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"BAMBI DEER?" "YES, HE IS, DARLING."
Blog, Movies
Posted on Mar 09 2011 by Greg
Sorry for the Police Squad-style gag.

The great thing about a great film is its ability to elicit a nostalgic response in addition to taking on a new meaning with each new viewing.

Seeing Bambi again after a few years, this time with my own family on the new Diamond Edition, brought back the memories of each time I saw it in the past (this goes back to the 1960s) and how it resonated then and still does now. This is perhaps the closest an animated film comes to being a moving painting, a work of art in motion. Yet, Bambi is even more than that because the effect is more than visual.

Bambi has one of the most powerful and imitated musical scores in the film industry. Let's face it, when "man in in the forest," it might as well be Jaws. And while its last two songs are more a part of the 1940s period in which it was first released, the first two, "Love is a Song" and "Little April Shower," are masterworks, in their composition and execution.

The main observation I took away from seeing Bambi this time around was how much it reminded me of a Hayao Miyazaki film in tone and design. There are many held cels, pausing for emotional effect much like anime, and the environmental theme has had decade-long ramifications. I wonder if the great Japanese animator was inspired by this film in particular.

The one aspect of Bambi that was played down over the years has been the voice cast. No voice cast received less credit in a Disney animated feature, as was Walt Disney's plan at the time, because it was felt that knowing the voices detracted from the animated characters (which is arguably true, especially in this age of star voices). But it's nice that the cast has been revealed more recently and can be researched elsewhere, though not so much in the DVD, except for some comments on a bonus feature.

The person I would like to bring into the spotlight here is Paula Winslowe, who embodied the warmth and strength of Bambi's mother flawlessly with impeccable diction and remarkable depth in so few lines. It may surprise fans of the golden age radio classic, The Life of Riley, that Ms. Winslowe played the long-suffering yet loving wife, Peg, to William Bendix's Chester A. Riley -- a fine example of her versatility.



The new Blu-ray is stunning, as the film itself is, and features a new interactive feature that allows you to access additional material on your laptop while the film plays (in addition to a few new bonus features). Most but not all of the older bonus material presented on the previous two-disc DVD, but I'm keeping my old one to keep all the features.

Props to the people at Walt Disney Home Entertainment for not being completely Blu-ray-centric for those who still cling to standard DVD by including the newly-enhanced "Inside Walt's Story Meetings" feature, which replaces Patrick Stewart from the earlier version (another reason to keep the old DVD set) and adds about 26 additional minutes of expert, on camera commentary and a constant stream of supporting visuals that fly by on the screen as the entire film plays. This sort of feature appeared on the recent Blu-ray of Alice in Wonderland and it is a terrific experience. Kudos to the people who worked so hard on it. Maybe this kind of feature, which is like an audio commentary only very visual, needs a catchy name like "ArchiveVision." I hope more Disney titles include this fine feature.







ALICE IN BLU-RAY LAND
Blog, Movies
Posted on Feb 10 2011 by Greg

Alice in Wonderland is one of my favorite books. I enjoy watching version after version, each taking a shot at making Lewis Carroll's dreamlike, episodic prose and poetry into a film or TV production that is cohesive and at the same time, worthy of the fantastic images we all have in our minds as we read.

Unless the story is changed markedly--as Tim Burton did with his 2010 version, the only big screen Alice that was a box office smash--many have tried with varying results. Walt Disney's 1951 version, which is presented for the first time on a 60th Anniversary Blu-Ray combo package in this edition also including a not-quite-so-decked-out-with-bonus-materials DVD.



The Alice material was clearly close to Walt Disney since he did his own twist on the idea in his first successful film series, the Alice comedies, in which a live action Virginia Davis interacted with animated creatures. Alice in Wonderland was also almost the first Disney animated feature until Snow White was ultimately selected. Mary Pickford was to play a live Alice for Disney, along with Ginger Rogers--and even Margaret O'Brien, whose mother turned it down because of the price offered (a fact she recently told talk show host Stu Shostak on a recent shokusradio.com broadcast).

By the time Alice was underway as an all-animated feature, the studio was still hurting from WWII losses, the 1950 release Cinderella had helped things considerably and high hopes were dashed when Alice initially underperformed at the box office.

The musical score lived on through the decades, even though the film was out of general release for 23 years and shown twice in edited form on TV. The ultimate public embrace of Disney's Alice came over the last few decades as it became a staple of home video and cable TV. Now, as Alice voice Kathryn Beaumont states quite truthfully in the new bonus documentary, it is absolutely now one of the most popular and beloved Disney animated features.

The very things that were problematic for Alice as a '50s movie have become assets in modern times. The choppy, episodic nature makes it ideal for television and video. It's loose, zany, irreverant style is welcome to kids brought up on Spongebob and Bullwinkle. The voice cast, once almost completely well-known to the world at large, now fits the characters better than ever--and have become iconic on their own And perhaps above all, the look of the film is a monument to the legendary Disney art director Mary Blair. See the recent New York Times review for more about that.

For those on the fence about investing in Blu-ray, Alice provides a very strong argument. The crisp angles are razor sharp and each color's nuance is shown to best advantage.

But my favorite feature on the Blu-ray disc is "Through the Keyhole-A Companion's Guide to Wonderland," which is better described as a "video commentary." Like an audio commentary, this bonus feature accompanies the entire film, which plays on one part of the screen or another while expert commentators like Brian Sibley, Paula Sigman and many others discuss the film, Walt Disney, and especially Lewis Carroll, in a very sensitive and non-sensational way, offering thoughtful insights and endless details.

For DVD owners, you may want to keep your previous editions (there are three) to hang onto all the features, many of which have been included only on the Blu-ray this time around (though DVD player owners can still enjoy very nice "Reflections on Alice" featurette, which includes comments from the marvelously effervescent Stacia Martin and others). But I still don't think that absolutely all the marvelous features from the wondrous laserdisc of Alice have all been included on any DVD or Blu-ray.

But if they want to do another reissue, that's fine with me. Like Mary Poppins, regular home video reissues keep the films fresh and in the public eye. If that makes me a little "mad," well, don't let's be silly!







A HORSE IS A HORSE...UNLESS IT'S SECRETARIAT, OF COURSE
Movies
Posted on Jan 13 2011 by Greg
One of the hallmarks of great Disney movies is that they can take a timeworn tale and, through fine storytelling skills, draw you in to a degree that you worry that the outcome might be other than what you clearly know from the start. One of the best examples is Walt Disney's Cinderella. Will the mice get the key to the tower up the stairs so Cinderella can escape and try on the slipper before the Duke leaves? Oh no, it's broken! Now what?



Secretariat isn't a Disney movie on the level of Cinderella, but it's no less a fairy tale. Most already know the ending, but there is a lot of involvement in the journey to that fateful race. It's inspired by real people and events -- the real Penny Chenery Tweedy even has a cameo -- but the opposing horse owner's snarkiness is apparently exaggerated and there are the customary Hollywood changes to add to the drama.

Most folks won't be watching Secretariat for razor-sharp accuracy. Like my son, who knew nothing of this great horse's story yet was compelled by every second of the movie. It's pretty much the old-fashioned Hollywood never-say-die all-seems-lost saga that has clicked since Mickey Rooney was the number one star in the entire world (as he would tell you right now if he were in the room with you or anyone else).

Some compared Diane Lane's look to Pat Nixon, but there's more Mad Men's Betty Draper to her in my view. Her dubious yet loving spouse, played by Dylan Walsh, is straight out of the Jon Hamm "bubble" (see 30 Rock). But Lane does a creditable job with cool, quiet strength (she would have been a GREAT Hitchcock blonde. John Malkovich, always the focal point of any of his screen time, plays a crusty but benign (see Network) trainer. Like the film, he's very entertaining. My favorite is Margo Martindale, one of those actresses who can say volumes with her face and no dialogue -- and reminds me a little of Fran Ryan, that Hungry Jack biscuit commercial lady who also used to be on The Doris Day Show and Green Acres.

The film is gorgeously mounted, director Randall Wallace and his crew making the most of every inch of the screen space and the locations. But gee whizzies, if you don't have a Blu-Ray player and you'd like to hear his commentary, tough tomatoes, folks.

Blu-Ray is very nice, and a film like this really benefits from the enhanced visual and audio qualities that the format provides. Up until recently, consumers have had a choice. If they stuck with standard DVD, they might lose a few bonus features, but largely enjoy the same rights and privileges of those who have Blu-Ray.

Now the "haves" are being separated from the "have nots." Those who could not afford or simply did not want to switch to Blu-Ray were denied seeing Destino, Roy E. Disney's dream project, because it was left off the Fantasia/Fantasia 2000 standard DVDs.

Now the "have nots" cannot hear a director's commentary on Secretariat, a feature that has nothing to do with a better picture or enhanced sound quality. They are being left out. They do not "count." It may be shrewd marketing, but this sort of thing is not very considerate to those who are still paying hard-earned and very tight money to buy home entertainment, regardless of the format.



On another note, Disney owes a debt of gratitude, at least in part, for Craig Ferguson's role in Secretariat's box office success. Ever since the film's release, he's featured a backhanded "tribute" on his late night talk show in which a pantomime horse dances to disco music every time the doorbell rings. It seems silly, but it's good promotional stuff. Ferguson's going to be the voice of Owl in the upcoming Winnie the Pooh feature. Good for him!









MEET THE FILMMAKERS OF "THE BOYS: THE SHERMAN BROTHERS' STORY"
Blog, Movies
Posted on Dec 10 2010 by Greg

Greg EThe Boys: The Sherman Brothers’ Story covers the length and breadth of the art of Richard M. Sherman and Robert B. Sherman, from the Annette days, to the Disney film, TV and Theme Park projects and beyond—like Snoopy, Come Home, Tom Sawyer and Charlotte’s Web. When you string together their enormous body of work as one gigantic whole, is an overwhelming to experience all in one film.

Gregg and Jeff Sherman:  It was for us.

Gregg Sherman [son of Richard]: It must have been because we said it in stereo!


Robert B. Sherman and Richard M. Sherman

Greg E: Were you surprised about the tremendous audience responses the film received when it was in theaters?

Jeff Sherman [son of Robert]: We sat in a dark editing room for four years doing a project about our dads that I think only our family would want to see. We had no idea how universal the message was going to be and how much audiences would embrace it. When we would go the film festivals, screenings and so forth, we saw people weeping. They’d come up to thank us for making it. For me personally, it’s all been totally overwhelming and surreal.  I can’t believe the response and how universal their music and the film’s message have proven to be.

Gregg Sherman:  It touches people, generation after generation. It’s partly the music and partly the human story of these two people who were brothers, partners and strangers.  I think that is something that people relate to all over the world. Ultimately what we found was this story is not really about the rift, but it’s about the magic of what kept them together over all these years. They both had something to say and it was a very similar kind of a statement. They both wanted to bring charity, love, peace and other good things to the world, through these songs.  And they found out that they could do that better together, rather than separately.  That is what the story is really about.

Jeff Sherman:  We went to film festivals overseas. One was near Geneva, and it was a packed house. At the end we weren’t supposed to do a question and answer session, but the audience surrounded us in the lobby. There are pictures of us being mobbed.

Gregg Sherman: They asked us all these questions in French, but there were no subtitles.  We had no idea what they were saying!

Greg E:  Can we talk about Ben Stiller’s participation in the film?

Jeff Sherman: Sure. Ben came into the film because my wife Wendy Liebman—who is a stand up comedian—is very good friends with Ben’s older sister, Amy Stiller. I showed her our 25-minute work-in-progress “pitch” version of the film. Amy said, “Oh my gosh! Has Ben seen this film?” She asked for a copy, along with a treatment for a full biographical feature. Within the hour, Ben Stiller called my house, which was pretty exciting. He said, “Jeff, I love this! I love the Sherman Brothers! They are part of my childhood; they are part of my life. My dad used to sing your grandfather Al’s songs! This is so much a part of my life. How can I help you guys make this movie?” Immediately, he and his business partner Stuart Kornfeld helped us a lot through the process. They were terrific.

Greg E:  What a lot of people may not realize is that Richard and Robert Sherman were the premier creators of almost every original film musical in the late 20th century [not based on previous scores or Broadway shows]. By the late ‘60s, neither Hollywood nor Europe were seldom turning out musicals with new scores anymore except for the Sherman movies.

Gregg Sherman:  [Film historian and TCM host] Robert Osborne makes mention of that in our film.

Robert and Richard sing "There's a Great Big Beautiful Tomorrow"
with Walt Disney for the 1964 New York World's Fair.

Jeff Sherman: Having worked on TV series and movies in the past, I looked at this project and thought, “How long could it really take? Nine months to a year?” Well, three and a half years later it was still going on! The actual interview process didn’t take that long, but it was time consuming to structure all the material. We had people like Jeff Kurtti with us—who is a longtime Disney historian—bringing in tons of material and it was wonderful. Gregg and I watched just about every movie we listened to all the songs. We filled a wall with index cards with notes on them and moved them around to create a chronology of the Sherman Brothers’ lives, on a career and personal basis.  Then we took the songs that they had written during those periods and matched them up. We started seeing a sort of pattern going on in their lives and their songs. The stories emerged from all of that.

Gregg Sherman: It is a real great testament to them that, if you watch the end credits of our film, we have 160 song titles listed that were heard on the soundtrack.  And that is just a fraction of it all. For every one song we would put in there were 10 that we would have wanted to include but there wasn’t room.

Greg E: They were also had tremendous range. They could turn from one their Winnie the Pooh “hums” to more sophisticated material, like what they wrote for The Slipper and the Rose.

Jeff Sherman: You are absolutely right about The Slipper and the Rose. It’s a really sophisticated, adult score. Their imagination and creativity was boundless. And if you look at [their future Broadway musical] Busker Alley, it is as mature and sophisticated a score as they had ever written. It’s really amazing how prolific these guys and how the quality never diminished even though their personal relationship was eroding over time. One of their best songs was one of their last ones, called “Teamwork” for the stage production of Chitty Chitty Bang Bang.  It is a fantastic song—as good as any song they wrote at Disney. It is just a testament to their ability to block out the personal differences, get in a room and let their imagination become boundless. 


Jeffrey Sherman, Dick Van Dyke and Gregg Sherman.

Greg E: Lately, with Dick Van Dyke appearing on talk shows, I’ve noticed how much enthusiastic talk there is about Chitty Chitty Bang Bang. Over the years, the movie has earned the reverence and classic status that it always deserved and didn’t initially receive.

Jeff Sherman: Well, it is an interesting film and as you go back and look, it holds up fairly well.  I think the stage musical made it a more cohesive story but I love the original film, too. The music is phenomenal. Actually when you go to England—where my dad lives, there in London—the Sherman Brothers are revered there and it is mostly for Chitty Chitty Bang Bang. They play it every Christmas.

Gregg Sherman: A poll that came out, I think a year or so ago, of the top ten family entertainment films of all time, and our dads have four of the top ten films. Number one is Chitty, above Mary Poppins, above The Aristocats, above Bedknobs and Broomsticks, which I think are the other three in the top ten. 

Greg E: The Boys also explains the parallel between Chitty’s Vulgaria storyline as a satire of Nazi Germany and of course, communicates the pain that Robert Sherman suffered as a result of his service in World War II.

Jeff Sherman: Barbara Broccoli [daughter of Chitty producer Albert R. Broccoli] talks about the Nazi connection in Chitty. When we were mapping the story for The Boys, we were trying to figure out how to tell the story of my dad’s deepest, darkest war experience. I have only heard him talk about it twice. The second time I heard him speak about it was on our film. Chitty also contains one of their most beautiful songs, “Hushabye Mountain,” Which takes you right out of your fears and your worries and it really goes to the heart of who my father is anyway. He was this sweet, kind of shy, innocent poet when he was a teenager, then he saw these really horrible things in the war. He could hardly bear it so he came out of it needing to make the world a better place, but he couldn’t do it all on his own.

"The boys" at the studio.

Greg E: There’s also a “who’s-who” of great songwriters on camera in The Boys, talking about the importance and quality of the Sherman songbook.

Jeff Sherman: Every songwriter that we talked to in this—Randy Newman, Kenny Loggins, Stephen Schwartz, John Williams, Sheldon Harnick and others—had mutual respect for the Sherman Brothers. They all wanted to be part of this and offer tributes. 

Greg E: There’s also a thought-provoking comment by Alan Menken about how one show business executive was in a meeting, being dismissive about the Sherman.

Jeff Sherman: I will tell you something, I love that this comment stayed in the film. A lot of people would look at a Disney-produced film about Disney songwriters and think it was “one kind of movie,” but we were allowed to do the movie we wanted to do and be honest about it. That comment from Alan is extremely honest and it is what happened.

Gregg Sherman:  It really reflects a kind of a dark period at the studio.  But as it turns out, this film is a testament to the current Disney regime and some of the one before. The offered great support behind this film, and to our Dads. They welcomed them back into the Disney fold.  They had them do movies and commemorated as Disney Legends—and now there’s the World of Color at Disney California Adventure, with their song starting if off. They have rolled out the red carpet for our dads in so many ways. They are so grateful. The love goes both ways and It is a terrific thing.  So I think that dark period is over. And as side note, recently Alan Menken got a star on Hollywood Walk of Fame and my dad was the one that presented it to him.  Because Alan wanted that.  My dad was extremely happy to do it.

Greg E: And they’ve won so many awards, justifiably, including the Presidential Medal of Freedom.

Jeffrey Sherman: You know, for the longest time he kept all of his awards—his Oscars, his certificates and everything up in his bathroom. He’s always been kind of humble and shy. But I mean, these things were in his bathroom! I would say to him “Why?” And he said, “The work speaks for itself, its not about the awards, its about the work.” My mother finally had a room built in the house so they could display the gold records and all. 


Greg E: Now that The Boys is on DVD for everyone to enjoy in their homes, it’s a great way for families and friends to get together and relive all the memories of those songs. Can you tell me about some of the bonus features?

Jeffrey Sherman: They are mostly the things we wanted to put in the film that just didn’t completely fit the premise.  There’s a whole section on their contribution to the theme parks. There’s another called “Why They Are ‘The Boys’?” about all the different people reflecting on how they got that name.

Gregg Sherman: In the bonus feature about casting Mary Poppins, our dads talk about how Julie Andrews came in to the project. Then we have one whole section called “Jukebox,” with different versions of their songs, some of which they sing, and even some with lyrics you may have never heard before. 


On the set of Mary Poppins.

Jeffrey Sherman: There is one very special one, from 1924, of Eddie Cantor singing one of our grandfather’s songs in one of the first ever recorded sound sync tests. We even put in some fun things like the Der Weinersnitzel commercial that our dads wrote. 

Greg E: When you’re not working on this project, what are your other pursuits?

Jeff Sherman: I’m a writer, producer, director and composer.  I worked on Boy Meets World as a producer and writer for four and a half years.  I did the Au Pair movies for ABC Family and Fox Family, stuff like that. I wrote a movies like Up The Creek and The Soldier. My passion is music, though, and sooner or later I am going to do something with that.

Gregg Sherman:  I also am a writer/producer and was a staff sitcom writer on a bunch of different shows, then went from that to game shows—one in particular was Win Ben Stein’s Money on Comedy Central. We won a bunch of Emmys for it. It was kind of fun. I have done features as a writer and as a producer and written some music as well.  So I have been a little all over the map. Yes, that is my career trajectory.

Greg E: It sounds like creativity runs in the family.

Jeffrey Sherman: Yes, it goes back several generations, back to deep, dark Russia.  There were violinists and musicians. Our grandfather, Al Sherman, taught me piano early on, so I have been playing pretty much my whole life. And we each have two sons—Gregg says we both have Sherman brothers in our families! My older son, Alex, is very gifted guitarist he picks up everything and he plays piano and drums and everything else.  My younger son. Ryan, who is a math science whiz, he is like a Mensa kid.  Over the summer he decided he wanted to teach himself “Moonlight Sonata.”  He plays it perfectly and now he has to get piano lessons. Also, my two sisters Laurie and Tracy were professional singers and sang in many of the Sherman Brothers sessions. 

Gregg Sherman: Yeah, I did too.

Jeff Sherman:  They wouldn’t let me, I would get asthma and they would kick me out!

Gregg Sherman: Music has been a common theme for all of us but I think the creative process has been alive and well in all of our family members. Our grandmother was a silent movie actress. My youngest is kind of a ham. He has a beautiful singing voice and he is in the choir. He is nine and definitely has filmmaking qualities about him.  He’s got a Mac book and makes all kinds of stuff. My older son is sixteen and he is a rap artist.  He has been signed and is really doing well.  He is an amazing lyricist—a gifted, gifted talented boy. So I think that creative spirit is alive and well in all our kids.

Greg E: And it still seems to be continuing with your dads, from Robert’s magnificent paintings to Richard’s latest music—the song from Iron Man 2. Do you think there will ever be a collaboration between both of them again?

Gregg Sherman: We don’t know. 

The boys are still "the boys."

Jeff Sherman: If I were to hold up the Magic Eight Ball, sources point to no but you never know.  We would never want to rule it out.

Gregg Sherman I think if the right assignment came along for them and they wanted to do it together, they would probably do it together.

 








WHAT ELSE CAN ONE SAY? FANTASIA ASTOUNDS!
Blog, Movies
Posted on Dec 08 2010 by Greg
Some of us can remember a time when it seemed unthinkable that a classic Disney animated feature would ever be broadcast on TV at all, and with the rare exceptions of Dumbo and Alice in Wonderland (which was edited), they were not broadcast for decades but only reissued to theaters.

When home video came along, again it seemed out of the question that Snow White, Sleeping Beauty -- and especially Fantasia -- would ever, ever be released on VHS tape. Now it's become a nostalgic memory to recall the fervor that arose when, one by one, they all did become part of many home libraries.

The release of Fantasia was always an event when I was growing up because Disney didn't release it nationwide with a big ad campaign. It just suddenly appeared every few years in theaters and each time, seeing it was like living through a multi-sensory experience. It's not like a movie, per se, but more of a journey.

When it was issued on VHS, it was a huge seller. Surely Walt Disney, who was apparently disappointed throughout his life that the public never embraced Fantasia the way he dreamed they would, might have felt some closure. It was the success of the VHS sales that helped Roy E. Disney convince Michael Eisner to green light what became Fantasia 2000.



This new multi-DVD/Blu-Ray package combines both films for the first time. If you didn't get the DVD last time, do not hesitate this time because it should be in every home. If you want to see and hear it as never before -- plus finally get a look at the fabled Disney/Dali collaboration, Destino, this may be the thing that tips the scales in favor of getting that Blu-Ray player for a holiday gift.

There is nothing like Walt Disney's Fantasia, including its countless imitators. You never run out of things to notice with each viewing. And thanks to the generous audio commentaries and supplemental materials, you can gain an even greater insight into what a mammoth enterprise Walt Disney had the tenacity to take on. It was produced during a period when his artists were at the peak of their form and right before the strike and the war changed things forever.

Some of my own little notes about the original Fantasia:
Ever notice how many characters are waking up and going to sleep? What's that big blocky thing going down the hallway in "Toccata and Fugue?" (Even Roy didn't know.) How many action, horror and sci-fi movie scores must have borrowed elements of "The Rite of Spring?" And was I the only person in the late '60s/early '70s who burst out laughing during "Dance of the Hours," not because of the funny hippos and ostriches, but because Allan Sherman used the tune for "Hello Muddah, Hello Fadduh?"

It's fitting that Fantasia 2000 is being reissued to the public after Waking Sleeping Beauty, in which we learned more detail about Roy E. Disney's pivotal role in turning the Disney corporate tides, and then seeing and hearing him as a major guiding force behind this film, which was very much a personal triumph for him.

The miracle is that such an ambitious project as Fantasia 2000 is excellent, too, combining reverence for the original film and its techniques with the newest innovations. How can you not admire the brilliant "Rhapsody in Blue," the hysterical flamingos, the lush and lovely "Firebird" sequence, and the rest?

The live-action 2000 "interstitials," though largely amusing to diffuse the stuffiness that one might have found in the 1940 Deems Taylor hosting duties, will probably date 60 years from now, too, with several of the celebrities being obscured by time and generations, but they are there merely for marquee value and are fine.

My only quibble is that Bette Midler seems a little too flip and dismissive of the early Fantasia sequences that were considered then dropped from the original. Nothing against Ms. M, but the approach comes across as if these lost concepts were all "losers," reducing these ideas to mere eye-rollers, like the one about "Salvador Dali and baseball." It kind of flies in the face of the years of effort Roy put into restoring Destino and to the countless artists whose work was deleted for reasons other than "dumbness." It's a cute segment, and she is charming as ever, but it just seems a little insensitive.

The new audio commentary by the always welcome historian Brian Sibley is, as expected, richly detailed with endless facts about every minute of the 1940 film, along with mini bios on the artists involved. Some of it overlaps with earlier commentary from other historians, particularly John Canemaker, but if you don't have a Blu-Ray, you only get the new one and not the two earlier ones.

The two earlier Fantasia commentaries are wonderful because they feature Roy, Canemaker and "2000" Conductor James Levine on one, and Canemaker again on the other one with none other than Walt Disney himself in various clips, plus spot-on readings of his notes by an astonishingly gifted voice actor, who also redubbed Deems Taylor when the restored footage was found to be missing a lot of original audio.

[Note to collectors: If you have the three-disc Fantasia Collection DVD set, you'll probably still want to keep it, though, because there are still a lot of extras, like all the concept art and background materials, that were included on the Fantasia Legacy disc that are not in the new package.

The most touching moment, for me, came when the audio commentary for "The Sorcerer's Apprentice" started, and there was  Roy talking with Mickey Mouse, performed in the vocal persona who we have had the pleasure of enjoying for the past several decades. This was the Mickey I have personally witnessed doing radio interviews at various Disney events, filled with good humor and crackling wit. What a wonderful treat and what a irreplaceable treasure to have now.

So what's the big deal with Destino? Well, it is a big deal because it was considered unfinished and never to be completed. With the help of John Hench, who worked with Walt and Dali originally, and again Roy's dogged determination, it was completed with the original soundtrack intact (it's a Latin pop love ballad, by the way, sung by Dora Luz, who sang "You Belong to My Heart" in The Three Caballeros. It is strange? Weird? Disturbing? Nutso? Oh yeah! But how cool! And what a miracle that this once-in-a-millennium collaboration survived and we can actually see it at home!

One last note : on the commentary for the interstitials for Fantasia 2000, producer Don Hahn talks about the design of this otherworldly concert hall, with its "sails" carrying images around the frames (and on the selection menus).

How appropriate that a film that is so much a result of the teaming of Roy E. Disney with great Disney artists, past and present, should have "sails," since sailing was his passion?

Along with Disney heritage and legacy, of course.









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