Whatever Walt Disney intended Fantasia to be in 1940 – an experiment in animation, perhaps – its sequel, Fantasia 2000, will firmly establish itself as a commercial venture.
The marketing gurus at Disney may pitch the new Fantasia as “the work in progress that Walt always wanted”, but this is speculation at best; calling it a rehash of a bankable product is a harsh, more truthful assessment. That its showing only at IMAX theatres – which adds surprisingly little to the experience – only cements Fantasia 2000 as must-see event, rather than an artistic enterprise. Its kinda like shipping Michelangelo's David across country (as whimsically supposed once by the Simpsons) – the plan’s merit is easily overshadowed by pomp and circumstance.
Its not that Fantasia 2000 is indigestible, it’s just oddly plain. Fantastic animation, sterling orchestration, and a 3 story screen cant hide the fact that, like its predecessor, If you don’t love the music you wont like the movie.
On the IMAX screen, colours certainly seem more livid and the sound more pristine – thus the primal emotional responses (e.g. defeated wood nymph, fearsome jack-in-the-box) are all the more imposing. Although wresting emotions from juveniles is Disney’s forte, the pull is stronger with this large, loud format. (I am entirely a fan of “the IMAX experience” – Jean-Jacque Annaud’s 40 minute Wings of Courage is an average movie all the more engrossing when seen on the IMAX screen.)
And why all the celebrities introducing the segments: Bette Midler, Steve Martin, Penn & Teller, Angela Lansbury, Quincy Jones, etc? They may add class to the movie – notice the absence of a Chris Rock or Drew Barrymore – but it makes Fantasia 2000 less timeless. Martin does his best to liven up the show, but his part should have been placed in the middle, after the “guest narrator” role has been established. Only Penn and Teller are wholly entertaining (and not just a little bit creepy).
Of the different sequences - many of which have no “story” to them - the Donald Duck/Noah’s Ark one is easily the best, mostly because it has a familiar character we can latch on to. And it has the most tongue-in-cheek feel of all the segments: note Donald watching “ducks” enter the Ark, or the brief shot of Dragons and Unicorns left behind.
Fantasia 2000 propagates a puzzle for modern animation: the experimental, non-narrative sequences should be the most enjoyable and awesome from an artistic point of view. Yet Disney, and other players in Hollywood, are pushing the narrative animation form to new heights - notably Fox’s Titan AE, a decidedly sagacious “cartoon” experience due out this summer.
Like the original, Fantasia
2000 wants it both ways: art for arts sake (hence classical music), and
cross-marketable commercial property (keeping Disney property Mickey Mouse front
and centre). But if you don’t
adore classical music or ethereal animation, why would you like this movie?