The Disney Film Archives (A Shifted Disney Canon)

[The British President]

Chapter Forty-Seven The Ant and the Grasshopper (1973)

(Ken Anderson: The Film's Director)
​

The Ant and the Grasshopper began its life with a simple concept. What if bugs could talk? This may seem like a common Disney theme now, from The Lion King to cars. Disney is known to give voices to things that can’t speak. The Ant and the Grasshopper was not the first to do this. The toy story was but The Ant and the Grasshopper made it more common than it was before. This also happened to be Ron Miller's first animated film. His rise to the top would begin at a time when Disney was starting to suffer, leading many to unrightly blame him. The Ant and the Grasshopper was an important movie for the future of the studio. The storyline for the project originated from a lunchtime conversation between Don Iwerks, Elias Disney Jr, Frank Thomas and Ken Anderson. Other films such as One Hundred and One Dalmatians, The Rescuers Down Under and Cars were also conceived at this lunch.

It was unknown what plot the film would follow. Some suggested that it should be centred around a pacifist ant living in a militaristic colony, but this idea never fully materialized. Instead, the studio chose to do what they did best and adapt an existing property. This idea to continue adapting existing properties was one Disney did well, but by now they had become too comfortable. This time around, the studio settled on adapting The Ant and the Grasshopper (one of Aesop's Fables). Debates over the tale's ending, however, were heated. With the older production staff believing the ending should be kept well intact, the younger staff believed it should be changed. In the end, the younger staff won out.

Ken Anderson took on the role of directing. Anderson found himself working well alongside executive producer Ron Miller, with him noting before his death in 1993 that Miller was both warm and friendly, one of the nicest of the new generation. The film was also the start of Victoria Disney, the granddaughter of Walt Disney and the daughter of Arthur Disney. It is today known that the Disney company is a very family-based business with the Disney, Iwerks and Ashman families being the largest names in the company. The film was also the first Disney film to use an early primitive version of computer-generated imagery, though its usage was very limited. The voice cast included George Disney, Roddy McDowall, Andy Devine, Terry-Thomas, Carole Shelley and Caroline DiMaggio-Monroe.
Many feared that the division between the staff would cause the film to suffer the same fate as Toy Story 4. Rumours the movie was to be a musical have never been confirmed, though some have speculated it was a possibility. The film's score was composed and conducted by Randy Newman. It was the first time Newman composed a Disney film. The Sherman brothers were considered, but in the silver age, the studio began to move away from the brothers. The reasoning behind this was never explained but their final movie score would come just about a year before the dark ages fully settled in.

A few days before the world premiere, the film was screened at Camp David alongside President Rockefeller and his wife, Happy Rockefeller. A day after the screening, the crew visited the Oval Office in the White House. The film’s premiere was held on November 6, 1973, at the El Capitan Theatre in Los Angeles before opening nationwide on November 8. The film was not a failure nor was it a success, with one critic stating, Even at its best, The Ant and the Grasshopper is only mildly diverting. It broke even at the box office but was not a massive success. The film outdid Toy Story 4 but fell short of past animated films. The Silver Era, the shortest of the Disney Era, was already fading and before things got better for Disney. They would get much worse.

 

[The British President]

Chapter Forty-Eight: Disney-Fleischer Studios (1974)

(The Hollywood Tower Hotel aka The Tower Of Terror)
​

Disney-Fleischer Studios is a theme park at the Disney World Resort in Bay Lake, Florida, near Orlando. It is the fifth Disney Park to be built and the third one to be built in the Disney World resort. The park is dedicated to the Golden Age of Hollywood and show business. The Park began life as an active operating studio, with active film and television production services, an animation facility branch, and a functioning backlot. Construction on the combined park and studio began in 1970. To increase the variety of film representation within the park, Disney entered into an agreement with Fleischer Studios. Fleischer agreed to the deal in order to help compete against the Warner Brothers/s Universal Agreement. The Deal is still in place to this day. The park's production facilities were removed throughout the 2000s, and many of the park's soundstages were retrofitted for newer attractions and guest use.

The Park was built around the same time Universal Park was constructed, with some suggesting Walt had the park built in order to compete with Universal, though this was never confirmed. What the park did do was make the bond between Fleischer and Disney stronger. Despite them being foes in animation, Max and Walt were close friends, hence the deal. Fleischer had considered building their own park but instead chose to go with Disney. The park's main icon is the Earffel Tower, a faux water tower topped with Mickey Mouse ears, though the Chinese Theatre also serves as the visual centrepiece of the park. The Park has three hotels near Disney's Art of Animation Resort, Disney's Pop Century Resort and Disney's Mediterranean Resort. Disney-Fleischer Studios is divided into eight themed areas inspired by them, which include: Hollywood Boulevard, Echo Lake, Grand Avenue, Muppet Studios, Toon Lagoon, Animation Courtyard and Sunset Boulevard.

Hollywood Boulevard: Hollywood Boulevard is the main street of the park. This area is inspired by the real street of the same name in Los Angeles. Like the main streets of other parks, it’s lined with themed streetscape facades and venues selling Disney merchandise and park services. At the far end of Hollywood Boulevard stands an exact replica of Grauman's Chinese Theatre. Attractions in this Area include the Great Movie Ride, Boulevard Theatre, Hollywood Glamor Hairdressers, the Camara shop and Story Book Shop.

Echo Lake: Echo Lake is inspired by Echo Park in Los Angeles. Echo Lake has Art Deco-inspired architecture with sleek lines, bold geometric patterns, and elegant detailing. The area's central feature is a lake surrounded by palm trees and gardens. Attractions include Hollywood Gondoliers, Silver Screen Cinema, Captain America and Superman’s Epic Stunt Spectacular!, Vintage Hollywood Carousel and The Rescuers Sky Soar.

Grand Avenue: Grand Avenue attempts to capture the essence of a quaint urban district. The architecture is reminiscent of historic American neighbourhoods. Cobblestone streets, classical facades, and ornate lampposts adorn this part of the park. The Area is somewhat themed around Grand Avenue in Los Angeles. Attractions include Studio Backlot Tour, The Monster Sound Show and Gallery of the Stars.

Muppet Studios: Muppet Studios is the area of the park dedicated entirely to the muppets. Muppet Studios features a blend of colorful facades, oversized props, and interactive elements that seeks to reflect the Muppets' irreverent charm. The architecture is characterized by wacky designs, whimsical structures, and vibrant storefronts. Attractions include Muppet*Vision 3D, The Great Muppet Movie Ride, Great Gonzo's Daredevil Flight and Kermit's Backlot Tour.

Toon Lagoon: Toon Lagoon is heavily inspired by Fleischer studio movies from the 1930s and 40s. The architecture is a blend of exaggerated shapes, vibrant colors, and playful designs that replicate the look and feel of classic animated cartoons. This also includes crooked buildings with slanted windows and towering props that seem to defy gravity. Attractions include Popeye and Bluto's Bilge-Rat Barges, Betty Boop’s Wild Adventure, Saturday Morning Cartoon Theatre and Gulliver's Ripsaw Falls.

Animation Courtyard: Animation Courtyard features a blend of architectural styles inspired by classic animation studios and theaters. The facades are adorned with intricate details, showcasing the evolution of animation through the years. Banners, character sculptures, and courtyards are dominant in this land in an effort to create Nostalgia. The area is less themed around big attractions and more about the history of animation. To this end, attractions include Animation Academy, The Animation Story, Sorcerer's Workshop and Animation Courtyard Theatre.

Sunset Boulevard: Sunset Boulevard is inspired by the real street of the same name in LA. Well, the rest of the park is a blend of the 30s and 40s. Sunset Boulevard veers into the late 1940s and early 1950s. The streets are lined with palm trees, vintage lampposts, and stars with the names of Disney and Fleischer icons. Attractions include The Twilight Zone, Tower of Terror, Hollywood Star Tours, Rock 'n' Roller Coaster and Lights, Motors, Action! Extreme Stunt Show.

 

[TheFaultsofAlts]

This is my new favorite theme park as of now.

 

[The British President]

Out of all the ones i have written about so far i have to agree.
My biggest disappointment with OTL Disney is the parks seem to have lost all that makes them stand out. Hollywood studios has star wars and toy story land now both of which should have been their own parks. EPCOT has slowly had brands shoved into it.

 

[MrCarioca]

Chapter Forty-Seven The Ant and the Grasshopper (1973)

I'm assuming this is TTL's A Bug's Life.

 

[MrCarioca]

Also who takes Jiminy Cricket's place ITTL?

 

[The British President]

I'm assuming this is TTL's A Bug's Life.

It is yes

Also who takes Jiminy Cricket's place ITTL?

This i don't currently know. But i will think about it.

 

[The British President]

Coming up
1974: We bid farewell to A Disney family member and farewell to rock
1975: Find a wife before you lose your job
1976: Eroupa (This is not a film)
1977: A Recent film
1977: Dog Days are here
1977: Things May Get Cheesy with the Mouse (This is also not a film)

 

[The British President]

Chapter Forty-Nine: Camp Rock 2: The Final Jam (1974)

(Composer Paul Williams)​

When The Beatles arrived in America in early 1964, it ushered in a period of dominance for rock music. Now, ten years later, rock was slowly but surely, dying. By 1960, Buddy Holly had switched focus to action, Elvis’s drifting away from rock, the retirement of Little Richard to become a preacher, the prosecutions of Jerry Lee Lewis and Chuck Berry and the breaking of the payola for bribery and corruption gave a sense that the rock and roll era established at that point was coming to an end. The world in which Camp Rock had come out of was very much no longer a thing.

The decline of rock and the rise of disco as well as pop music happened as the world shifted itself. Times were rapidly changing. For Disney, a company that ironically was going through so many chances, the time was effect to tell a second and final chapter in the Camp Rock series. To go back to the camp in an era when rock was now in decline instead of its early infancy. The first camp rock was released all the way back in 1956, but now in the 1970s, a long-speculated sequel was about to come into existence. Adolph Green and Betty Comden, who had written the first film, agreed to return for the second, as well as Buddy Holly and Debbie Reynolds will all be in reduced roles this time around. Canadian director Norman Jewison was hired to direct the film as well. The one thing the film is famous for is that it’s small cameos from big rock stars, which include the likes of Elvis, Little Richard and John Lennon.

The film’s plot centres on Jamie (played by John Travolta), a talented young guitarist with dreams of becoming a rock star. He arrives at Camp Harmony with his guitar, ready to immerse himself in the music that has fueled his passions. However, he quickly realizes that the camp's traditions are threatened by changing musical tastes. The emergence of disco casts a shadow over the once-cherished rock and roll. Jamie befriends Sarah (played by Cyndi Lauper), a singer-songwriter who is also apprehensive about the changes. Together, they embark on a journey to preserve the spirit of rock within the camp. With the help of their fellow campers, they seek to organize a concert, aiming to reignite their love for rock and roll.

The film seemed like it would do well at the box office with Paul Williams taking on the score. Yet the film was going up against some big hitters that year and, like the first film, would struggle to find footing at the box office. The film has a cult following, quite a large one with a divide existing over which film was better. Yet all of this would soon be overshadowed by death. Just one month after the film’s release, the retired Roy O. Disney tragically passed away at the age of 81. Roy had been by Walt’s side since the very start. Together they had built the company up from the ground with others like Ub. Roy’s passing signalled the end of an era. The family would endure, but Walt would never be the same after the loss of his brother and closest friend.

It’s not hard to make decisions when you know what your values are.
Roy O. Disney​

 

[The British President]

Chapter Fifty: The Santa Clause 2 (1975)

(Ed Asner as Scot/Santa)
​

1975 Was A Dark Year for America. The Vietnam War ended as Communist forces took Saigon and South Vietnam surrendered unconditionally. President Rockafeller is assassinated in California, thrusting Robert Finch into high office. George Wallace’s political career peaked before he was assassinated in Florida. Things were not so much better in Hollywood. Universal faced strikes, Fleischer Studios faced fire and Disney faced declining profits. It seemed to everyone at the time that the world was going down the toilet and fast. There was not much Disney could do to stop that, but they could try as hard as possible to make a film that would do well again.

In came Santa Clause 2. In July 1969 (one year after the release of the first film), it was announced Disney intended to move forward with a sequel to The Santa Clause with the story to be written once again by Fred F. Finklehoffe and Norman Panama. It was believed and hoped that a consistent writing staff between the two films could help the film stand tall as the first film had. There was also hope in the Disney studio that simply giving the people a Christmas film could raise their hopes enough to make the film a success. George Seaton, who had directed the first film as well as proposed the film to Disney also agreed to return although this time, he was ceded more creative control. The film was once again to be a musical with songs penned by Johnny Green. Songs this time around include It's Christmas Time Again, A Gift from the Heart, Charlie's Wish and Jingle Bell Ball.

The Plot follows Scott Calvin five years after taking on the mantle of Santa Claus. Head Elf Bernard informs Scott that there is another clause — the "Mrs. Clause". Scott is now pressed to get married before the next Christmas Eve or the clause will be broken and he will stop being Santa forever. At the same time, Abby the Elf delivers even more distressing news: Scott's teenage son, Charlie, is on the naughty list, due to having vandalized his school to get attention. Scott must return to his home to search for a wife and set things right with Charlie. The Entire cast from the first film returned for the second one with Marylin Monroe joining as Principal Carol Newman.

Did the film succeed in turning a box office profit? Well, it did, as the film earned more than the first film, but critics were not kind to the film. It was labelled mediocre, with the songs considered inferior to the first film. Many pointed out that the film felt the same, long and at times boring. Despite this absolute slaying by critics, Disney was happy to make a profit again, as by this point the theme parks and comics seemed to be doing better. The success of the film was enough to for the studio to greenlight a third and final film in the Santa Clause Trilogy.

 

[The British President]

Chapter Fifty-One Disney Europa (1976)

(The Park's Castle)​

Disneyland Europa, also known as Disneyland Park, is a theme park found at The Disney Resort in the United Kingdom, outside of Leeds. The Park is the fifth park overall and the second Disney Park built overseas. Around the same time the park in Japan was under consideration, Elias Disney Jr. began looking at Europe for another park for Disney. Seventy-three-year-old Walt Disney agreed with his son’s plans as he had visited Europe in the past. Together the pair visited sites in West Germany, France, Spain, England and Italy. Out of a list of approximately 1,200 possible European locations for the park, it was narrowed down to 200. In the end, England was chosen as the British Government offered incentives to Disney in order for them to build the park inside the country.

Leeds was chosen as the city had lots of land outside the city that could be used in order to build the park. This did anger a lot of farmers and people who lived there as they had their land bought up by the government, though the Labour Government argued it would be good for the country in the long run. Around the same time, Disney entered talks with the BBC. These talks were long, but in the end, an agreement was made. Well, the park would not carry the BBC in the name, properties were licensed out which would lead to the foundation of Britannia Land, an area of the park. The project took longer as modifications were made to the park's concepts and designs in order to make things more distinct and not be a mere copy of the original. Modifications to the park were made to protect guests against the English climate. Covered walkways were added as well as the installation of 35 fireplaces in hotels and restaurants. The park has three hotels nearby, which include Disney Highland Resort, Disney Steampunk Wonderland Hotel and Disney Mystical Moors Retreat. Inside the Park itself, there are five lands, these are Main Street Market, Steampunk Land, Britannia Land, The Highlands and Fairy Tale Gardens.

Main Street Market: This street is themed slightly differently from the others. The decor is a mix of themes around an English market town in the Industrial Era with influences from the flapper and ragtime eras of the 1920s. Instead of an emphasis on baseball culture, there are more references to football. Instead of horse-drawn trolleys and Victorian vehicles, trams, to fit with the 1920s theme, were implemented into this part of the park. The Area is heavily undercover because of British Weather. Attractions include The Yorkshire Story, Disneyland Railroad, Market Trams, Boardwalk Adventure Time and The Dapper Dan Show.

Steampunk Land: Steampunk Land combines London with Victorian-era aesthetics with imaginative steam-powered technology. Iconic city buildings and landmarks were built on a smaller scale but were built with elements of science fiction and fantasy in mind. The land's architecture is a fusion of Victorian grandeur and retro-futuristic designs. This includes ornate ironwork, brass details, and gear incorporated into everything from lampposts to buildings. Attractions include Airship Expedition, Clockwork Coaster, Inventor's Workshop and Steam Engine Theatre.



Britannia Land: Britannia Land is themed around the different areas of English history, with Disney working with the BBC to build this portion of the park. The architecture of Britannia Land is a blend of iconic British styles, reflecting different eras and regions. Efforts were made to make it feel like guests were stepping into a living museum of British history and culture. Streets are lined with Victorian facades, Tudor-style cottages, Georgian townhouses, and some futuristic elements inspired by sci-fi series. The land’s centre piece is a smaller re-creation of Big Ben. Attractions include Wallace & Gromit's Whimsical Workshop, British Isles Carousel, Doctor Who: Time Trek, Top Gear Test Track and BBC Earth Exploration.

The Highlands: The Highlands was the park’s biggest expansion to date and was Disney’s effort to introduce Scottish culture to the park. The Highlands draws inspiration from traditional Scottish designs, featuring elements such as rugged stone walls and thatched-roof cottages. The land is set against a backdrop of rolling hills, misty mountains, and sparkling lochs. Disney worked with Scottish designers in building this portion of the park. Attractions Include: Brave: The Adventure Continues, Loch Ness Expedition, Legend of the Celts and Highland Adventure Coaster.

Fairy Tale Gardens: Disneyland Eroupa is the only Magic Kingdom-style Disney Park not to contain a fantasyland inside it. Instead, it has the fairy tale gardens which serve the same purpose. The architecture of Fairytale Gardens is very different from fantasy lands across the world. It is a blend of cottages and fantastical structures inspired by classic fairy tales with large flower gardens placed around the land. Vibrant colours, intricate details, and enchanting decorations seek to transport guests into a world of make-believe. Attractions include Cinderella's Carriage Coaster, Jasmine's Magic Carpet Flight, Princess Quest, Rapunzel's Tower Climb and Snow White's Enchanted Forest.

 

[The British President]

Transparency Update: One Update a day is the current goal, though some days I may get a desire to do more (tomorrow you will get 2 because I really want to write one of the chapters). Been thinking a lot about this concept as well and came to two conclusions. 1: We could expand this format and create separate universes or 2: Use this as a foundation for a larger shuffled Hollywood. tomorrow is a film I have never seen so that will be interesting and then we finally get cheesy with the mouse. Once we hit the 1980s, things will diversify beyond just theme parks and movies but you will see what I mean by that in the coming days.

 

[The British President]

Chapter Fifty-Two: Quest for the Last Dragon (1977)

(Concept Art for the main character)
​

Disney’s dark age was here. Quest for the Last Dragon was the Bridge film, which came after would plunge the studio deep into a spiral it would take time to recover from. For all intents and purposes, Quest for the Last Dragon should have been a hit. That’s what some predicted when production was announced. Disney was about to be big and bold again. This was not a bad prediction. In October 1975, Hollywood Insider reported Disney was developing a fantasy animated film produced by Ron Miller from a screenplay by Vance Gerry, with directorial duties being taken on by Ted Berman and Richard Rich. It was reportedly a strong team with the rising Miller putting his all in into the film in a bid to make it a success.

Yet by now, a divide had formed in the studio. One that many higher-ups did not yet see. The older staff and the younger staff have become bitterly divided over recent years. Why is not fully known, but many suspect that the older generation did not believe the younger generation knew what they were doing. It was this divide that was causing intense issues as people working on the film all had different visions. Miller did his hardest to rein in the crew, but some believed he had married a Disney member to get the job. Although this is not true, it is an accusation that persists. One that caused certain members of the studio to look down upon Miller. Looking in from the outside, you would maybe consider this schoolyard behaviour.

The Plot is set in the mystical land of Eldoria, where magic and wonder once thrived. Darkness has spread, threatening to extinguish all traces of enchantment. In a small village, a determined and spirited young girl named Lila (played by Susan Sheridan) dreams of restoring the magic to her world. Guided by ancient tales of a legendary last dragon who holds the key to saving Eldoria, Lila embarks on an epic quest. Along the way, she forms an unlikely companionship with Flynn (played by Nigel Hawthorne), a mischievous forest sprite who becomes her loyal sidekick. Together, they navigate enchanted forests, cross treacherous mountains, and unravel riddles from the past. As Lila and Flynn's bond strengthens, they encounter the Guardians of Eldoria, ancient beings who have protected the land's magic for centuries. The Guardians reveal that the last dragon, Eldrion (voiced by John Hurt), is not only the source of magic but also the key to reuniting the shattered elements of Eldoria. To find Eldrion, Lila must first discover the truth within herself and embrace her destiny as the "Dragon Seeker.

To many, this plot was the grand fantasy epic that would propel Disney animation back into the limelight. Only Elias Disney JR voiced worry that the divide was causing the film to become disjointed. By that point, it was too late. Upon release, Quest for the Last Dragon stalled at the box office, with some likening it to a plane crash. It was the worst-earning film for Disney since the 1940s, barely scraping by the box office income of some of Disney’s racist films. Many pointed out that the tone of the film was all over the place, the plot felt disjointed, plot points came and went and the conclusion was anti-climactic. This was the final straw for one man. A seventy-six-year-old Walt was not going to sit by and watch as his animation department was torn asunder. Without his brother to stop him and with his children so busy. Walt stepped in to oversee the next two animated films. Something that would have disastrous consequences for a man with ailing health. The Dark Ages were about to deal the worst blow to the studio.

 

[The British President]

Chapter Fifty-Three: Mickey's Playland (1977)

(Two of the Orignal Animatronics)
​

Nolan Bushnell was well-known at the studio by 1977. He was considered one of the top-tier imagineers. His experience at an amusement park (including work at Nara Disneyland and Disney Eroupa) plus his love for Disney parks had given Bushnell an idea. An idea that he shared with only one other, Ted Dabney. In fact, during the pairs' time off, they took trips around the local area to brainstorm ideas and scout out other places. It was something that would have been kept for the pair, but a chance meeting in the studio with Walt Disney himself gave Bushnell the chance. Nobody quite knows truly what happened but it’s believed that Walt saw something of himself in Bushnell. Whatever the case was, Walt invited Bushnell for more talks.

Whatever happened, shortly thereafter, Mickey's Playland was established with Bushnell as its head. With the full force of Disney behind him, the studio began construction on the first-ever Mickey's Playland. When asked exactly what Mickey's Playland was in an interview in mid-1977, Walt suggested that it was to be a mini-Disneyland, to spread joy to all beyond the parks. The first Mickey's Playland opened in San Jose, California, in 1977. Walt was in attendance alongside, Bushnell, Elias Disney JR and recently promoted head of animation, Ron W. Miller. The first location was more primitive than what the other locations would be, but nonetheless, it was to be a success. By the end of December 1979, there were seven locations, six in California and one in Nevada. Disney was making a profit from the restaurants and the theme parks at a time when other things struggled.

Over the years, Mickey's Playland has continued to expand, slowly spreading into every state under the watchful eye of Bushnell, who continued to serve as the head of Mickey’s Playland until he left to work on another project for Disney. Disney-Atari Inc. in the 1980s. The expansion continued at an even faster pace as Disney settled after the death of Walt. In 1981, the restaurant debuted in Australia, followed by one restaurant in Hong Kong and Singapore in 1982. Two locations in Puerto Rico were opened in 1983. France was next in 1984 followed by four locations in England. Chile. Israel, Japan, and the Philippines all had versions of Mickey's Playland open in the 1990s. Further expansion has since followed with locations in Saudi Arabia, United Arab Emirates, Jordan, Bahrain, Qatar, Mexico, Canada, Egypt, the Soviet Union, Sweden, Jamaica, Romania and Spain. You may be reading this and be wondering what exactly Mickey’s Playland.

Mickey’s Playland, like the park, features different themed zones, each inspired by iconic Disney Characters. These are normally the sensational seven as of 2023 (these are: Mickey Mouse, Minnie Mouse, Donald Duck, Daisy Duck, Goofy, Pluto, And Oswald). One of the primary draws has always been its video arcade offering inside restaurants. Within the arcade, guests can play coin-operated video games or redemption games. The Arcade games are often a mix of classic Disney video games such as Mickey Mouse or more modern arcade games. Another draw for the centres since their beginning has been the animatronics which once again, are often the sensational seven, though Simba has made it into some locations. The shows are unique to the restaurants and videoing is not allowed. Each restaurant is filled with references to past Disney icons or films. To many, their childhood would not be the same without Mickey’s Playland.

 

[PGSBHurricane]

Do I take it that Disney and Fleischer merge here? Or is it just an alliance?

 

[The British President]

Do I take it that Disney and Fleischer merge here? Or is it just an alliance?

No Merger, think of it as how
Disney worked with MGM OTL or
How Universal still have deals to have things like the wizarding world

 

[The British President]

Chapter Fifty-Four: One Hundred and One Dalmatians (1977)

(Concept Art)
​

For better or for worse, Walt Disney threw himself back at the animation department in hopes of reviving it. By his side was the head of animation Ron Miller, a man Disney had come to trust. Walt had not fully worked on an animated film for years; other projects had kept him away. Elias Disney Jr., who had also worked in the animation department, was starting to take more of a role in the overall running of the company instead of the animation department. Yet Elias Disney Jr. would briefly leave the studio when he learned Ron Miller did not. He would not any of the other Disney children be in line to take over fully from Walt after his death. Why this choice was made was unknown, but with it, the control of the entire Disney company would fall out of the Disney family, all be it only for a short few years.

Disney wanted to take the studio back to the golden age, to the film he and others, like UB, had once made. He turned to a project that had been on and off for years and fast-tracked its development. In 1956, the children's novel The Hundred and One Dalmatians by Dodie Smith was published. In February 1957, Smith's friend, Charles Brackett, brought it to the attention of Walt Disney, who saw the book's potential for an animated feature and, after several months of negotiations, obtained the rights for $25,000. Then nothing. For 20 years the film languished in development hell till now. Dodie Smith, who had written the book, was older now but still very alive, went directly to her and hired her to write the script alongside Burny Mattinson. Disney, wanting older talent to work on the film, turned to Wolfgang Reitherman. Reitherman had retired back in 1971 but, after talks with Disney, returned one last time.

Talks about closing down the animation department at the Disney studio were ripe during the production, some speculated that Walt was impressed with other departments and was close to killing the animation department. Walt disliked the artistic look of recent films and feared they were losing the fantasy element of animated films. Because of this, 101 and Dalmatian’s is a rare film in this era as it’s the one that most looks like a film from the 1950s. As for casting, Disney left that to the casting department. Their success in live-action films meant he trusted them explicitly. The cast included: Bob Newhart as Pongo, Joe Flynn as Jasper Baddun, Betty Lou Gerson as Cruella de Vil, Angela Lansbury as Nanny, George Disney as Roger Radcliffe, Eva Gabor as Perdita, George Lindsey as Sergeant Tibbs, Jim Jordan as Horace Baddun and Jeanette Nolan as Anita Radcliffe.

The film was extremely important for the future of Disney, but not for the reasons you would expect. The era of the Sherman brothers was coming to a close, though they would have one last film. Alan Menken and playwright Howard Ashman were scouted as new talent for the film. Together they would write the score. Little did Walt know what he was setting up for the future, but more on that later. 101 and Dalmatians was successful upon its original theatrical release, earning worldwide gross rentals of $48 million at the box office. During its initial release in France, it out-grossed Star Wars (1977), receiving admissions of $7.2 million. Walt was pleased his return had the effect he wanted, even if the critics went after the film, though calling it outdated and boring. Today, 101 and Dalmatian’s is recovered well even if some of the criticism remains in effect.

​

 

[MrCarioca]

Well that's good for Disney, seems like the Ashman-Menken duo make their debuts here.

I wonder what'll happen in 1981.

 

[The British President]

Chapter Fifty-Five: Fantasia (1981)

(Micky Mouse as The sorcerer's apprentice)
​

The end of an era had arrived. The final animated picture Walt would work on. It’s fitting then that his final film was to be one he had wanted to make for years. An older Walt Disney felt that Mickey Mouse needed a boost in popularity. The belief was he was being outshone by the likes of Donald and Oswald. To combat this, he decided to feature the mouse in The Sorcerer's Apprentice, a deluxe cartoon short based on the 1797 poem written by Johann Wolfgang von Goethe and the 1950s film. Short cartoons at this time were now solely a TV thing. Disney considered using a well-known conductor to record the music for added prestige. Disney, now a large media empire, had no trouble in securing just that, as Riccardo Muti, the principal guest conductor of the Philadelphia Orchestra in the 1970s, was hired. So, it seemed that the project was to remain just a short for TV.

Disney, however, after talks with his son George, Disney and Ron Miller decided to upgrade the short to a film. It was around this time the Sherman brothers returned for their last outing on a Disney project. They would both work closely with Riccardo Muti. Despite what people believe, the old Walt Disney did not contribute much to the project, though he oversaw its production. That task instead fell to directors Ted Berman and Richard Rich. The film was to be a concert of sorts music with shorts paired up with classical musicals to tell short stories. The selection of music took time and nearly made the film miss its release date. In the end, the studio chose:

The Firebird by Igor Stravinsky
The Nutcracker Suite by Pyotr Ilyich Tchaikovsky.
The Sorcerer's Apprentice by Paul Dukas.
Intermission/Meet the Soundtrack
The Pastoral Symphony by Ludwig van Beethoven.
Dance of the Hours by Amilcare Ponchielli.
The Song of the Flea" by Mussorgsky


Over 1,000 artists and technicians were used in the making of Fantasia, which features more than 500 animated characters. To Walt, this was it, the masterpiece Disney was made to create. The film was released on July 10, 1981. Walt Disney was in attendance with his family, bar Elias Disney Jr, who was in Japan at the time. Don Bluth was also there, alongside the Sherman brothers and Ron Miller. The film was, for all intents and purposes, a hit with critics and the public alike, with it being called a masterpiece, Disney’s Mona Lisa. Despite all this, the nature of the film meant it fell under the expected box office returns and thus became a cult classic that failed to earn the studio the money it needed.

Yet Walt would never see the long-lasting impact Fantasia would have. He had overworked himself on the last two films, put his all into them well, keeping a secret from the studio. 80-year-old was dying, he had cancer, something he was aware of but kept secret. Warned by doctors to take it slow, Walt ignored them. Two Months after the release of the film, Walt Disney died at the age of 80 at 9:35 a.m. The studio, his family and the world were shocked. President Arthur Disney declared a National Day of Mourning. Fantasia, Walt’s Dream Movie, was his final picture. The world will never be the same again.

We keep moving forward, opening new doors, and doing new things because we're curious and curiosity keeps leading us down new paths.
Walt Disney
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[The British President]

There are two films in 78 and 79 that I completely missed when looking a the sheet today. We will go back and look at them tomorrow.