Tag Archives: Paul Brizzi


AKA Kahlil Gibran’s the Prophet

DIRECTED BY: Roger Allers (supervising); Paul Brizzi, Gaetan Brizzi, Joan C. Gratz, Mohammed Saeed Harib, , , , , Michal Socha (segments).

FEATURING: Voices of , , , Alfred Molina, , , John Rhys-Davies, John Kassir

PLOT: Based on the book of poems of the same name by Kahlil Gibran. A foreign poet, Mustafa, has been held under house arrest for several years. With the arrival of a ship, he is set free to return to his home country. Escorted to the ship by a couple of soldiers, he converses with them and with the townspeople; but circumstances change along the way.

Kahlil Gibran's The Prophet (2014)

WHY IT WON’T MAKE THE LIST: While some of the segments illustrating Mustafa’s sayings/writings are appropriately abstract, taken as a whole together with the framing story, The Prophet is extremely ambitious, but not weird.

COMMENTS: The Prophet has long been a passion project of Salma Hayek-Pinault; thankfully, she had enough experience and intelligence to realize that animation was the best medium to adapt Gibran’s book, a prose poem in long form that would be a challenge to fashion into a conventional narrative.

Enlisting Roger Allers, the director of The Lion King, was a good decision, since both tales are essentially illustrated journeys of messianic figures. Allers takes the basic framing device of the title character heading to a ship that’s taking him home and expands upon it, adding new characters Kamila (Hayek), Mustafa’s housekeeper, and her daughter Almitra (Wallis), who has become a mute troublemaker since her father’s death. These two are the characters for the audience to identify and sympathize with. The film adds a political dimension—Mustafa has been under house arrest for several years, and the journey to the ship may not be quite as innocent as presented—and the ending is different than in the book, although it is spiritually consistent.

Another smart decision was the idea to have different animators bring to life the various sermons by Mustafa, eight of which have been chosen: “On Freedom” (Socha), “On Children” (Paley), “On Marriage” (Sfar), “On Work” (Gratz), “On Eating & Drinking” (Plympton), “On Love” (Moore), “On Good and Evil” (Harib) and “On Death” (the Brizzi’s). Along with giving each story its own personality, the method also retains the metaphorical qualities of the sermons—if it were done in live-action, most of the visualization would’ve probably been literalized and not worked as well.

It’s a refreshing change to have animation appropriate for both adults and children that doesn’t involve talking animals or pop culture one-liners, and is an adaptation of an acclaimed literary work, to boot. G-Kids acquired the movie for theatrical release in the U.S. and home video. The DVD and Blu-ray include two featurettes about the movie, one with interviews of Hayek and Allers, the second concentrating more on the technical aspects (although none of the segment animators are featured). There’s also an animatic used in the making of the film.



“Half-baked animated fantasy Kahlil Gibran’s The Prophet is a kids film for anyone who mistakenly thinks that the one thing that would improve animated masterpiece Fantasia is an overwhelming number of pretentious aphorisms.”–Simon Abrams, The Village Voice (contemporaneous)


DIRECTORS: James Algar, Gaetan Brizzi, Paul Brizzi, Francis Glebas, Eric Goldberg, Don Hahn, Pixote Hunt

CAST: James Levine (conducting the Chicago Symphony Orchestra), plus hosts James Earl Jones, Quincy Jones, Angela Lansbury, Bette Midler, Steve Martin, Penn and Teller, and Itzhak Perlman

PLOT: Like the original Fantasia (1940), Fantasia 2000 has no overarching plot. Instead, the film presents a series of short subjects “illustrating” classical compositions by such masters as Igor Stravinsky, George Gershwin and Ottorino Respighi.

Still from Fantasia 2000 (1999)
WHY IT WON’T MAKE THE LIST: This semi-sequel lacks the edge of the first Fantasia’s sinister “Night on Bald Mountain” sequence (the one with the giant demon). Also, this later Fantasia is unlikely to attract the kind of audience that went to the late 1960’s re-issue of the first film while under the influence. After all, the original Fantasia received the Harvard Lampoon’s 1968 “OhGodOhGodOhGodTheLightsTheSoundsTheColors” award, which it shared with Yellow Submarine and 2001: A Space Odyssey.

COMMENTS: While lacking the innovative qualities of its predecessor, which was one of the first–if not the first–films recorded in multichannel sound, Fantasia 2000 is a (much) shorter, faster and more kid-friendly variation on the original, all of which does not necessarily make it better. Nevertheless, the film is both amusing, and, during the Stravinsky and Respighi sequences, surprisingly stirring.

Fantasia 2000 begins with Beethoven’s “Symphony No. 5 in C Minor” being portrayed in abstract fashion with lots of Origami-style butterflies fluttering across the screen. This sequence is obviously meant to recall the original Fantasia’s opening: an impressionistic rendering of Bach’s “Toccata and Fugue in D Minor”, which was the dullest scene in either movie. Things perk up considerably after that, as Respighi’s “Pines of Rome” is turned into a touching computer-animated tale of humpback whales. Then comes a funny take on Gershwin’s “Rhapsody in Blue”, animated in the style of legendary New York caricaturist Al Hirschfeld. This is followed by another digital segment: Shostakovich’s “Piano Concerto No. 2 in F. Major”, now rendered as a somewhat lackluster adaptation of Hans Christian Andersen’s “The Steadfast Tin Soldier.” Next up is a very brief bit from Camille Saint-Saens’ “The Carnival of the Animals, Finale”, which here becomes a watercolor-painted sequence featuring pink flamingos playing with a yo-yo. One gets the feeling that this is supposed to be reminiscent of the 1940 original’s version of “Dance of the Hours,” with its immortal ballet-dancing hippos and ostriches, but if that is the case, then the earlier film’s anthropomorphic gags are far more memorable. There’s more anthropomorphism to come, as “Carnival of the Animals” is followed by a reprise of Paul Dukas’ “The Sorcerer’s Apprentice.” This is simply the classic sequence from the original Fantasia edited in here: Mickey Mouse, thinking himself a great wizard, must fend off an army of living brooms. As it was it the best scene in the original, this is the best sequence in the second one, probably because it’s the only segment that illustrates what the composer was actually writing about. Donald Duck then gets equal time, as it were, by starring in Edward Elgar’s “Pomp and Circumstance.” This is not a story about Donald’s graduation, but a retelling of “Noah’s Ark” with Donald and Daisy standing in for Noah, and it’s amusing enough. The film’s finale is a memorable take on Igor Stravinsky’s “The Firebird Suite,” as a woodland sprite brings the spirit of spring to the forest, only to be vanquished by the Firebird spirit, who lives in a volcano. But this is Disney, so the sprite rises again like the phoenix. Although this is arguably the most lavishly animated segment in Fantasia 2000, some of the imagery is suspiciously reminiscent of Hayao Miyazaki’s 1997 film Princess Mononoke, as well as the forest fire in Disney’s own 1942 Bambi (complete with woodland creatures). Nevertheless, this is a fine note for the film to go out on.

Nothing in Fantasia 2000 is the slightest bit weird, but it is all gorgeously animated and quite entertaining. Compared to its legendary, if sometimes ponderous, 1940 predecessor, however, Fantasia 2000 does seem a bit lightweight.


“If it’s a head trip you’re looking for in the millennial version of Walt Disney’s ‘Fantasia,’ you’ll have to wait for the grand finale, in which the world appears to come to an end, then suddenly bursts to life again… [it] often has the feel of a giant corporate promotion…”–Stephen Holden, The New York Times (contemporaneous)