Joshua Meador Movies

Although advertised as a "premiere," the first episode of Walt Disney's Wonderful World of Color was actually a continuation of the ABC anthology series that had run under the titles Disneyland and Walt Disney Presents since 1959. The major changes in the "new" version were twofold: Disney was now seen on NBC, and (of course) his program was broadcast in "living color" (and in fact was sponsored by RCA, foremost manufacturer of color TVs). Episode one opened in black-and-white, with Walt Disney discussing his plans for the future, then magically switched over to a full rainbow of hues. Further emphasizing the advantages of color over black-and-white, Disney compared his 1927 Mickey Mouse cartoon vehicle Plane Crazy with his earliest Technicolor effort, the 1932 "Silly Symphony" Flowers and Trees. Walt also introduced the viewers to his latest cartoon creation -- a brilliant, erudite Viennese duck named Ludwig Von Drake, who happened to be the uncle of good ol' Donald Duck (Professor Von Drake was not so brilliant as to disbelieve Donald's claims that Disney worked for him, instead of the other way around!). The remainder of the episode consists of the 1959 animated theatrical short subject Donald in Mathmagic Land, an entertainng foray into the world of numbers, angles, and shapes. ~ Hal Erickson, Rovi

The first portion of this Disneyland episode is essentially a trailer for the upcoming "True-Life Adventure" theatrical feature White Wilderness (here referred to by its working title, The Arctic Wilderness. The focus, both literally and figuratively, is on Herb and Lois Crisler, a husband-wife team of photographers who are dispatched to Alaska to film the migration of the caribou, the timber wolf, the Kodiak bear and other attractions. The remainder of the episode consists of the 1953 "True-Life Adventure" short subject Prowlers of the Everglades, said prowlers being alligators and other creepy-crawlies. ~ Hal Erickson, Rovi

This 1954 Disney version of Jules Verne's 20,000 Leagues Under the Sea represented the studio's costliest and most elaborate American-filmed effort to date. Kirk Douglas plays a trouble-shooting 19th century seaman, trying to discover why so many whaling ships have been disappearing of late. Teaming with scientist Paul Lukas and diver Peter Lorre, Douglas sets sail to investigate--and is promptly captured by the megalomaniac Captain Nemo (James Mason), who skippers a lavish, scientifically advanced submarine. The film's special effects, including a giant squid, were impressive enough in 1954 to win an Academy Award. ~ Hal Erickson, Rovi

This Disney feature-length cartoon combines the most entertaining elements of Lewis Carroll's Alice in Wonderland and Through the Looking Glass. Chasing after the White Rabbit, who runs into view singing "I'm Late! I'm Late!," Alice falls down the rabbit hole into the topsy-turvy alternate world of Wonderland. She grows and shrinks after following the instructions of a haughty caterpillar, attends a "Very Merry Unbirthday" party in the garden of the Mad Hatter and the March Hare, stands in awe as the Cheshire Cat spouts philosophy, listens in rapt attention as Tweedledum and Tweedledee relate the story of the Walrus and the Carpenter (a sequence usually cut when Alice is shown on TV), and closes out her day with a hectic croquet game at the home of the Red Queen. The music and production design of Alice in Wonderland is marvelous, but the film is too much of a good thing, much too frantic to do full honor to the whimsical Carroll original, and far too episodic to hang together as a unified feature film. One tactical error is having Alice weep at mid-point, declaring her wish to go home: This is Alice in Wonderland, Walt, not Wizard of Oz! Its storytelling shortcomings aside, Alice in Wonderland is superior family entertainment (never mind the efforts in the 1970s to palm off the picture as a psychedelic "head" film). ~ Hal Erickson, Rovi

In his first postwar animated feature, Walt Disney attempted to repeat the Fantasia formula, substituting "pop" music for the Classics. Make Mine Music consists of ten unrelated cartoon vignettes, each one featuring a popular recording artist. "A Rustic Ballad" is the story of the Martin-Coy hillbilly feud, narrated musically by the King's Men. "A Tone Poem" is an impressionistic interpretation of the song "Blue Bayou", sung by the Ken Darby chorus and rendered artistically by Disney's ace animators. "A Jazz Interlude", done in "sketchbook" style, is performed by Benny Goodman and His Orchestra, and features the jitterbug specialty "All the Cats Join In". Jerry Colonna is next on the program in "A Musical Recitation", offering his own inimitable version of "Casey at the Bat". "Ballad Ballet" features Ballet Russe stars Tatiana Riabouchinska and David Lichine, dancing to Dinah Shore's vocalization of "Two Silhouettes". "A Fairy Tale with Music" turns out to be Prokofiev's "Peter and the Wolf", narrated by Sterling Holloway. Next, Benny Goodman and company return with a surreal visualization of "After You've Gone", followed by "A Love Story", which features the Andrews Sisters' rendition of the ballad "Johnny Fedora and Alice Blue Bonnet." The hilarious "Opera Pathetique" finale finds Nelson Eddy narrating the story of Willy, "The Whale Who Wanted to Sing at the Met". Better in its individual components than its sum total, Make Mine Music was drubbed by critics, who felt that Disney had abandoned his "artistic" aspirations in favor of crass commercialism, but performed reasonably well at the box office, inspiring several more "omnibus" animated features. In later years, the ten individual segments would be released as separate short subjects, both theatrically and as episodes of Disney's various TV series (where the original narration was often supplanted by the unfunny interpolations of Professor Ludwig Von Drake). ~ Hal Erickson, Rovi

The very first Disney feature to include live-action footage, this behind-the-scenes documentary about the studio's animation process includes the cartoon short of the title, which in later years was often exhibited separately from this film. Robert Benchley stars as himself, a visitor to the Disney lot, where he intends to pitch an animated version of the children's fairy tale The Reluctant Dragon by Kenneth Grahame to Walt Disney himself. Benchley wanders away from his studio-appointed guide and tours the facilities himself, where he sees various new cartoons in the process of being storyboarded, including a Baby Weems short. Benchley also meets Clarence Nash, the voice of Donald Duck, and a young animator (played by Alan Ladd) before being corralled to Disney's screening room, where he is shown the company's new short, none other than The Reluctant Dragon. ~ Karl Williams, Rovi

Fantasia, Walt Disney's animated masterpiece of the 1940s, grew from a short-subject cartoon picturization of the Paul Dukas musical piece The Sorcerer's Apprentice. Mickey Mouse was starred in this eight-minute effort, while the orchestra was under the direction of Leopold Stokowski. Disney and Stokowski eventually decided that the notion of marrying classical music with animation was too good to confine to a mere short subject; thus the notion was expanded into a two-hour feature, incorporating seven musical selections and a bridging narration by music critic Deems Taylor. The first piece, Bach's "Toccata and Fugue in D Minor", was used to underscore a series of abstract images. The next selection, Tschiakovsky's "Nutcracker Suite", is performed by dancing wood-sprites, mushrooms, flowers, goldfish, thistles, milkweeds and frost fairies. The Mickey Mouse version of "Sorcerer's Apprentice" is next, followed by Stravinsky's "Rite of Spring", which serves as leitmotif for the story of the creation of the world, replete with dinosaurs and volcanoes. After a brief jam session involving the live-action musicians comes Beethoven's "Pastorale Symphony", enacted against a Greek-mythology tapestry by centaurs, unicorns, cupids and a besotted Bacchus. Ponchielli's "Dance of the Hours" is performed by a Corps de Ballet consisting of hippos, ostriches and alligators. The program comes to a conclusion with a fearsome visualization of Mussorgsky's "Night on Bald Mountain", dominated by the black god Tchernobog (referred to in the pencil tests as "Yensid", which is guess-what spelled backwards); this study of the "sacred and profane" segues into a reverent rendition of Schubert's "Ave Maria". Originally, Debussy's "Clair de Lune" was part of the film, but was cut from the final release print; also cut, due to budgetary considerations, was Disney's intention of issuing an annual "update" of Fantasia with new musical highlights and animated sequences. A box-office disappointment upon its first release (due partly to Disney's notion of releasing the film in an early stereophonic-sound process which few theatres could accommodate), Fantasia eventually recouped its cost in its many reissues. For one of the return engagements, the film was retitled Fantasia Will Amaze-ya, while the 1963 reissue saw the film "squashed" to conform with the Cinemascope aspect ratio. Other re-releases pruned the picture from 120 to 88 minutes, and in 1983, Disney redistributed the film with newly orchestrated music and Tim Matheson replacing Deems Taylor as narrator. Once and for all, a restored Fantasia was made available to filmgoers in 1990. A sequel, Fantasia 2000, was released in theaters in 1999. ~ Hal Erickson, Rovi