This project is an attempt to understand why a film with an obviously powerful legacy (3 re-releases and a sequel) has had such an impact. Fantasia was released in 1940 to mixed critical acclaim, but has been deemed significant enough to be put on the list of "historically and culturally significant works marked for preservation" by the library of congress. Looking at articles that discuss the film's original release, re-release, its sequel, and those that question the significance of the film, I have concluded that a number of factors have led contributed to its longevity, but the common element is that they were all unprecedented. Fantasia required a level of collaboration and freedom of the production team never-before-seen, redefined the role of music in animation as at least equal to the visual if not more so, and focused on something that could not be attained in any other medium, to illustrate the imagination. Though there are many who had small criticisms of the film, there is a fairly unanimous consensus today that Fantasia is a significant piece in American Cinema. The film was groundbreaking, it changed the way animators thought about the role of music and what animation could achieve, and captivated the audience on a deeper level than traditional animation. It is these pioneering characteristics that make Fantasia such a significant film.

Crowther, Bosley "Yes, But Is It Art?" New York Times (1857-Current file); Nov 17, 1940; ProQuest Historical Newspapers The New York Times (1851 - 2005) pg. 141

Published shortly after the Fantasia's release, Crowther further discusses Fantasia (having reviewed it only days earlier). Crowther acknowledges the debate surrounding Fantasia, does the film capture a new art form, or merely a gimmick of new entertainment? Crowther highlights all the minor criticisms of the film, that sometimes the dramatic use of sound and color on screen are overwhelming, or that some segments fall short of achieving the desired dramatic effect (specifically "Night on Bald Mountain"). However, Crowther concludes that whether or not it is an art form is ambiguous, it is truly up to the viewer to decide. Some may find it to be a dumbing down of brilliant classical music, while others will appreciate it as the imagination brought to life. Ultimately, the impact it has on the viewer defines the significance of the film and whether or not it can be considered an art form or a spectacle.

Crowther makes some key points about Fantasia and directly addresses the issue examined in this project, why Fantasia is significant. Crowther believed that for all its short comings, the final product was in fact an art form, and was successful at doing what had never been done before. Fantasia was a pioneer in animation, it was the first of its kind and marked a turning point for the continued use of music in animation. The concept of illustrating the imagination in time with classical music was unheard of, and the subsequent freedom given to the animators and collaboration between graphic and musical artists was unprecedented.

The film reintroduces the audience to classical music, hoping to improve upon the works that history has already demonstrated to be significant and universal in appeal. Disney intended the music to be considered as equal in importance to the animation, and his investment in Fantasound was an attempt to reach this goal. Crowther writes that in very few places did the music ever seen "subjugated" to the animation. Fantasia was based around a unique concept, changing the role of music in animation and illustrating pure imagination, and the resulting impact on production was a need to break the traditional mold. Crowther believes Fantasia was significant because it was a novel experience, captivating the audience on a deeper level than a traditional film. There are many elements of Fantasia that made it ground breaking and significant at the time of its release, but its legacy demonstrates that it is clearly a defining work of American Film.

 

Robins, Sam "Disney Again Tries Trailblazing" New York Times (1857-Current file); Nov 3, 1940; ProQuest Historical Newspapers The New York Times (1851 - 2005)
pg. 121

This article in the New York Times from November 3rd 1940, 10 days before the premiere of Fantasia, is a preview of the film. It comments on the amount of time, money, and effort that Disney put into it, as well as the level of collaboration and prowess it took to put it all together. The author, Sam Robins, notes that this is a departure from the typical Disney recreations of fairy tales, and of particular interest to him is that there is no connecting story between the pieces. Robins goes on to list each of the musical numbers from the film, and accompanying animations. The article contains several images of Walt Disney working with the animators and still images from the film. Most notably is Disney's hopes that the film will live on "after he is gone" because great music is eternal.

The article is a primary source about this historical film. It is a preview to the film that is provided not in modern context, but in the context of the 1940s release, including the expectations of any film based on contemporary culture and Disney's pervious work.  The author is wary of the dramatic change in style that Fantasia represents for Disney. It is rather striking how Disney was correct about the legacy of the film, having had multiple rereleases and a "sequel" as well as having been marked for preservation by the Library of Congress for being culturally and historically significant. Even at the time of its release, there was some speculation that Fantasia was going to be significant in the realm of animated film.

"Disney's Fantasia" JSTOR: The Musical TimesVol. 82, No. 1183 (Sep., 1941), p. 349

This review of Fantasia, printed in The Musical Times in September 1941 is a mixed criticism of the film. The author is nothing short of brutal in his detraction, commenting on audience members walking out of the film and going so far as to call the film a "failure". The critic acknowledges the bold attempt Disney is making at marrying the two art forms of animation and music, but feels that the patterns in one do not translate well to the other. The author of the review makes one great exception however, the sorceror's apprentice (the famous sequence involving Mickey Mouse himself) was incredibly well recieved. The critic thought the piece was well concieved, the animation matched wonderfully with the piece and goes so far as to say that "it is as if Dukas' little masterpiece has been waiting all these years for Disney to complete it."

This review from the film's original release is excellent in answering the question of Fantasia's significance because it looks at the piece with a focus on the music. The author goes through each sequence and detracts for the most part, understanding Disney's intent in linking animation to music to create something better than either media lone, but states that the film simply fails to hit the mark. It was a noble effort but a failure in the end. Where the critic does praise the film is where its significance is really shown. When Disney does get it right, he creates a masterpiece, something that fits with the music so naturally that it is as though the piece was originally concieved with the accompanying animation in mind. Fantasia blended music and animation on a level never before achieved, and the result was something revolutionary that not everyone initally approved of, but has had an undeniable impact on animation and a powerful legacy.

Crowther, Bosley "Fantasia Revisited" New York Times (1857-Current file); Nov 17, 1963; ProQuest Historical Newspapers The New York Times (1851 - 2005)
pg. X1

This is a review of the rerelease of Fantasia in 1963 from Bosley Crowther, published in the New York Times. Crowther claims that the piece is no less powerful or entertaining, and will probably be more easily appreciated by audiences today. He cites numerous examples for why Fantasia did not have the appreciation of the masses that it deserved at its initial release, including the war in europe and the drastic change in Disney animation style that Fantasia represented. As well, Crowther draws a connection to the aging theaters on broadway that are showing the film in its rerelease, Fantasia represents the pinnacle of animation freedom. It is abstract and coupled with music that attempts to draw pure imagination onto the screen. The Tower East was being condemned, and Crowther saw this lack of appreciation for "art for art's sake" as reminiscent of the films original reception.

This article provides insight into both the original reception, but also the reception at its first rerelease, before the days of home video. It is a critical evaluation of the film as an work of art and as a commercial product. The article sheds light on the changes in Disney and animation in general that were heralded by the collaboration of composers, musicians, and the freedom given to the animators in the creation of the film.

Twenty-three years after its initial release, Fantasia was deemed significant enough to merit a highly publicized rerelease. Crowther is not at all oblivious to the significance of the film, he frequently mentions that it was a signal of a transition at Disney, and that the entire animation industry followed suit. Music in animation became more than just filler for gaps in sound effects and dialogue, Fantasia brought about the revolutionary concept of regarding music in animation as on par in importance to the animation itself.