intermission in the original release. Var, FD and DV give the running time as 120 minutes, while MPD lists 150 minutes, including the intermission, and MPH and Box list 135 minutes. Other contemporary sources state that the picture ran for a little over two hours. Based on the running footage of 11,180 35mm feet, the running time would be 124.22 minutes, or 125 minutes for scheduling purposes.
       Unless otherwise indicated, the following information was obtained from contemporary news items, magazine articles and reviews: Story development on the film began in 1937, before the completion of Snow White and the Seven Dwarfs, when Walt Disney decided to make a Silly Symphony cartoon short of Paul Dukas' "The Sorcerer's Apprentice." Dukas had based his music on Goethe's nineteenth century ballad poem Der Zauberlehrling. A chance meeting between Disney and Leopold Stokowski led to the well-known conductor, who had ...

More Less

The working title of this film, which was Walt Disney's third feature-length picture, was Concert Feature. Although there are no onscreen credits on the film other than a title card, the credits within this Catalog entry were taken from a contemporary program. The credits are also listed at the end of the 1990 reissue print. Credits listed that are not related to a specific sequence were obtained from contemporary production information located at the Walt Disney Archives. The running time of 124 minutes was calculated from NYSA footage. Contemporary sources conflict as to the original running time, and are not always specific about whether the times given include the fifteen-minute intermission in the original release. Var, FD and DV give the running time as 120 minutes, while MPD lists 150 minutes, including the intermission, and MPH and Box list 135 minutes. Other contemporary sources state that the picture ran for a little over two hours. Based on the running footage of 11,180 35mm feet, the running time would be 124.22 minutes, or 125 minutes for scheduling purposes.
       Unless otherwise indicated, the following information was obtained from contemporary news items, magazine articles and reviews: Story development on the film began in 1937, before the completion of Snow White and the Seven Dwarfs, when Walt Disney decided to make a Silly Symphony cartoon short of Paul Dukas' "The Sorcerer's Apprentice." Dukas had based his music on Goethe's nineteenth century ballad poem Der Zauberlehrling. A chance meeting between Disney and Leopold Stokowski led to the well-known conductor, who had been featured in films such as Universal's One Hundred Men and a Girl, agreeing to conduct the score for the short. A 19 Nov 1937 HR news item reporting Stokowski's "agreement with Walt Disney to co-star with Mickey [Mouse]" described the project as "Seventy Men and a Mouse." A modern source notes that up until Stokowski's involvement, the animators had been using a recording of Arturo Toscanini's version of Dukas' music as a guide while working out the story. Modern sources point out that Mickey received a "face lift" for the short. For the first time in his twelve-year career, Mickey was drawn with pupils in his eyes, and was chunkier and "cuter." When production costs on "The Sorcerer's Apprentice" began to mount far beyond the normal costs of a regular Silly Symphony (approximately $125,000 at this point, according to modern sources), Disney decided to do a "concert feature." According to modern sources, in the autumn of 1938, Stokowski, Disney, noted music critic Deems Taylor and story directors Joe Grant and Dick Huemer, spent three weeks listening to many different compositions and selecting the program for Fantasia.
       Full-scale production on Fantasia began while the studio was also working on Pinocchio (1940, see entry), and Bambi, which was not released until 1942. Modern sources indicate that some of Disney's staff suggested starring "Dopey," one of the dwarfs from Snow White, in the original short, but Disney was adamant that the picture star Mickey Mouse. Although a 31 Jul 1940 HR article stated that "Pluto" would also be in "The Sorcerer's Apprentice" segment, Mickey Mouse was the only previously used Disney character to appear in the completed picture.
       The new characters created for the film required a wide variety of research on the part of Disney artists. Science experts were consulted for the "Rite of Spring" sequence, Greek and Slavic mythologies were studied for "The Pastoral Symphony" and "Night on Bald Mountain" sequences, and zoo animals and ballet dancers were scrutinized for the "Dance of the Hours" sequence. According to an Oct 1938 HR news item, Joyce Coles, a "former prima ballerina" was "engaged by Walt Disney as a dancer to be photographed as a basis for a cartoon character." Modern sources confirm that she was one of the dancers used as a live-action model for the dancing in various segments of the film. Modern sources note that other dancing models used were Marge Belcher (later known as Marge Champion, who also modeled for "The Blue Fairy" from Pinocchio and for "Snow White"), Hattie Noel, Princess Omar, Irina Baronova (who was the model for "Mlle. Upanova" the ostrich), Tania Riabouchinska (the model for "Hyacinth Hippo"), and Roman Jasinsky (who modeled for the elephants). Baronova, Riabouchinska and Jasinsky were dancers from the Ballet Russe. David Lichine helped choreograph the dance of the alligators.
       Modern sources state that actor Nigel de Brulier was the model for the Sorcerer in "The Sorcerer's Apprentice"; that Walt Disney supplied the voice of Mickey Mouse when he congratulates Stokowski in the picture; and that animator Art Babbitt based some of the movements of "Hop Low," the little mushroom dancer in "The Nutcracker Suite," on the comic, characteristic movements of one of the Three Stooges. Bela Lugosi was to be the model for "Chernabog, the black god" in "Night on Bald Mountain," but Vladimer "Bill" Tytla, the primary animator of "Chernabog," was not inspired by Lugosi's movements, and instead filmed Wilfred Jackson, the director of the sequence, acting out "Chernabog's" scenes. Modern sources also list the following artists, who contributed to the film but did not receive credit in the original program: Albert Hurter, a Swiss artist who, among other things, helped conceive the design of "Chernabog"; German filmmaker Oskar Fischinger, a pioneer of abstract animation who helped create the "look" of the "Toccata and Fugue" number; Charles Cristadoro, who sculpted character models to aid the animators; Leigh Harline, a musical director on "The Sorcerer's Apprentice"; Roy Forkum, a backgrounds painter on "The Pastoral Symphony"; and Jerry Brewer, Bill Hurtz, Herman Schultheis, Jules Engel and Ed Gershman.
       Some of the characters derived from the imagination of the Disney artists drew the attention of PCA Director Joseph I. Breen. In a Nov 1939 letter contained in the MPAA/PCA Collection at the AMPAS Library, Breen wrote, "We caution you...against the possibility of too realistically portraying some of your characters, such as...the characters described as female centaurs, or centaurettes, [which] should not be part the body of a horse and part a beautiful female body showing breasts." Some modern sources assert that pressures from the PCA directly resulted in the animators clothing the centaurettes in flower brassieres, but this has not been confirmed by contemporary sources. In Fantasia: The Making of a Masterpiece, a documentary released on video by the Walt Disney Company in 1991, animation supervisor Ward Kimball states that he had "a whole stack of memos" specifying how the centaurettes should and should not be drawn.
       Modern sources assert that Disney wanted to stretch the limits of his animators' talents by employing such devices as a wide-screen format, 3-D for the "Toccata and Fugue" section and spraying audiences with perfume during "The Nutcracker Suite" sequences. It is not clear how far these ideas were developed, but all were eventually abandoned, presumably because of the potential difficulty and cost. A 10 Apr 1939 HR news item reported that Philadelphia attorney Mark S. Tutelman, claiming that the picture plagiarized a scenario he submitted to Stokowski in 1937, filed a lawsuit to restrain Disney from continuing production on the film. The final disposition of the case is not known.
       The musical numbers were recorded by the Philadelphia Orchestra, under the direction of Stokowski, at the Academy of Music in Philadelphia, PA in the spring of 1939. According to a 24 Apr 1939 HR news item, it was the "biggest and most expensive scoring job ever attempted," for which Stokowski was "reported to be receiving $50,000 and a percentage of the picture." Varying contemporary sources note that between 420,000 and 483,000 feet of soundtrack was recorded, of which 11,953 to 18,000 feet was used. In Fantasia: The Making of a Masterpiece, it is stated that each animator had a phonograph by his work table and played a recording of Stokowski's score for inspiration. Contemporary estimates of the cost of recording the music range from $200,000 to $400,000; modern sources usually state that the final cost of recording the music was $400,000. In a 17 Nov 1940 NYT article, Disney stated that the "jam session" in which the musicians play a "hot" version of "The Pastoral Symphony" was recorded for the intermission while Stokowski was touring South America, but that the maestro was pleased with it upon his return. A modern source discussing the filming of the orchestra for the live-action sequences notes that James Wong Howe was the cameraman for the first session of filming, but that his work was not used, as only the second session of filming appears in the finished picture. Stokowski's recording of "The Sorcerer's Apprentice" was done in Hollywood in Jan 1938, and it was the only musical segment not to be recorded by the Philadelphia Orchestra. The vocal portions of "Ave Maria," which were specially written for the film by poet Rachel Fields, were also an exception. [On 6 May 1992, the Philadelphia Orchestra Association filed a $60 million lawsuit against the Walt Disney Co. and Buena Vista Home Video. Claiming that Disney released its recordings of the music in Fantasia on video and laserdisc without its consent, the Philadelphia Orchestra sought half of Disney's profits from the sales. The final disposition of the suit has not been discovered.]
       Much has been written about the innovative "Fantasound" recording and exhibition sound system designed by Disney and RCA sound engineers. Because of "Fantasound," Fantasia was the first film with stereophonic sound. Contemporary sources note that One Hundred Men and a Girl had previously employed "multiple channel recording," but Fantasia was the first picture to carry this concept on to exhibition. In an Aug 1941 Journal of the Society of Motion Picture Engineers article, Disney sound engineers William E. Garity and J. N. A. Hawkins discussed the development of Fantasound and stated that "a great many equipment combinations were explored on paper, probably several hundred. Of these, ten different systems have been built up and tried out..." The authors went on to note that "including everything but release prints, about five million feet of film was used for this picture." According to a 16 Nov 1940 MPH article on the new sound system, Garity, other Disney engineers and RCA worked "over a period of experimentation extending through more than two years." Contemporary sources conflict as to whether the Philadelphia recording sessions were done with seven, eight or nine channels (most sources say nine channels) to record the orchestra, but all agree that the separate channels recorded different sections of the orchestra, and were then mixed down to three master tracks and a control track. The MPH article notes that Stokowski personally supervised this mixing.
       Unlike most films at the time, the three tracks and the control track (which controlled the volume and movement of the music in the various sets of speakers) were contained on the full width of a 35-mm film strip that was separate from the image strip. This required that theaters showing the film have a projector for the image track, specially designed multiple soundtrack reproducers, and a variety of power supplies, amplifiers and speakers. Although contemporary sources vary widely as to the number of speakers required by Fantasound (from sixty to ninety), they indicate that the stereophonic/surround system was accomplished by positioning special speaker formations behind the screen, to the left and right of the screen, and on the sides and rear walls of the theater. Contemporary reviews lauded the new system, which allowed the music to follow a character as it moved across the screen, to come from anywhere in the theater, and to completely fill the theater with sound on all sides. Contemporary sources usually state that the special sound and projection equipment, which was first installed in the Broadway theater, cost approximately $100,000, although some sources estimate the cost as high as $200,000. Modern sources often give the cost as $85,000. Eleven more units were to be built at a cost of $30,000 each so that the film could be played at twelve theaters simultaneously.
       In a Jul 1942 Journal of the Society of Motion Picture Engineers article, Garity and RCA engineer Watson Jones stated that, "The weight of a complete Fantasound equipment was approximately 15,000 lbs; it was packed in forty-five cases and required one-half of a standard freight car space." Garity and Jones listed the primary reasons for Fantasound's eventual demise: "(1) The amount of equipment required and the time necessary to make the installation. (2) Because of the time element attractive theaters were not available to us, as the first-class houses in the various communities had established policies and the installation of the equipment would generally require darkening the house for a few days. (3) The advent of wartime conditions precluded the possibility of developing mobile units that would have lessened installation time and costs." Other contemporary sources noted that the war not only made scarce the materials for the costly Fantasound units, but that it drastically hurt box office revenues because Disney's European markets were cut off.
       One of the musical selections chosen by Disney, Stokowski, Taylor and the others was "Clair de Lune" by Claude Debussy, which was at least partially animated but not included in the final film. An 18 Aug 1939 synopsis of the picture submitted to the PCA reveals that the "Clair de Lune" number was "intended to be entirely restful. It is merely an interpretation of the loveliness of moonlight. As far as planned, this will be staged in the Florida Everglades, possibly introducing the characters of herons to give some life to it." When the PCA viewed the film in mid-Oct 1940, a staff reviewer commented: "In the RITE OF SPRING number, the dinosaur fights, and the closeups of grotesque animals and reptiles present rather horrifying aspects. This applies, also, to the NIGHT ON BARE [sic] MOUNTAIN number....It is understood that, after reactions to the picture have been received, one of these numbers will probably be replaced by Mr. Disney's interpretation of Debussy's CLAIR DE LUNE, which is still in the making." The animation for Debussy's piece was eventually used, accompanied by the song "Blue Bayou," in Disney's 1946 film Make Mine Music. Some sources refer to the later picture as a "popular" version of Fantasia.
       Modern sources note that among the compositions either considered for Fantasia, or for later versions of Fantasia (Disney wanted to add new sequences to the film and re-release it periodically), were: Sergei Prokofiev's "Peter and the Wolf," which was included in Make Mine Music; Nikolay Rimsky-Korsakov's "Flight of the Bumblebee," which was used in the 1948 feature Melody Time; Richard Wagner's "The Ride of the Valkyries"; Carl Maria von Weber's "Invitation to the Dance"; and Gabriel Pierné's "Cydalise," which was originally considered as the music to accompany the animation of "The Pastoral Symphony."
       The film, which according to contemporary sources cost between $2,200,000 and $2,500,000, had its world premiere in New York at the Broadway Theatre on 13 Nov 1940. The New York premiere was a benefit for the British War Relief Society, with tickets being sold for ten dollars each. Many modern sources note that due to the difficulty of shooting the last scene of "Ave Maria" (done with the multiplane camera, which had also been used to a lesser extent for Pinocchio and Snow White), the ending sequence of the film did not arrive in New York until four hours before the premiere was scheduled to begin. Due to the fact that the image and sound tracks were on separate strips of film, the ending sequence could be spliced on with no difficulty. A 4 Jun 1941 HR news item reported that the picture needed to gross $7,800 weekly at the Broadway in order to break even at that venue, and that in its 30th week, it was still making a profit. According to a 1946 pressbook, the picture played at the Broadway for a year.
       Because the complex nature of Fantasound necessitated that the picture be roadshown, Walt Disney Productions handled the distribution of Fantasia itself until Apr 1941. At that point, Disney turned the film over to its usual distributor, RKO, which, according to HR and NYT news items, continued roadshowing the picture. Although Disney had intended to roadshow the film in seventy-six large cities over the course of two years, contemporary sources confirm only the following cities as venues under the Disney company's distribution: New York, Los Angeles, Boston, Philadelphia, Chicago, Detroit, San Francisco, Baltimore, Washington, Minneapolis, Buffalo, Pittsburgh and Cleveland. According to an Apr 1941 HR news item, RKO intended to roadshow the film in Louisville, Hartford and Memphis. Modern sources assert that Fantasia played in only fourteen theaters in the original run distributed by Disney. The HR news item further states that the change in distribution was "due to the work of sound engineers who have compressed the nine original channels of sound into a single channel of standard width film which can be projected through standard equipment."
       When RKO put the film into general release in 1942, it was cut to 81 minutes. A 1942 pressbook for the picture noted that its production had involved "103 musicians, 751 artists, 600,000 celluloid drawings [and] 508 new characters." According to the pressbook, the "Toccata and Fugue" segment was cut out (1940 NYT and NYHT articles indicate that Disney himself considered removing this number before the film had its premiere), and modern sources note that other cut sequences included the live-action intermission, the scene in which Deems Taylor introduces the soundtrack and much of Taylor's narration. These segments were put back in during subsequent re-releases. The picture was re-issued in Mar 1946, in a two-hour "popular version," and a 19 Nov 1946 HR news item noted that, for distribution in Dallas, it was "widely advertised...that the Bach sequence, omitted locally in the original presentation, was restored." As with most animated Disney features, the picture has been re-released a number of times, first in Feb 1956, in a version in which the soundtrack was transferred onto four-track magnetic stereo film. (Modern sources assert that it was this re-issue that finally helped the picture show a profit, although a 9 Apr 1947 HR news item announced that the film was about to reach the $10 million mark for domestic and foreign distribution.) Other reissue dates include Feb 1963, at which time the film was presented in "wide-screen SuperScope"; Dec 1969, in which, according to News and DV articles, the picture was now seen as a psychedelic experience by a new audience; Apr 1977, with a simulated stereo version; Apr 1982, Feb 1984 and Oct 1990. The re-issue dates are approximate, for, as some sources note, the picture has been in continual re-release in some areas since the late 1960s.
       For the Apr 1982 re-issue, the original score was digitally re-recorded by conductor Irwin Kostal, and according to modern sources, it was the first film soundtrack to be recorded in digital Dolby stereo. According to modern sources, Deems Taylor's narration was redone by Hugh Douglas. Some modern sources state that the voices of Mickey Mouse and Stokowski as they congratulate each other were re-recorded by unspecified actors, while others state that Stokowski and Mickey were not heard at all. According to a Disney press release about Kostal and the 1982 version, musicians Don Christleib, Jack Marsh, George Cast and Sven Reher played in both the original Stokowski orchestra and Kostal's orchestra. Articles about the Kostal re-recording note that he corrected a "glitch" in the soundtrack that occurred when, in the 1960s, footage (and the accompanying music) of a black centaurette polishing the hooves of a white centaurette was cut from "The Pastoral Symphony."
       Critical reaction to the picture was mixed, for while film critics generally praised Fantasia as innovative and beautiful, some music critics were appalled by the liberties Stokowski took with the scoring, and by the use of great classical music as an accompaniment to animation. According to modern sources, the segments most heavily criticized were "The Pastoral Symphony," which critics felt demeaned Beethoven's music with its fanciful images, and "Rite of Spring," which they felt had been destroyed by the re-arranging of passages and the scoring.
       Arthur Beach, the reviewer for National Board of Review Magazine, acknowledged in his Dec 1940 review that there had been "some talk that treating serious music in this fashion is well nigh desecration," but nonetheless gave the film an "exceptional" rating. His own strongest criticisms were of "watching Leopold Stokowski on the highest podium in the world--and he appears again and again, close up and at a distance, in a nimbus of Technicolor," and the treatment of "Ave Maria," about which he stated: "The crowning blow was linking up the Schubert song with Moussorgsky's 'Night on Bald Mountain' by a succession of chords. Not even Deems Taylor, commenting on the forces of evil as contrasted with ultimate good, could justify that. It wasn't contrast, it was a collision, and the cleverness of the sound...could not save it from being an artistic calamity."
       In the Feb 1941 issue of McCall's, critic Pare Lorentz commented: "Beethoven's Sixth, or Pastorale, [sic] Symphony, is the only unsatisfactory part of the picture. I feel Beethoven is as much to blame as Disney, and rather than sharing with professional music-lovers a horror that Disney sullied the name of the great artist, I think he merely created a dull dramatization of a dull symphony." Lorentz praised most of the other segments, however, and stated: "I advise you to disregard the howls from the music critics. Fantasia is a Disney and not a classical conception of a concert, and even though the music is broader and more powerful than any you've ever heard from the screen, it is the imagery, and not the scores, which you will follow during the show. Thus, you can dismiss the complaints of the little hierarchy of music men who try to make music a sacrosanct, mysterious, and obscure art."
       There are differing reports as to Igor Stravinsky's reaction to Disney's presentation of "Rite of Spring." Stravinksy, who was the only living composer represented in the film, visited the Disney Studio at least once while the picture was in production. Modern sources indicate that Stravinsky gave a positive appraisal of the production at the time, and a 1940 Time article noted that he had "signed a contract to do more music with Disney." Later, however, the composer spoke bitterly about Stokowski's treatment of his score. In his autobiography, Stravinsky called "the musical performance" of his composition "execrable," and added: "I will say nothing about the visual complement, as I do not wish to criticize an unresisting imbecility." Not everyone shared Stravinsky's opinion, however, for the Time article also noted that the New York Academy of Sciences asked for a private screening of the "Rite of Spring" sequence and stated that "they thought its dinosaurs better science than the whole museum."
       Fantasia was voted one of the year's ten best films by the National Board of Review and NYT, and received a special award from the New York Film Critics Circle. The film also brought special Academy Awards to Stokowski and Disney in 1942. The certificates given to them read: "To Leopold Stokowski and his associates for their unique achievement in the creation of a new form of visualized music in Walt Disney's production Fantasia, thereby widening the scope of the motion picture as entertainment and as an art form," and "To Walt Disney, William Garity, John N. A. Hawkins and the RCA Manufacturing Company, for their outstanding contribution to the advancement of the use of sound in motion pictures through the production of Fantasia." According to a 22 Jan 1941 HR news item, Disney was angry that the Academy refused to put Fantasia on the list of films to be considered for nominations for the calendar year 1940. The news item stated that Disney "told the Academy not to list any of his [short] subjects" either. The reason for the Academy's ruling was that Fantasia had not played in Los Angeles in 1940. Disney was awarded the Irving G. Thalberg Memorial Award by the Academy in 1942, which some modern sources feel was largely because of Fantasia.
       The Oct 1990 showing was a 50th anniversary theatrical release, for which the film was restored over a two-year period. According to press materials issued by the Walt Disney Studios, the original negatives were meticulously cleaned at YCM Laboratories in Burbank, CA and new prints struck from them. Stokowski's original soundtrack was also cleansed of noise accumulated over the decades with the aid of his handwritten guide tracks. The picture was presented in its original screen ratio of 1.33:1, and the music and scenes featuring the black centaurette were re-inserted, although the individual frames were enlarged or repositioned so that she is not seen in the re-issue. To further celebrate the film's anniversary, the Pacific Cinerama Dome in Hollywood, CA presented the picture in 70mm with an approximation of Fantasound. In a Jul 1991 press release issued by the Walt Disney Studios announcing that the film would be released on video for a limited time beginning on 1 Nov 1991, it was also stated that the studio would release Fantasia Continued in 1996 or 1997. As stated above, Disney had envisioned Fantasia as a continuing process in which new seqments would be added occasionally. In a Feb 1999 HR article, the studio announced that Fantasia 2000, which was to contain three original segments and six new ones, "will have an exclusive four-month run in Imax theaters around the world from 1 Jan--30 Apr 2000." The final version of the updated film, entitled Fantasia/2000, contained seven new segments as well as "The Sorcerer's Apprentice," and had its premiere in New York City on 17 Dec 1999.
       Fantasia played in what was advertised as its last showing in its original form at the El Capitan Theatre in Hollywood, CA in Sep 1991. According to a 27 Dec 1940 HR news item, the El Capitan, which at the time was not a motion picture theater, was considered as the venue for the original Los Angeles premiere of the film. According to a 4 Dec 1991 HR news item, when the picture was released for a limited time on home video, it became the best-selling video of the year, and a 16 Jan 1992 LAT news item noted that well over 14,000,000 videocassettes were sold in North America alone.

Less

GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Box Office
23 Nov 1940
---
Daily Variety
30 Jan 1941
p. 3
Daily Variety
13 Nov 1970
---
Daily Variety
7 May 1992
p. 1, 11
Film Daily
14 Nov 1940
p. 5, 7
Hollywood Reporter
19 Nov 1937
p. 1
Hollywood Reporter
13 Oct 1938
p. 2
Hollywood Reporter
25 Jan 1939
p. 1
Hollywood Reporter
10 Apr 1939
p. 2
Hollywood Reporter
18 Apr 1939
p. 3
Hollywood Reporter
24 Apr 1939
p. 4
Hollywood Reporter
14 Mar 1940
p. 1
Hollywood Reporter
31 Jul 1940
p. 3
Hollywood Reporter
28 Aug 1940
p. 8
Hollywood Reporter
20 Sep 1940
p. 5
Hollywood Reporter
7 Nov 1940
p. 4
Hollywood Reporter
11 Nov 1940
p. 1
Hollywood Reporter
13 Nov 1940
p. 3
Hollywood Reporter
15 Nov 1940
p. 1
Hollywood Reporter
26 Nov 1940
p. 1
Hollywood Reporter
5 Dec 1940
p. 2
Hollywood Reporter
27 Dec 1940
p. 1
Hollywood Reporter
30 Dec 1940
p. 1, 10
Hollywood Reporter
22 Jan 1941
p. 3
Hollywood Reporter
24 Jan 1941
p. 8
Hollywood Reporter
5 Feb 1941
p. 2
Hollywood Reporter
28 Apr 1941
p. 2
Hollywood Reporter
4 Jun 1941
p. 4
Hollywood Reporter
12 Jan 1942
p. 3
Hollywood Reporter
25 Feb 1942
p. 3
Hollywood Reporter
15 May 1942
p. 3
Hollywood Reporter
3 Feb 1943
p. 6
Hollywood Reporter
20 Apr 1944
p. 6
Hollywood Reporter
10 Aug 1944
p. 11
Hollywood Reporter
19 Sep 1946
p. 15
Hollywood Reporter
25 Sep 1946
p. 2
Hollywood Reporter
28 Oct 1946
p. 10
Hollywood Reporter
19 Nov 1946
p. 18
Hollywood Reporter
4 Feb 1947
p. 23
Hollywood Reporter
9 Apr 1947
p. 8
Hollywood Reporter
27 Sep 1990
p. 1, 29
Hollywood Reporter
9 Sep 1991
p. 4, 19
Hollywood Reporter
4 Dec 1991
p. 1, 21
Hollywood Reporter
7 May 1992
p. 1, 6, 22
Hollywood Reporter
10 Feb 1999
p. 4, 34
Journal of the Society of Motion Picture Engineers
1 Aug 1941
pp. 127-146
Journal of the Society of Motion Picture Engineers
1 Jul 1942
pp. 6-21
Los Angeles Daily News
5 Oct 1990
pp. 11-12
Los Angeles Herald Express
18 Dec 1983
p. F5
Los Angeles Times
7 Jan 1941
---
Los Angeles Times
21 Mar 1960
---
Los Angeles Times
14 Mar 1982
Calendar, p. 57, 59
Los Angeles Times
16 Jan 1992
---
McCall's
Feb 1941
---
Motion Picture Daily
14 Nov 1940
p. 5
Motion Picture Daily
15 Nov 1940
---
Motion Picture Herald
16 Nov 1940
p. 21, 40; Sec 2, pp. 7-8, 21
National Board of Review Magazine
Dec 1940
---
New York Herald Tribune
20 Oct 1940
---
New York Times
29 Jan 1939
---
New York Times
10 Mar 1940
---
New York Times
25 Sep 1940
---
New York Times
20 Oct 1940
---
New York Times
28 Oct 1940
---
New York Times
3 Nov 1940
---
New York Times
14 Nov 1940
p. 28
New York Times
17 Nov 1940
p. 7
New York Times
27 Apr 1941
---
Newsweek
19 Jan 1970
---
PM (Journal)
11 Jan 1942
p. 18
Popular Mechanics
Jan 1942
pp. 34-37, 189, 191
Popular Science
Jan 1941
pp. 65-67
Scientific American
Jan 1941
pp. 28-30
Theatre Arts
Jan 1941
pp. 55-61
Time
18 Nov 1940
pp. 52-55
Variety
13 Nov 1940
p. 16
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Story dir
Story dir
Dir "Toccata and Fugue in D Minor" and "The Nutcra
Dir "The Sorcerer's Apprentice"
Dir "Rite of Spring"
Dir "Rite of Spring"
Dir "The Pastoral Symphony"
Dir "The Pastoral Symphony"
Dir "The Pastoral Symphony"
Dir "Dance of the Hours"
Norm Ferguson
Dir "Dance of the Hours"
Dir "Night on Bald Mountain" and "Ave Maria"
Asst dir
Asst dir
Asst dir
Asst dir
Asst dir
PRODUCERS
Prod, Prod
Prod supv
WRITERS
Story dev "Toccata and Fugue in D Minor"
Story dev "Toccata and Fugue in D Minor"
Story dev "Toccata and Fugue in D Minor," "Night o
Story dev "The Nutcracker Suite"
Story dev "The Nutcracker Suite"
Story dev "The Nutcracker Suite"
Story dev "The Nutcracker Suite"
Story dev "The Nutcracker Suite"
Story dev "The Sorcerer's Apprentice"
Story dev "The Sorcerer's Apprentice"
Story dev and research "Rite of Spring"
Story dev and research "Rite of Spring"
Story dev and research "Rite of Spring"
Story dev and research "Rite of Spring"
Story dev "The Pastoral Symphony"
Story dev "The Pastoral Symphony"
Story dev "The Pastoral Symphony"
Story dev "The Pastoral Symphony"
Bill Peet
Story dev "The Pastoral Symphony"
Story dev "The Pastoral Symphony"
Story dev "Night on Bald Mountain" and "Ave Maria"
Story dev "Night on Bald Mountain" and "Ave Maria"
PHOTOGRAPHY
Spec cam eff "Rite of Spring," "Night on Bald Moun
Spec cam eff "Rite of Spring," "Night on Bald Moun
ART DIRECTORS
Robert Cormack
Art dir "Toccata and Fugue in D Minor" and "The Nu
Art dir "The Nutcracker Suite"
Art dir "The Nutcracker Suite"
Art dir "The Nutcracker Suite"
Art dir "The Nutcracker Suite"
Art dir "The Sorcerer's Apprentice"
Art dir "The Sorcerer's Apprentice"
Art dir "The Sorcerer's Apprentice"
Art dir "Rite of Spring"
Art dir "Rite of Spring"
Art dir "Rite of Spring"
Art dir "The Pastoral Symphony"
Art dir "The Pastoral Symphony"
Art dir "The Pastoral Symphony"
Art dir "The Pastoral Symphony"
Art dir "The Pastoral Symphony"
Art dir "The Pastoral Symphony"
Art dir "Dance of the Hours"
Art dir "Dance of the Hours"
Art dir "Dance of the Hours"
Art dir "Night on Bald Mountain" and "Ave Maria"
Art dir "Night on Bald Mountain" and "Ave Maria"
Art dir "Night on Bald Mountain" and "Ave Maria"
Art dir "Night on Bald Mountain" and "Ave Maria"
FILM EDITOR
Mus film ed
MUSIC
Edward H. Plumb
Mus dir
Choral dir
Soloist "Ave Maria"
PRODUCTION MISC
Secy
ANIMATION
Animation supv "The Sorcerer's Apprentice" and "Th
Animation supv "The Sorcerer's Apprentice," "Night
Animation supv "Rite of Spring"
Joshua Meador
Animation supv "Rite of Spring"
Animation supv "The Pastoral Symphony"
Animation supv "The Pastoral Symphony"
Art Babbitt
Animation supv "The Pastoral Symphony" and animati
Animation supv "The Pastoral Symphony"
Animation supv "The Pastoral Symphony"
Norm Ferguson
Animation supv "Dance of the Hours"
Character des "The Nutcracker Suite"
Character des "The Nutcracker Suite"
Character des "The Nutcracker Suite"
Character des "The Pastoral Symphony"
Character des "The Pastoral Symphony"
Character des "The Pastoral Symphony" and "Dance o
Character des "Dance of the Hours"
Character des "Dance of the Hours"
Character des "Dance of the Hours"
Animation "Toccata and Fugue in D Minor" and "The
Animation "Toccata and Fugue in D Minor" and "Rite
Animation "Toccata and Fugue in D Minor" and "Rite
Animation "Toccata and Fugue in D Minor" and "The
Animation "Toccata and Fugue in D Minor" and "The
Animation "Toccata and Fugue in D Minor" and spec
Joshua Meador
Animation "Toccata and Fugue in D Minor" and spec
Animation "The Nutcracker Suite" and "The Sorcerer
Animation "The Nutcracker Suite" and "The Pastoral
Animation "The Nutcracker Suite"
Animation "The Sorcerer's Apprentice" and "Dance o
Animation "The Sorcerer's Apprentice"
Animation "The Sorcerer's Apprentice"
Animation "The Sorcerer's Apprentice"
Animation "The Sorcerer's Apprentice"
Animation "Rite of Spring," "Night on Bald Mountai
Philip Duncan
Animation "Rite of Spring"
Animation "Rite of Spring"
Animation "Rite of Spring"
Animation "Rite of Spring"
Animation "The Pastoral Symphony"
Animation "The Pastoral Symphony"
Jack Bradbury
Animation "The Pastoral Symphony"
Animation "The Pastoral Symphony"
Animation "The Pastoral Symphony"
Animation "The Pastoral Symphony"
Animation "The Pastoral Symphony"
Animation "The Pastoral Symphony"
Animation "The Pastoral Symphony"
Animation "The Pastoral Symphony"
Animation "The Pastoral Symphony"
Animation "The Pastoral Symphony"
Animation "Dance of the Hours"
Animation "Dance of the Hours"
Animation "Dance of the Hours"
Animation "Dance of the Hours"
Animation "Dance of the Hours"
Animation "Dance of the Hours"
Animation "Dance of the Hours"
Animation "Dance of the Hours"
Animation "Dance of the Hours"
Animation "Dance of the Hours"
William N. Shull
Animation "Night on Bald Mountain" and "Ave Maria"
Animation "Night on Bald Mountain" and "Ave Maria"
Animation "Night on Bald Mountain" and "Ave Maria"
Animation "Night on Bald Mountain" and "Ave Maria"
Animation
Animation
Animation
Animation
Animation
Animation
Animation
Animation
Animation
Animation
Animation
Animation
Animation
Animation
Animation
Animation
Animation
Animation
Background paintings "Toccata and Fugue in D Minor
Background paintings "Toccata and Fugue in D Minor
Background paintings "Toccata and Fugue in D Minor
Background paintings "The Nutcracker Suite"
Background paintings "The Sorcerer's Apprentice" a
Background paintings "The Sorcerer's Apprentice
Background paintings "The Sorcerer's Apprentice
Background paintings "The Sorcerer's Apprentice
Background paintings "Rite of Spring"
Background paintings "Rite of Spring"
Background paintings "Rite of Spring"
Background paintings "The Pastoral Symphony," "Nig
Background paintings "The Pastoral Symphony," "Nig
Background paintings "The Pastoral Symphony"
Arthur Riley
Background paintings "The Pastoral Symphony"
Background paintings "The Pastoral Symphony"
Background paintings "Dance of the Hours"
Background paintings "Dance of the Hours"
Background paintings "Night on Bald Mountain" and
Background paintings "Night on Bald Mountain" and
Spec animation eff "Night on Bald Mountain" and "A
John F. Reed
Spec animation eff "Night on Bald Mountain" and "A
SOURCES
MUSIC
Toccata and Fugue in D Minor by Johann Sebastian Bach; The Nutcracker Suite by Peter Ilyich Tchaikovsky; The Sorcerer's Apprentice by Paul Dukas; Rite of Spring by Igor Stravinsky; Symphony No. 6 ( Pastoral Symphony ) by Ludwig van Beethoven; Dance of the Hours by Amilcare Ponchielli; Night on Bald Mountain by Modeste Moussorgsky.
SONGS
"Ave Maria," music by Franz Schubert, special lyrics by Rachel Field.
DETAILS
Alternate Title:
Concert Feature
Release Date:
13 November 1940
Premiere Information:
World premiere in New York: 13 Nov 1940; Los Angeles premiere: 29 Jan 1941
Production Date:

Copyright Info
Claimant
Date
Copyright Number
Walt Disney Productions
13 November 1940
MP10761
Physical Properties:
Sound
RCA Sound Recording
Color
Multiplane Technicolor
Duration(in mins):
125
Length(in feet):
11,180
Length(in reels):
18
Country:
United States
Language:
English
PCA No:
5920
SYNOPSIS

This film consists of animation set to eight musical pieces. Deems Taylor, the narrator, introduces himself and conductor Leopold Stokowski, then describes the three different kinds of music in the program. The first type tells a definite story, and the next, while having no specific plot, suggests a series of definite pictures. The last type is referred to as "absolute" music, that which suggests abstract images and exists solely for its own sake. The first number, "Toccata and Fugue in D Minor," represents the last type of music. In this segment, animated shadows of the orchestra gradually give way to more abstract images. The second number, "The Nutcracker Suite," is an example of the second type of music, and this segment features ballets performed by the fairies who bring the seasons, Hop Low and his fellow mushrooms, goldfish and flowers. The third selection tells a definite story, that of "The Sorcerer's Apprentice." The music is based on a poem by Goethe, which was in turn based upon a 2,000 year old legend. In this number, Mickey Mouse is the young, ambitious apprentice of a powerful sorcerer. When the sorcerer retires for a nap, Mickey takes up his magic hat and acquires his powers, using them to enchant a broom to carry in water. Mickey falls asleep, and while he dreams of enchanting the universe, the broom carries in more and more water until Mickey is awakened by a flood. Mickey's efforts to correct the situation result in catastrophe, but finally the sorcerer appears and restores order. The fourth number, "Rite of Spring," illustrates the story of evolution, ...

More Less

This film consists of animation set to eight musical pieces. Deems Taylor, the narrator, introduces himself and conductor Leopold Stokowski, then describes the three different kinds of music in the program. The first type tells a definite story, and the next, while having no specific plot, suggests a series of definite pictures. The last type is referred to as "absolute" music, that which suggests abstract images and exists solely for its own sake. The first number, "Toccata and Fugue in D Minor," represents the last type of music. In this segment, animated shadows of the orchestra gradually give way to more abstract images. The second number, "The Nutcracker Suite," is an example of the second type of music, and this segment features ballets performed by the fairies who bring the seasons, Hop Low and his fellow mushrooms, goldfish and flowers. The third selection tells a definite story, that of "The Sorcerer's Apprentice." The music is based on a poem by Goethe, which was in turn based upon a 2,000 year old legend. In this number, Mickey Mouse is the young, ambitious apprentice of a powerful sorcerer. When the sorcerer retires for a nap, Mickey takes up his magic hat and acquires his powers, using them to enchant a broom to carry in water. Mickey falls asleep, and while he dreams of enchanting the universe, the broom carries in more and more water until Mickey is awakened by a flood. Mickey's efforts to correct the situation result in catastrophe, but finally the sorcerer appears and restores order. The fourth number, "Rite of Spring," illustrates the story of evolution, showing how the Earth was formed and how life grew from one-celled sea creatures to mighty dinosaurs. The dinosaurs eventually die, and evolution continues. The next segment, "The Pastoral Symphony," presents a lovely day on Mt. Olympus, where cherubs, fauns, unicorns, pegasuses, centaurs and centaurettes frolic. Bacchus, the god of wine, arrives with his trusty steed Jacchus, and a bacchanal begins, only to be interrupted by Zeus and Vulcan, who shower lightning bolts on the merrymakers. Zeus eventually wearies of his game and peace is restored as Isis, the goddess of the rainbow, spreads a rainbow over the land. Apollo drives his sun chariot across the sky, and as he disappears, Morpheus, the god of sleep, draws his blanket of night over everyone. The mythic creatures fall asleep as Diana shoots an arrow of fire and covers the sky with stars. The sixth selection is "Dance of the Hours." This ballet, depicting the passage of time, is performed by a talented corps of ostriches, hippos, elephants and alligators, who represent morning, day, evening and night. The final two numbers, "Night on Bald Mountain" and "Ave Maria," are, according to Taylor, a picture of the struggle between the profane and the sacred. The segment begins on Walpurgis night, when Chernabog, the black god, who lives in Bald Mountain, casts a spell on the sleeping town and raises up ghosts from their graves and demons from the fiery depths. The evil creatures dance for Chernabog's pleasure until dawn comes and the church bells, calling the faithful to worship, begin to ring. The ghosts and demons return to their origins, while Chernabog folds himself back into the top of the mountain. The faithful begin their candlelit procession through the forest as they sing "Ave Maria," and the film ends as the sun rises.

Less

Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

TOP SEARCHES

2001: A Space Odyssey

Opening credits precede a title card that reads: "The Dawn of Man."
       In an interview in the 16 Jan 1966 NYT, writer-director-producer Stanley Kubrick discussed ... >>

Top Gun

The following written prologue appears before the title: “On March 3, 1969 the United States Navy established an elite school for the top one percent of its pilots. Its ... >>

The Godfather

The film's opening title card reads: "Mario Puzo's The Godfather." While the first strains of a trumpet solo of Nino Rota's "Godfather" theme are heard on ... >>

Jaws 2

Shortly after the enormous success of Steven Spielberg’s Jaws (1975, see entry), a 22 Jul 1975 DV news item reported that a sequel was approved ... >>

The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.