Flying Whales and Lovelorn Ducks Make Fantasia 2000 Even Better Than the Original

Back in May, my brother graduated from college. When I peeked out the door that morning to see how the weather was shaping up, storm clouds loomed ominously, making Pomp and Circumstance from Fantasia 2000 feel doubly appropriate for the day. Not only is the song instantly associated with graduations, but in Disney’s 38th animated feature, it serves as the backdrop to a quirky riff on the story of Noah’s Ark, and we seemed to be in for a similar soaker. I’m not sure what happened to those rainclouds; by the time we got to the ceremony, the weather was gorgeous. Still, I’ve had that Disney segment rolling around in my head ever since, so I was happy to rewatch Fantasia 2000 recently.

When Walt Disney first conceived of Fantasia, which became the company’s third animated feature film, he intended to revive it periodically, retaining some segments and inserting new ones. That concept died after the rather unconventional movie using animation as a means of exploring classical music failed to prove as popular as he’d hoped, but six decades later, a sequel finally hit theaters. All new material except for the iconic Sorcerer’s Apprentice, the movie also features introductions by several celebrities and glimpses of the Chicago Symphony Orchestra, which performed the music. Some of the presenters, particularly Steve Martin and magical act Penn and Teller, are comical, while others, like Quincy Jones and Angela Lansbury, give more serious introductions. Bette Midler’s is perhaps the most educational of the intros, while James Earl Jones’ thwarted dignity in his amuses me, as does Mickey Mouse’s panicked conversation with conductor James Levine.

As with the original, some segments stand out more than others, but each has a distinct style and tells a compelling story without the need for dialogue. The Sorcerer’s Apprentice remains just as engaging all these years later as Mickey, apprenticed to glowering wizard Yen Sid, seizes his chance to try on his boss’s magical hat and calamity, mostly involving multiplying, marching brooms carrying buckets of water, ensues. Exciting and entertaining with a built-in lesson on the dangers of meddling in complex matters without permission or assistance. Meanwhile, Pomp and Circumstance becomes a showcase for Donald and Daisy Duck as these two lovebirds sail on Noah’s Ark, each unaware that the other has survived the flood until they reunite at last once the boat strikes land. The familiarity of the song, the sweetness of their relationship and the humor involved with having so many different types of animals contained in one place makes this a standout segment, starting with the glorious animation of the Lion King-like summons that draws the creatures to the ark.

Carnival of the Animals does not have the diversity of animals one might expect from the name, but it is a delightful romp involving a serious, well-coordinated flock of flamingoes troubled by a prankster with a yoyo. One of the shortest and funniest segments, it shows the havoc a yoyo would wreak amidst a flock of these otherwise elegant birds. Instead of birds, butterflies and bats are the subject of the abstract short set to Beethoven’s Symphony No. 5. Colorful and stylized, it does not feature any distinct characters but weaves a joyful tale nonetheless. This first segment makes a nice match for the final segment, Stravinsky’s Firebird Suite, as they both involve the tug of war between light and dark, creation and destruction. In Firebird, a vile volcano sends magma rampaging through a tranquil wilderness as an elk and a gentle wood sprite watch in horror. This segment reminded me quite a bit of the forest fire portion of Bambi, and it is probably the darkest part of the movie, though the scenes of restoration are quite lovely.

Another harrowing tale is Hans Christian Andersen’s The Steadfast Tin Soldier, set to Shostakovich’s Piano Concerto No . 2 in F Major-I. I was familiar with this story as a child but always found it terribly depressing; Disney gives it a much more conventional happy ending. One of the most strictly narrative of the segments, it features a plucky toy soldier, a beautiful toy doll and a hideous jack-in-the-box that would give just about any kid nightmares. Gershwin’s Rhapsody in Blue has a bit of a down tone to it, filled as it is with hard-luck cases wandering the streets in economic despair; after all, this is the Depression. The characters have a very interesting look to them, all one flat color or another, a reflection of the cartoons of Al Hirschfeld, a contemporary of Gershwin. Despite the air of disappointment and agitation hanging over New York City throughout much of the segment, there is also life and excitement, which we largely see from the perspective of one zesty character who is entirely too confident in his ability not to fall off of scaffolding. Ultimately a very fun piece.

My hands-down favorite, however, is The Pines of Rome, composed by Ottorino Respighi. In this mystical short, a family of humpback whales traverses the arctic by air rather than sea – though they never venture far from the water until the gloriously animated finale. The little whale who hasn’t quite mastered the newly acquired gift of flight prompts some laughter with his clumsy movements, but generally this segment feels solemn, with a beauty that almost brings tears to the eyes, particularly when the family joins with the larger pod. The short begins in disaster, yet there is the sense that these majestic creatures are moving toward something greater. Truly epic.

I’m not exactly an aficionado when it comes to symphonic music. I think I’d only heard about half of these songs in other settings, and as much as I enjoy them in this context, I haven’t sought the others out elsewhere. Still, it wouldn’t surprise me at all if some of those for whom Fantasia 2000 serves as an introduction to this type of music ended up immersing themselves in classical music. A triumph of art and silent storytelling, this is also a movie that can serve as a powerful introduction to some of the most notable composers of the last few centuries. Here’s hoping it won’t take another 60 years to see the next one.

Bette Midler Turns Her Talents Toward Christmas With Cool Yule

I’ve enjoyed several movies featuring Bette Midler and am well aware of her musical talents, but I never sat down and listened to an entire album of hers before. Getting into Christmas mode inspired me to do just that when I discovered Cool Yule, which came out in 2006. While most of the tracks on the album are pretty peppy, it’s the slower songs that really showcase her vocal abilities.

Merry Christmas is a soft, cozy sort of song full of tinkling chimes, rippling harp notes and violins. It’s a very soothing way to start off the album, and it also makes it feel like she’s standing right there in the room as she sings, “Hang a wish from me / on your Christmas tree / for a very merry Christmastime.”

Cool Yule is a very jazzy, piano-driven song filled with lingo like “cat,” “dig” and “groovy”. A brassy interlude midway through adds to the fun of this throwback to Louis Armstrong. “He'll come a callin' when the snows the most / When all you cats are sleepin' warm as toast / And you're gonna flip when Old Saint Nick / Takes a lick on a peppermint stick.”

Have Yourself a Merry Little Christmas and I’ll Be Home for Christmas are separated by only one track, which is a medley. I think it would have made a lot of sense to put these two slow, wistful songs together as well. Both include the introductory portions that are often left out, which makes them sound even more complementary. I like the latter version a bit better because of the instrumentation, which includes some nice flute work reminiscent of birdsong. Both are pleasant, but I think I would’ve preferred them in one track.

Winter Wonderland / Let It Snow! Let It Snow! Let It Snow! includes a new introduction in which Bette melodically addresses Johnny Mathis, her singing partner for the track who she describes as “the King of Christmas.” The two songs, which are chipper reflections on winter rather than Christmas, go well together, as do the voices of the two singers. Piano and brass are prominent throughout this very upbeat number.

What Are You Doing New Year’s Eve? also includes an introduction I hadn’t heard before, though I’m not sure if it’s new to this album. This track is slow and smooth, with a jazzy feel to it accentuated by the piano and the steady percussion. This is a natural choice to bring out the seductive quality of Bette’s voice. I’ve never been a huge fan of the song, but her rendition is nice.

I’ve Got My Love to Keep Me Warm is another song with a romantic theme, this one with a much more confident speaker than the last, though Bette doesn’t sound so vulnerable on the last track as the lyrics might indicate. In any event, the two tracks go together well, except that this one is much peppier. It also includes a brief musical quote of Baby It’s Cold Outside, along with some fun finger-snapping.

O Come, O Come Emmanuel seems strangely out of place here, since it’s the first religious song on the album, and the only traditional one. But Bette sings it beautifully, while violins and guitars and eventually a choir add to the loveliness of the track. Bette adds a lot of grace notes to her version, which I sometimes find annoying, but I think it works well here.

Mele Kalikimaka begins with a couple of lines from a really annoying high-voiced chorus, but the main song, a faced-paced ukulele-driven number, is fun, and the male chorus isn’t nearly as grating as its female chorus. Kind of a goofy song, but I like it, especially since it always reminds me of LOST.

From a Distance (Christmas Version) begins with instrumental lines from The Little Drummer Boy and O Come All Ye Faithful before going into the main song, which features chimes and a variety of other delicate instruments, along with brief appearances by the Uillean Pipes and Irish whistle. The song goes on to quote from Silent Night, Angels We Have Heard on High and Joy to the World. A Christmas-ized version of one of her biggest hits, this lovely, heartening song is my favorite track on the album. “From a distance / There is harmony / Do you hear it echo through the land? / It's the song of joy / It's the song of peace / It's the heart of every man / In the season of / Universal love / This is the song of every man.”

White Christmas ends the album on a soft tone that makes a good bookend to the beginning, as it again feels like Bette is directly addressing the listener. It also fits very nicely with her liner notes, which feature silver snowflakes falling against a white backdrop.

Bette Midler is a wonderful vocalist. She may be a little too aware of that; the liner notes have an annoying self-congratulatory ring about them, and there’s something slightly sacrilegious-sounding about calling oneself “Divine” on a Christmas album. I’m sure she doesn’t mean it that way, though, and a few paragraphs down she comes across as humble as she dedicates the album to a dearly departed friend. I wish that she had done a few more sedate numbers like From a Distance, but all of the songs are excellently performed. Anyone who appreciates her style is bound to find a lot to love about Cool Yule.