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Fantasia 2000 (1999)

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An update of the original film with new interpretations of great works of classical music.

Writers:

(story), (story "The Steadfast Tin Soldier") | 10 more credits »
4 wins & 6 nominations. See more awards »

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Cast

Cast overview:
...
Himself - Introductory Host
...
Himself - Host (segment "Pines of Rome")
...
Himself - Host (segment "Rhapsody in Blue")
...
Herself - Host (segment "Piano Concerto No. 2, Allegro, Opus 102")
...
Himself - Host (segment "Carnival of the Animals")
...
Himself - Host (segment "The Sorcerer's Apprentice") (as Penn)
...
Himself - Host (segment "The Sorcerer's Apprentice")
James Levine ...
Himself - Host (segment "Pomp and Circumstance"), Conductor (Chicago Symphony Orchestra)
...
Herself - Host (segment "Firebird Suite - 1919 Version")
...
Tony Anselmo ...
...
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Storyline

In this update of Disney's masterpiece film mixture of animation and music, new interpretations of great works of music are presented. It begins with an abstract battle of light and darkness set to the music of Beethoveen's Fifth Symphony. Then we see the adventures of a Humpback Whale calf and his pod set to "The Pines of Rome." Next is the humourous story of several lives in 1930's New York City, scored with "Rhapsody in Blue." Following is a musical telling of the fairy tale, "The Steadfast Tin Soldier" set to Dmitri Shostakovich's Piano Concerto No. 2. Then a goofy Flamingo causes havoc in his flock with his yo-yo to the tune of the finale of "Carnival of the Animals." This is followed by the classic sequence from the original film, "The Sorcerer's Apprentice" starring Mickey Mouse and followed by "Pomp and Circumstance" starring Donald Duck as a harried assistant to Noah on his Ark. Finally, we see the awesome tale of the life, death and renewal of a forest in a sequence ... Written by Kenneth Chisholm <kchishol@home.com>

Plot Summary | Add Synopsis


Certificate:

G | See all certifications »

Parents Guide:

 »
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Details

Official Sites:

Country:

Language:

Release Date:

16 June 2000 (USA)  »

Also Known As:

Fantasia '99  »

Box Office

Budget:

$80,000,000 (estimated)

Opening Weekend:

£49,825 (UK) (31 December 1999)

Gross:

$60,507,228 (USA) (5 January 2001)
 »

Company Credits

Show detailed on  »

Technical Specs

Sound Mix:

| | |

Color:

Aspect Ratio:

1.78 : 1 / (high definition)
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Did You Know?

Trivia

Instead of being produced all at once, as the original Fantasia (1940) had been, each segment was produced individually during production lulls between features. "Pines of Rome", the first segment to go into production, was completed in 1995. Ludwig van Beethoven's 5th was the last sequence to go into production. See more »

Goofs

In "Pomp and Circumstance", the first time Donald takes out a picture of him and Daisy, both (in the picture) are looking towards the "camera". The next time he looks at it, Daisy is looking at him instead. See more »

Quotes

Mickey Mouse: [Pulling on Stokowski's coat] Mr. Stokowski! Mr. Stokowski!
[Mickey whistles to get Stokowski's attention]
Mickey Mouse: Just wanna offer my congratulations, sir!
Leopold Stokowski: [shaking hands with Mickey] Congratulations to you, Mickey!
Mickey Mouse: Aww, gee, thanks! Hehe! Well, I gotta run now! So long!
See more »

Crazy Credits

Credits are superimposed over preliminary artwork. See more »

Connections

Edited from Rhapsody in Blue (2000) See more »

Soundtracks

Piano Concerto No. 2, Allegro, Opus 102
Music by Dmitri Shostakovich
Performed by James Levine, the Chicago Symphony Orchestra and Yefim Bronfman (piano soloist)
See more »

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User Reviews

 
Music expertly portrayed in film
4 January 2000 | by (Southern California) – See all my reviews

Fantasia 2000 presents us with a visual voyage into music that, in my opinion, excels that of the original Fantasia. Not only is the animation itself extremely fluid, colorful, and highly diverse from segment to segment, but the representation of the music is, in itself, sheer genius. As I have come to expect from Disney, at least some research has been done into the texture of the music as well as thematical studies and tonal structure. This much, I believe, is made in evidence of both blatant and subtle use of contrast on screen to highlight the contrast of the music.

In all, this film is of extremely high value and is of an excellent nature. I highly recommend seeing it on the IMAX screen for full effect of sound and light and to be ready for a sonic experience that will have you whistling tunes all week long.


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