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ファンタジアダイヤモンド・コレクション [Blu-ray]

ディズニー (出演) 形式: Blu-ray

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フォーマット	ワイドスクリーン, 字幕付き, ドルビー, 吹き替え, DTS Stereo
コントリビュータ	ディズニー
言語	日本語, 英語
稼働時間	2 時間 4 分

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『ファンタジア』の魔法が、ブルーレイで甦る。
音楽をアニメーション映像で表現した映画史に残る名作を、臨場感溢れる高音質、高画質のブルーレイで。

『ファンタジアダイヤモンド・コレクション』

★音楽をアニメーション映像で表現した革新的映像作品『ファンタジア』が製作70 周年を記念して初ブルーレイ化！
★ファン必見のボーナス･コンテンツを収録！
-サンフランシスコに2009年秋オープンした“ディズニー・ファミリー・ミュージアム”紹介
★4月23日、『ファンタジア』の魔法使いの弟子ミッキーマウスがお届けする待望の新エンターテイメント「ファンタズミック！」が、東京ディズニーシーに新登場！

1940年に初公開された、ウォルト・ディズニーが手掛けた第3作目にしてディズニーを代表する作品です。 “音の魔術師”レオポルド・ストコフスキー指揮、フィラデルフィア管弦楽団演奏による選び抜かれたクラシックの名曲8曲にアニメーションを融合させた、ディズニーの作品群の中でも特に芸術性の高い作品です。
11人の監督、60人以上のアニメーター、100人を超えるオーケストラ編成、1000名を超えるスタッフが3年を費やして製作した超大作が、70年の時を経て、ブルーレイで美しく甦ります。

＜ダイヤモンド・コレクションとは＞
「ダイヤモンド・コレクション」は、1937年に誕生したディズニー初の長編アニメーション作品『白雪姫』を第一弾として全世界同時で立ち上がる、新ブランドです。“不朽の名作を次世代へ残す”というテーマの下、ディズニーを牽引する長編アニメーション“ディズニークラシックス”の中から世界に誇る選りすぐりの作品を、最先端のデジタルリマスター技術により製作当時の美しい映像や臨場感あふれる音声を蘇らせ、また、ディズニーの歴史を語る上で非常に重要な映像などのボーナス・コンテンツを詰めこんだ、家庭内の映像体験がさらにランクアップするブルーレイに限定したブランドです。

＜ボーナス・コンテンツ＞
●ディズニー・ファミリー・ミュージアム
●『ファンタジア』舞台裏の記録
●インタラクティブ・アート・ギャラリー
●音声解説
-ブライアン・シブレイ（ディズニー史研究家）による音声解説
-ウォルト・ディズニーによる解説をジョン・ケインメーカー（アニメーション史研究家）の進行で
-ロイ・E・ディズニー、ジェームズ・レヴァイン（指揮者）、ジョン・ケインメーカー（アニメーション史研究家）、スコット・マックィーン（フィルム修復マネージャー）による音声解説

＜同時発売＞
『ファンタジアスペシャル・エディション (DVD)』
『ファンタジアダイヤモンド・コレクション＆ファンタジア2000 ブルーレイ・セット』

登録情報

アスペクト比 ‏ : ‎ 1.78:1
メーカーにより製造中止になりました ‏ : ‎ いいえ
言語 ‏ : ‎ 日本語, 英語
製品サイズ ‏ : ‎ 25 x 2.2 x 18 cm; 90.72 g
EAN ‏ : ‎ 4959241712257
メディア形式 ‏ : ‎ ワイドスクリーン, 字幕付き, ドルビー, 吹き替え, DTS Stereo
時間 ‏ : ‎ 2 時間 4 分
発売日 ‏ : ‎ 2011/4/20
出演 ‏ : ‎ ディズニー
字幕: ‏ : ‎ 日本語, 英語
言語 ‏ : ‎ 日本語 (Dolby Digital 5.1), 英語 (MPEG-1 2.0)
販売元 ‏ : ‎ ウォルト・ディズニー・ジャパン株式会社
ASIN ‏ : ‎ B004ISKNAM
原産国 ‏ : ‎ 日本
ディスク枚数 ‏ : ‎ 1

Amazon 売れ筋ランキング: - 15,623位DVD (DVDの売れ筋ランキングを見る)
- - 131位外国のファミリー映画
- - 291位ブルーレイキッズ・ファミリー
- - 842位キッズアニメ・映画

カスタマーレビュー:
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5つのうち4.2つ

2,919グローバルレーティング

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レビューのソート基準

上位レビュー、対象国：日本

レビューのフィルタリング中に問題が発生しました。後でもう一度試してください。

アマゾネス

英語音声・日本語字幕版

2023年5月7日に日本でレビュー済み

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ブルーレイの本編と同じ長さの版ですが、休憩時間開始と休憩時間終了の間は詰められています。
音声仕様はステレオサラウンドの様で可もなく不可もなしといった感じです。

役に立った

島　法正

「クラシック音楽とアニメーションという魔法」

2023年5月24日に日本でレビュー済み

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「オリジナリティー溢れる」とは、正にこの作品の為にこそある。そんな感じでした。

2023年1月19日に日本でレビュー済み

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アニメーションや色彩感がリッチで気持ちいです。

2022年11月25日に日本でレビュー済み

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作品自体に文句はないのですが、ケースが割れていたのがちょっと残念でした。

役に立った

内田泰博

It does not seem having any data on the DVD.

2021年1月28日に日本でレビュー済み

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I bought this piece of DVD to enjoy the movie ( Fantasia ). This is the first experience seeing the rejection by my DVD drive. Possibility is that the DVD piece itself has no data or some glitch. I really want to try the replacement. Note that all other DVD in my hand work without any problem.　　このDVD、私に届いたのはDVD　Driveで　”Cannot read”というメッセージが出て来て全くデータが入って来まません。　手元の多くのDVD
Diskは全く問題なく、この商品は本当に何もデータが入ってないかもしくは何かノイズが付着しているのではないかと思われる不良品と思われます。　代納をお願いします。　

1人のお客様がこれが役に立ったと考えています

役に立った

Mira

殿堂入り

2022年9月28日に日本でレビュー済み

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８４歳の母といっしょに見るために購入しました。母はよくこの映像の話をしてくれていました。

5人のお客様がこれが役に立ったと考えています

役に立った

難波静香

一生の名作

2021年6月9日に日本でレビュー済み

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自分が幼い頃に大好きだったファンタジア。娘が産まれたので、聴かせてあげたいと思い購入しました。

大人になってから観ても感動します。ほんと、いろんなレビューアーさんが言ってる通り、あの時代にこんな作品を残せるなんて。技術力しかり表現力しかり、今もなお色褪せることなく惹きつけてくれます。

古いので、ところどころ映像の乱れはありましたが、金額が安かったので申し分ありません。

3人のお客様がこれが役に立ったと考えています

役に立った

渡辺　敬三

６０数年前に感動した作品。

2020年3月27日に日本でレビュー済み

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DVDを待ちかねていた。指揮棒を使わないストコフスキーが当時、友人の間で話題。カラフルで好きな曲も多く楽しめた。５歳の孫娘も、遊びに来ると、見せろとせがみ、まずは可愛い画面を楽しんでいる。

5人のお客様がこれが役に立ったと考えています

役に立った

他の国からのトップレビュー

すべてのレビューを日本語に翻訳

THE BLUEMAHLER

An innovate and ambitious experiment

2013年9月21日にアメリカ合衆国でレビュー済み

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Over a thirty year period I have seen Fantasia (1940) in theaters on a few occasions. During each showing I witnessed several members of the audience walk out. That is usually a good sign. There is little doubt that this experimental film (yes, Disney once was innovative) has unmitigated moments of lurid kitsch, with equal parts cinematic magic. It's a flawed masterpiece, which begs the questions: does an infallible masterpiece actually exist? Fantasia represents it's creator, Walt Disney, as utterly possessed by obsessive, artistic, and innovative ambition. It may be one of the most stand apart films ever crafted, which is why, seventy plus years later, it still has the power to provoke dumbed-down audiences who still look at artmusic with suspicion. Simultaneously, it also annoys insufferable academic elitists who cannot find it in themselves to embrace the film's tawdrier moments.

Another supposed "strike" the film has against it is its choice of conductor: Leopold Stokowski. Stoki was the P.T. Barnum of transplanted Euro conductors residing in America. Mention him to any "serious" classical music lover and he'll make a face like he's heard fingernails scraping down a chalkboard. Stokowski was known for his Bach transcriptions, one of which--"Toccata and Fugue in D minor"--opens the film. Essentially,he romanticized Bach, making him sound more like Tchaikovsky. One wit described such tampering as "High Cholesterol Bach." It's a dishonest reaction, molded by unimaginative attachments to "historical correctness" and hyper-realism. Avoid such persons like the plague (they probably started life by pulling the wings off butterflies). For those of us who have no qualms admitting that we like plenty of syrup on our musical flapjacks, embracing this wizard's transcriptions presents no problems. Seeing only Stokowski's brazen self-promotion amounts to blindness. This former organist had one of the most prodigious gifts in drawing color out of every orchestra he worked with, which made him the quintessential choice for Fantasia. Compare his achievement in this film, awash in personality, to the comparatively monochromatic conducting of James Levine in Fantasia 2000.

The meeting of Stokowski and Walt Disney, in 1937 at Chasen's restaurant, is the stuff of legend. Disney was starstruck with the conductor's celebrity, mysterious accent, and fierce mane. The seed of an idea for a "concert film" sprang from the meeting. At this time Disney had only produced and released one previous feature: Snow White and The Seven Dwarfs (1937). The idea of an animated feature had seemed risky and radical, with the naysayers predicting bankruptcy. The profits and critical acclaim from Snow White forever silenced those constipated doomsday prophets. Now, Disney was ready to take another risk. 1940 saw the release of Disney's second and third feature films. Artistically, it paid off as Pinocchio (1940) and Fantasia are, to date, Disney's two greatest films (yes, I said that), released only nine months apart. The former was a critical, box office hit. The latter did not make money for nearly twenty years. Disney had proven one can go indeed broke overestimating the American public.

The Fantasia deal signed, Stokowski was excited and predictably offered numerous ideas about the use of color. A later biographer wrote that the conductor's fascination with color was sincere, describing his various experiments with mixing alcoholic drinks for color effects. Stoki did a similar thing with "sound color" by incessantly changing the orchestra seating layout. Even visually, "Toccata and Fugue" is pure Stokowski. The opening piece is introduced via the superb narration of American composer Deems Taylor (to the public he was primarily known as a commentator for the NY Philharmonic Radio Broadcasts). This "absolute music" is total abstraction. Entirely hand painted, at times the watercolors almost appear to still be wet. Vibrant with texture, this is far removed from contemporary slick and soulless computer animation. Stokowski used no baton, so his beautifully powerful long hands are highlighted, jabbing through the splashing backdrop. The french horns are hauntingly lit in diaphanous color before the violin bows transform into silvery beams of light reaching for infinity. Sound and vision collide, producing crashing tides, ending in a literal fireworks display.

For those, like myself, who have overdosed on Tchaikovsky's "Nutcracker Suite," Fantasia serves up a refreshing alternate vision, the most incandescent and sensual vignette of the entire program. Naturally, it is abridged and rearranged like one of Stoki's infamous "Symphonic Syntheses." Unwittingly, Disney tailored this Nutcracker Suite for the upcoming hippie acidhead generation (who eventually elevated Fantasia to masterpiece status). Darting fairies, spectral spider webs, and psychedelic mushrooms are followed by larger, dew-shaking `shrooms engaged in a Chinese tango. Being a ballet, naturally there is plenty of dancing, but the Disney team imaginatively improve on the yawn-inducing holiday imagery that we have come to associate with Tchaikovsky's most famous music (which, as Taylor reminds us, the composer himself detested). Guaranteed, you will not find blue fairies, Russian Cossacks, pink fairies, waltzing flowers, orange fairies, or rhythmic goldfish mating with fairies (?) and swimming through an erotic Busby Berkeleyesque aquatic Arabic dance sequence at your local ballet company anytime soon.

Paul Dukas' The Sorcerer's Apprentice is justifiably Fantasia`s most famous segment. Having a narrative (albeit a wordless one) to work with inspired the team to great heights. It is possibly the last time we will see Mickey Mouse before he succumbs to total blandness.With its narrative of white magic and sorcery, it is remarkable that the evangelical zealots of the day did not hone in on this segment (the way they did more recently with the Harry Potter series). It's either that such types are somehow even more de-evolved than they were seventy years ago (possible, but not likely) or they stayed away from anything with the tag of "classical music" attached anyway. Since they didn't see it, they didn't know to get their feathers riled. Regardless, Stokowski had no such qualms. This being a tone poem, it is tailored for his bag of tricks. Even the most art-constipated among us can enjoy our once favorite mouse in the expert choreography composed by the Disney team.

Igor Stravinsky's ballet "Le Sacre du printemps" ("The Rite of Spring") is served up here for the eternal dinosaur-loving eight-year-old boy. Actually, the ballet is about pagan sacrifice and is so dissonant and barbaric that it caused one of the biggest scandals of music history in the form of a violent riot during the 1913 premiere at the Theatre des Champs-Elysees. Regardless of the ballet's narrative change (and the necessary abridgment), the composer (the only living composer chosen for the film) at first loved the Disney/Stokowski version. Years later, he did an about face (as he was apt to do), vilifying it. Still, given the time, the Darwinism included here was a damned provocative decision. This was only fifteen years after the Scopes trial, yet Disney and team are showing us the beginning of life on earth as science has revealed. Fish mutating into amphibious lifeforms show the artists clearly siding with Scopes and Clarance Darrow. Naturally, the dinosaurs come, and no Creation Museum is going to stop them. While the Le Sacre du Printemps (2004) film by the tragically short-lived Oliver Herrmann might be aesthetically truer to the avant-garde nature of Stravinsky's masterpiece, Fantasia`s interpretation is rousing (and exhausting). After carnivorous lizards and the extinction of much life on earth, we deserve an amusing intermission with the soundtrack and, again Taylor is the host for the job.

Fantasia`s treatment of Beethoven's "Pastorale" symphony has always been a point of debate. Skinny dipping centaurettes are lured (by mooning cherubs) to square jawed, beefcake centaurs. Fortunately, the centaurettes do manage to squeeze into their garland bras because their male counterparts don't seem to know what to do next. Confused libidos and a bacchanal (where the wine is pouring) is rudely interrupted by none other than Zeus himself (wielding a lightening bolt forged by Vulcan). This is the famous "storm" movement of the Pastorale. Helios' chariot brings forth a much-needed sunset, and Selene tucks the Earth in with the night of her cape. Stokowski's reading, like Disney's animation, is anything but subtle.

Ponichelli's ballet "Dance of the Hours" (from the opera "La Gioconda") becomes what may be the most eccentric burlesque in the history of cinema. This is also a highly debated segment, which is to be expected with an amorous alligator cavorting with a hippo, alligators riding ostriches, and elephants riding alligators. Perhaps the Fantaisa-loving acid heads of the 1960s had a point.

Mussorgsky's "Night on Bald Mountain" was part of Stokowski's standard repertoire. He has his own arrangement, as opposed to the Rimsky-Korsakov edition used in most concert programs. The Witches' Sabbath brings out the Satanic Chernobog (modeled, in part, on Bela Lugosi and Wilford Jackson), descending on the town below like the Angel of Death terrorizing Egypt in the Moses narrative. Chernobog's demons join their master in this violent, surreal nightmare, which, unfortunately for the victims, features a fiery pit to rival the worst of the gnostic apocalypses. The sadistic, phantasmagoric mayhem retreats with the chiming of the church bells that herald the segue into Schubert's "Ave Maria." Some have held these last two conjoined segments as the film's best.

Walt Disney had planned more editions of Fantasia (which included a collaboration with Salvador Dali), but its initial failure laid such plans to rest until sixty year later when Walt Disney Productions released Fantasia 2000. Fantasia 2000 had fleeting moments of brilliance, but was mostly a disappointing sequel; too clean, too crisp, lacking the risk-taking intensity and provocativeness of the original. Pinocchio may have had boys turning into jackasses, and Dumbo (1941) had it's mind boggling "pink elephants on parade," but Walt Disney's Fantasia is chock-full of progressive weirdness and an ardent embrace of art for the sake of art.

*Review originally published at 366 weird movies

52人のお客様がこれが役に立ったと考えています

レビューを日本語に翻訳する

didi leblond

la magie et l'enchantement au rendez-vous !!!

2023年10月3日にフランスでレビュー済み

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ahhh fantasia , quel pure et réel moment de bonheur pour tous à travers cette qualité d'images exceptionnelle mais aussi cette magie et l'enchantement qui nous plongent dans ce grand classique intemporel , toujours un régal !!!

レビューを日本語に翻訳する

hervé

Très bon DVD

2023年10月1日にフランスでレビュー済み

Amazonで購入

Images superbes, un régal pour les yeux et les oreilles

レビューを日本語に翻訳する

Daisygirl

Wonderful fun!

2023年10月29日にアメリカ合衆国でレビュー済み

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Love these films. Wonderful classical music and animation make this a winner. Amazing animation from 1940!

レビューを日本語に翻訳する

amazed47

Film restoration receives 5 stars but DVD features rate 4

2004年6月22日にアメリカ合衆国でレビュー済み

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I recently viewed the 60th anniversary edition of Walt Disney's "Fantasia", and I think that this is the closest we will ever come to seeing and hearing Disney's original vision for this film. This DVD Edition sets things right by incorporating all of Deems Taylor's spoken introduction and linking narratives into the film for the first time since the film's premiere in 1940.

If anyone has seen the 1990 restoration that appeared on video in 1991, they will know to what I'm referring. In that edition we only see Taylor's face in the opening prologue. Later on, we hear his comments as a voice-over to medium shots of the orchestra as they tune their instruments. Those players on the screen, by the way, are not members of the Philadelphia Orchestra: they are actually studio musicians. The music for Fantasia was pre-recorded months prior to shooting in the Academy of Music in Philadelphia.

The DVD presents what was then known as the "roadshow" version of Fantasia, which toured a limited number of cities upon it's initial release. The film's distributor, RKO Radio Pictures, balked at the added expense involved in setting up special amplifiers and speaker systems to accomodate the requirements for the Fantasound soundtrack. The decision was made to trim some of the film's length, beginning with altering the narrative links, but also making horrendous cuts in some release prints (indeed, some later prints do not even contain the Bach Toccata and Fugue sequence.) At one point, Disney decided to take matters into his own hands and handle the distribution of the "roadshow" version himself. That version differs from subsequent release prints in that Taylor's face is visible throughought every linking narrative; and that the blue title card appears at the start of the intermission that follows Stravinsky's Rite of Spring. In the 1990 restoration the title card appears at the start of the film. Also, the original release had no screen credits: special programs with those details were distributed to patrons. The DVD edition also doesn't have screen credits, but information about the animators is touched upon during the commentary by Rudy Behlmer, et al.

With regard to the soundtrack, the original optical, nine-track elements (which were mixed down to three tracks for the master print) have been missing for several decades. In 1955, the decision was made to transfer the extremely fragile and potentially unstable nitrate soundtracks to a four-track magnetic tape, because it was feared that the original tracks might not survive for much longer. This was done by playing the original tracks at RCA in Los Angeles and relaying the audio over telephone wires to the Disney Studios in Burbank. Unfortunately, during the transfer electronic hum and other noises ended up on the tape. Also, the telephone wires cut off at 8,000 Hz, so many viewers have never heard the full frequency and dynamic range that was capable utilizing the Fantasound system (which was a precursor of today's Dolby Surround-Sound.)

For the 1990 restoration, Terry Porter of YCM Labs had reportedly removed 2,000 clicks and pops from the four-track magnetic copy. Also, using technical data from the Disney Archives, he managed to replicate the mixing format of the original optical tracks; so that the sound would eminate from the left, right, front and rear speakers as originally planned.

I viewed my VHS copy of the 1990 restoration first, so that I could make my own comparisons. The 1990 edition suffers from too much use of noise-reduction software, which makes the violins and high wind instruments sound "glassy" and distorted. I also listened to my CD copy of the 1990 restored soundtrack album. The sound on the CD was a little cleaner and well defined, but the DVD has the most improved sound. One must remember that Fantasound was an experimental process. Optical tracks, in general, while offering an expanded dynamic and frequency range, were often quite noisy. All this means that what we hear is a 60-year-old recording that is by no means state-of-the-art by today's standards, but nevertheless remains impressive in its own right.

I don't remember seeing any negative racial depictions in the Beethoven Pastoral Symphony sequence, either in 1975 or in 1981 (which had a newly-recorded digital soundtrack). Then, again, Disney wouldn't have allowed anything like that in his films. The only questionable scene shows Bacchus entering with two nubile, African Zebra-type centaurettes. I can see how that might draw an unfavorable response from viewers. In fairness, however, they are not depicted doing anything of a derrogatory nature. They come in, toss some petals, and then they're gone... Some who reviewed the DVD edition claim that something was cut from the Beethoven sequence, but I can't imagine what that could be. Certainly the music itself has been truncated, but Stokowski did that only for dramatic reasons and to maintain story continuity. All of the music in Fantasia, except perhaps the Bach, was edited from the original scores in one way or another.

I said that the DVD itself rates only 4 stars. That is because the good folks at Disney are only offering the pencil tests, unused animation, and alternate music pieces as part of the 3-DVD "Legacy" set. The extras on the single DVD are good, but one wishes the archival materials had been included as a second disc.

Post-Script 12/26/07:

Since I first wrote the above review, I have learned that there was indeed a negative ethnic stereotype that was excised from subsequent release prints of Fantasia. A black centaurette, by the name 'Sunflower' could be seen originally waiting on one of the white centaurettes (polishing her hoofs in the manner of a shoe-shine boy, braiding her hair, etc.) as they prepared to meet with their male counterparts. In subsequent prints the images of Sunflower were often obscured by zooming in abruptly to the white centaurette (which unfortunately resulted in a temporary blurring of the picture). Original character sketches of Sunflower and frame-grabs of her excised scenes in Fantasia may be viewed on the "Snopes" website, under "Disney".

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