In June 1969, a staff of over 200 at Walt Disney Productions began poring over thousands of feet of taped
interviews with their late founder in order to produce a film in which he would
narrate his life story. Almost four years later, in March 1973, a
small fraction of the material perused was issued as The Walt
Disney Story, a 23-minute film that became the centerpiece of like-named but
distinct new attractions on the Main Streets of Disneyland and Walt Disney World
in the months to follow.
At Disneyland the Walt Disney Story took the place of
Moments with Mr. Lincoln in the Main Street Opera House. This
turn of events provoked a public outcry, however, for the return of
the much-beloved president show. So in 1975, The Walt Disney
Story film was ousted from the Opera House theater, edited down
and combined with other footage to create a new version which
became part of the pre-show for the restored Lincoln
presentation. Among the pre-show's other exhibits were
recreations of Walt's "work" and "TV" offices, displays of various
awards and accolades and an audio-animatronics owl who
discoursed on Walt's groundbreaking nature films. This new
attraction became The Walt Disney Story featuring Great Moments
with Mr. Lincoln.
Walt Disney World's version of the attraction was housed in a building constructed expressly for the film. This new
structure wrapped around the south and west sides of the Gulf Hospitality House, with its garden-flanked
entrance walk jutting out into Town Square and its exit spilling guests into the Hospitality House itself. It
opened in April 1973 and was dedicated on May 6, in a ceremony attended by Mrs. Lillian Disney Truyens and Mrs.
Roy O. Disney. The attraction was sponsored by the Gulf Oil Corporation from its opening until 1979.
Just inside the main entrance was a long, pre-show hallway filled with memorabilia pertaining to Walt and his
pioneering achievements in the world of entertainment. Letters to Walt from various celebrities and political figures
(among them Winston Churchill, Richard Nixon and Julie Andrews) were displayed near the entrance. The majority of
the exhibits were contained in displays falling under various titles attributed to Walt, such as "International
Ambassador," "Naturalist," and "Artist & Impresario." Accounts of his ventures into feature-length animation,
live-action filmmaking, television, the 1964-1965 World's Fair and his association with the CalArts Institute lined the
walls. The unique eight-Oscar Academy Award presented to Walt for 1937's Snow White and the Seven Dwarfs was
housed here for nearly two decades. A few steps away, a scale model of the Nautilus submarine used in 1954's 20,000
Leagues Under The Sea was ensconced in a diorama casing. This model was moved to Epcot's Living Seas pavilion in
1986, where it was placed in the queue area.
Main Street USA,
the Magic Kindgom
Opened: March 1973
Closed: October 1992
Ticket Required: None
Portions of entrance and
theater areas form the
All images copyright
The Walt Disney Company.
Text copyright 2007
This page benefits from
the generosity of
and Tracy Rhodes
pictures and memories
Music from Disney's animated features played quietly
throughout the area, and segments from Fantasia's
soundtrack accompanied a group of items related to
that film midway down the hall. The overall
atmosphere of the pre-show was museum-like, similar
to the holding area in Liberty Square's Hall of
Presidents. That these manufactured environments of
mock austerity managed to partially quell the inherent
loudness of a room filled with tourists is a testament to
the effectiveness of what the company calls crowd
control. People walking into these rooms almost
automatically shut up and put their hands behind their
backs as if guided by voices.
At the end of the pre-show hallway were the
entrances to the twin, 300-seat theaters in which the
film was presented. Between the entrances on a
convex section of wall was a mural, created expressly
for this attraction by Disney artist Bill Justice, in which 170 Disney characters
cavorted amongst themselves. This piece took four
months to complete and incorporated over 1,200 separate colors. Up until the mid-1980s, characters from more recent
releases such as The Black Cauldron and The Great Mouse Detective were added to the mural. This practice was
finally abandoned (either the routine addition of a few characters every couple years burdened the company's art
staff or they just decided they'd run out of room). Likewise, many of the other displays in the pre-show area suffered
from neglect in the attraction's last days, primarily evident in the dramatic yellowing of many wall hangings.
Cast members played an active role in the presentation
of the aforementioned mural and other parts of the attraction, particularly
during its earlier years. Guests were traditionally greeted at the entrance
turnstiles by a host or hostess before passing into the exhibit area. Prior to
each showing of the film, another cast member would step up onto the podium in
front of the character mural and give a spiel about it and the upcoming
presentation. Shortly thereafter he or she would drop the blue velvet rope in
front of the doors to one of the theaters (the opposite theater would normally
be midway through the film). The Walt Disney Story used to have its own cast
members, primarily females in long flower-print gowns. The staffing scenario
was reworked and positions were dropped from the operation by late 1989, when
the attraction was run by (mostly) sour old men in Main Street Transportation
costumes. Of course, by that time the days of informative spiels delivered by pretty girls in 1970's
outfits were pleasant memories in many other corners of WDW as well.
Once everyone was seated in a theater, a cast member delivered the normal
protocols about food, drinks and smoking, then informed guests that aside
from a brief introduction the voice they would hear would be that of Walt
Disney. It was also explained that the uneven quality of his narration stemmed
from the fact that it had been culled from years of interviews with Walt and
assembled into one narrative.
The film itself was a sentimental account of the highlights of Walt's career,
with few mentions of episodes or persons in his personal life. It began with a
prologue spoken by Pete Renoudet, a vocal impresario who appeared in
several other Disney theme park productions. This introduction used a story
about "the boy who wanted to march in the circus parade" and a scary
closeup of Vesey Walker's (the original Disneyland bandleader) face to
illustrate one of Walt's simple philosophies about life and the importance of
taking chances. Then Walt's voice took over and the story of his life began
with his mother and father's Chicago contracting business at the time of his
birth on December 5, 1901.
Various episodes along the way to Walt's commercial success were touched upon. Among these were his family's
move to Marceline, Missouri, his first "paying job" as an artist drawing Doc Sherwood's horse, his stint as a WW1
ambulance driver in Paris, and his initial forays into animation with the Alice Comedies in Kansas City. His rough and
tumble beginnings led him to California and the 1923 establishment, with his brother Roy, of the first animation studio
From there the film focused solidly on the studio's triumphs and failures over the course of the next thirty
years. Guests learned about the creation of Mickey Mouse, the evolution of the Silly Symphonies, the runaway
success of Snow White and the Seven Dwarfs, the thought process behind the True-Life adventures and the
company-wide confidence in the promise of Mary Poppins. To the film's credit, there was also some discussion of
films that fell short of expectations. For example, Walt explained that financial restrictions prevented the intended
viewing of Fantasia in its wide-screen format, which he felt compromised the final product upon its release. Additionally, he rationalized that Alice In Wonderland's box office "nose dive" was directly attributable to its lack of
"heart." Contrasted with the sympathetic Cinderella, he observed, millions of people didn't care about Alice.
The last section of the film dealt with Disneyland and the plans for Walt Disney World. Walt revealed that his
Disneyland park would offer his take on what he felt were the most "vital" parts of American history and also delve
into the world of tomorrow and the realms of fantasy. It was to be an environment where parents and children could
have fun together, and one where he could make constant improvements. He also states that there would be a
distinction between Disneyland and "whatever Disney does in Florida." In a segment pulled from his 1966 EPCOT film,
he affirmed that the "heart" of WDW would be his city of tomorrow. The effect of hearing Walt say this just moments
before the screen panned out on Herb Ryman's famous EPCOT painting was powerful, and - as the film grew older
and EPCOT changed directions - disheartening. But at the time of the attraction's debut it was testimony to the
company's intention of following through with EPCOT, the city.
In conclusion, Walt described his "little bee" role in
the company during his last years and explained
what he felt was most gratifying after over forty years
in the business. For him the reward was in building
his organization and gaining the acceptance and
appreciation of the public for the work he'd done.
Although the film was described in company
literature as the story of Walt and Roy, the latter's part
in the film was (much as in life) largely behind the
scenes. Walt's wife was absent from the story, as
were his daughters aside for a brief mention regarding their role in the genesis of Disneyland. If something seemed
amiss, it was surely due to the rigorous process of editing the material available into one cohesive script. The
circumstances surrounding Walt's death were naturally not among the topics he discussed in interviews and were,
consequentially, left out of the film as well.
The Walt Disney Story was projected through an anamorphic lens which enabled a screen proportion of 2.67
to 1. This allowed for a unique scrapbook effect that was used extensively in the film, where as many as three
different films would be running side-by-side as part of the same scene. The soundtrack was scored by longtime
Disney composer Buddy Baker, and included his haunting WDW theme that could be
heard here and there during the resort's first ten years.
Both theaters exited into the east end of the post-show exhibit area. This part of the attraction underwent the
greatest amount of change over the years. In its first incarnation, there was a large model of WDW Phase One on the
north wall. Nearby were displays centered around EPCOT and the direction it was expected to take when the resort
approached Phase Two. There were also displays of Walt's Carolwood Pacific
backyard locomotive and two of his first forays into audio-animatronic
technology: The "Dancing Man" and "Barbershop Quarter" dioramas. One of the most memorable parts of this area was the small alcove where part of the
Western River Expedition model could be viewed. Set to special lighting and music, the scene depicted a boatload of
guests floating past an Old West street scene, where can-can girls sang and a cowboy and his horse stood atop the
front porch of a saloon.
Tied in with the model, a nearby display featured another audio-animatronic owl (cousin to the aforementioned
Disneyland bird) in a setting also linked to the Western River Expedition. The owl introduced himself as the star of
that upcoming WDW ride and he offered a brief lecture on the audio-animatronics process. An animated book next to
him flipped its own pages in time with his speech. This little show culminated in a rock and roll-driven, flashing-light
mess taking place on the programming console in the display's foreground. As with many other displays, the owl and
his spiel were adapted to meet the needs of the Walt Disney Story's later inhabitants.
The Walt Disney Story was temporarily replaced by other
attractions at three points during its nineteen-year run:
1981: In June, the
building became the home of the EPCOT Center Preview Center (a
redundant mouthful). While the area leading up to the theaters
remained largely unaltered, the Walt Disney Story film was stored
away to make room for a new film promoting Walt's "greatest
dream," EPCOT Center. This also prompted the restructuring of the
post-show exhibit area and the complete enclosure of a display
revolving around Walt's backyard railroad and the Western River
Expedition model (which was rediscovered in 1994 with lights still
burning in its miniature buildings.) The owl was decked out in a
tour guide costume and talked about the audio-animatronics that
would be a part of EPCOT Center. The Walt Disney Story was
returned to the theaters again in October 1982.
1984: To mark the Los Angeles Summer Olympics, the Walt
Disney Story building played host to a pre-show display and film focused on the
games. Upon exiting into the Hospitality Center, guests had the chance to
meet Olympic athletes like Bruce Jenner and Cathy Rigby. This utilization
of the space lasted the duration of the summer.
1988: The attraction gave way once again to a preview of the
upcoming Disney-MGM Studios park. The post-show was once
more redone with wall hangings of conceptual artwork and
construction photos. The owl perched himself on a director's chair and
spoke on yet another new topic. It was to be his last.
When The Walt Disney Story returned in the summer of 1989, the owl was left without anything to talk
about. He was soon sitting in silence and flew away within a year. The remainder of the attraction followed his lead
in October 1992. The company cited deterioration of the original film print as the main reason for the closing of the
attraction. Cast members speculated privately that low attendance at the film played a major role in the decision. By
this time, however, the company's real reason for closing anything wasn't exactly a mystery.
In 1994, The Walt Disney Company released a home video version of The Walt Disney Story to appease guests who
inquired about the attraction's departure. Unfortunately the video's producers chopped up the film by replacing its
original introduction and ending with saccharine appearances by a costumed Mickey character. And in not offering a
letterboxed version, over half of the film's original scope was deleted from view.
On October 2 of that same year, The Walt Disney Story was parodied mercilessly in The Simpsons' "Itchy &
Scratchy Land" episode. Part of an ongoing tradition of gleefully mocking all things Disney,
The Simpsons' second
Disney-esque theme park (the first being Duff Gardens) featured "The Roger Meyers Story." This homage to the late
creator of Itchy & Scratchy lauded Meyers for loving children of "almost all nations."
This was a direct allusion to the 1966 It's A Small World dedication ceremony at
Disneyland in 1966, where Disney and Bank of America's Louis Lundborg waded
through a sea of foreign white children who had been invited to participate and
bring water from rivers in the home nations; suffice it to say there was more
water poured from the Seine, the Rhine and the Danube than the Congo, the Nile
or the Mekong.
Of course The Walt Disney Story film did represent the rose-colored
take on Disney and his organization. This version of the past, however,
was entirely in keeping with the overall feel of the Magic Kingdoms. People don't visit Disney parks expecting to
find popularly-held conceptions (for baby boomers this was that Walt was a
grandfatherly paragon of creative achievements) about Walt Disney challenged. The parks
have never been a refuge for intellectuals, and the crossing of the two has
generally been disastrous. The Walt Disney Story was made by and for people with a
layman's appreciation for Walt Disney's work. It reaffirmed warm feelings and also introduced innumerable children,
like myself, to the very fact that there was a man behind the name behind the parks. It's
something that a lot of children
simply don't know. For that reason alone I believe if the closing of any of the Magic Kingdom's attractions could be deemed
reprehensible, then this ones fits the bill. In the mid-1990s Michael Eisner made public his assertion that the Disney parks
and their attractions should not serve as "museums," and to an extent even someone like me can rationalize why
some well-loved old rides and shows are eventually altered or retired. To have willfully abandoned, however, the
sole physical venue paying testament to the creative genesis that spawned an entertainment empire while
simultaneously capitalizing on every conceivable aspect of its assets was simply tasteless.
statue in the hub was a nice touch, but it spoke nothing to the man's ideals and philosophy.
The Walt Disney Story should have played on
- even if every seat during every showing remained empty, even
if it cost thousands of dollars to restore the film, even if staffing the attraction was a strain on resources. That the
show is missing will remain a source of disappointment to longtime WDW visitors who feel this
ex-attraction above all others should never have been touched. It anchored Town Square, Main Street and the rest of
the park to a sense of tradition. Yet with so many of the company's other traditions having been set aside since
the early 1990s, it may have only been fitting that The Walt Disney Story was closed at the offset of the new era.
In October 1996, The Walt Disney Story's building was re-occupied by a new "attraction," the Walt Disney World 25th
Anniversary Welcome Center. New exhibits filled the pre-and post-show halls and the theaters ran films previewing
new Disney projects such as the cruise lines and the Animal Kingdom park. While a far cry from the old presentation,
the pre-show exhibits in particular represented a happy first: the in-park display of artwork and models that went into
the planning of WDW's first five years, plus publications and souvenirs from that time period. And at least the
theaters were occupied again, which gave momentary hope that the space might have a future. Then in 1997, as with The Walt Disney Story before it, they closed the Welcome Center down and all those great things were removed.
Now the majority of the building is filled with a rambling
assortment of displays that are ostensibly related
in one way or another to photography. It's called the Town Square Exhibition Hall. It's sponsored by Kodak and
seems geared toward steering visitors into making souvenir purchases. The theaters are still there, but the one
through which guests are funneled scarcely resembles the space in which the Disney Story film was presented.
Some seats remain where people can watch old Mickey cartoons.
In 2001, the company kicked off its year-long-plus tribute to the 100th Anniversary of Walt Disney's birth. All of the
Florida parks received some form of modifications to acknowledge the event (even if it primarily seemed like it came
in the form of merchandise). The Disney-MGM Studios, however, actually houses an exhibit that captures a stunning
amount of The Walt Disney Story's spirit. It's called Walt Disney: One Man's Dream
and presents a well-executed and
memorable tribute to his creativity, accomplishments and goals. It even devotes a significant amount of space to his
EPCOT. So ten years after the last show devoted to him as a person closed, there is still proof that he can be
successfully accorded an appropriate amount of space. If this presentation made its way into the
Magic Kingdom it could herald
a pleasant return to form.
The Walt Disney Story film as it appeared in its theater
wmv file, 25mb, 23:00
the post-show owl's original spiel
mp3 file, 2.8mb, 2:52