Del Toro's is simply the finest Pinocchio adaptation that I've seen. This film combines gorgeous stop-motion animation, peerless voice acting talent, a warm-hearted story to appeal to younger viewers, and enduring themes that will resonate with older audiences as well.
From the moment the Wood Sprite answers the mournful Gepetto's wish, Pinocchio dances with manic joi de vivre. Against the background of fascist Italy, the wooden boy embodies spiritual freedom and defiance -- challenging the village Podesta "Who's pulling your strings?"
Of course, as in most versions of the tale, Pinocchio's naive pleasure-seeking exposes him to manipulation and exploitation. The circus manager Volpe lures Pinocchio away with promises of chocolate and fame. Pinocchio performs as the "puppet without strings," thinking that half of the money his shows earn goes back to Gepetto. Sadly, the con man Volpe never pays anyone.
In Disney's 1940 Disney feature, Pinocchio goes from "Honest John's" circus to a worse trap called Pleasure Island. There, he and other foolish boys grotesquely mutate into donkeys, ready to be put to unpaid work. Instead of becoming a Real Boy, Pinocchio nearly becomes even more of a puppet, a voiceless instrument in someone else's hands. Thoughtless pleasure-seeking enslaves the boys. Jiminy Cricket ultimately helps Pinocchio to escape -- but his friends do not.
By contrast, Mussolini-era setting enables del Toro to develop a story with different themes. While Mussolini's rhetoric is as omnipresent in the film as in Fellini's Amarcord, Pinocchio seems only interested in its spectacle. Clownish and chronically defiant, he ruins a performance for Il Duce himself by lacing a patriotic song with fart and poop jokes. But circumstances ultimately force Pinocchio into a fascist youth camp. There, he bonds with the village podesta's son, Candlewick. Both boys long to please disappointed fathers. But life in the camp only teaches them that they love life and friendship more than war and death, that defiance is braver than fascist obedience. And, in this version, Pinocchio finally starts on the path toward Real Boyhood when he realizes that life is precious because it's fleeting. A final act reunites him with Gepetto, on a seaborne caper reminiscent of Terry Gilliam's The Adventures of Baron Munchausen. The conclusion dwells on life, death, and renewal -- and leaves you wondering what being a Real Boy means, after all. Beautiful.
All in all, I wish that I'd been able to see this version instead of Disney's 1940 adaptation when I was a kid. I might not have run out of the room midway through. That Pleasure Island bit really upset me when I was five or so ...
Review by TioTatoVIP 3BlockedParentSpoilers2023-01-07T06:11:29Z
Del Toro's is simply the finest Pinocchio adaptation that I've seen. This film combines gorgeous stop-motion animation, peerless voice acting talent, a warm-hearted story to appeal to younger viewers, and enduring themes that will resonate with older audiences as well.
From the moment the Wood Sprite answers the mournful Gepetto's wish, Pinocchio dances with manic joi de vivre. Against the background of fascist Italy, the wooden boy embodies spiritual freedom and defiance -- challenging the village Podesta "Who's pulling your strings?"
Of course, as in most versions of the tale, Pinocchio's naive pleasure-seeking exposes him to manipulation and exploitation. The circus manager Volpe lures Pinocchio away with promises of chocolate and fame. Pinocchio performs as the "puppet without strings," thinking that half of the money his shows earn goes back to Gepetto. Sadly, the con man Volpe never pays anyone.
In Disney's 1940 Disney feature, Pinocchio goes from "Honest John's" circus to a worse trap called Pleasure Island. There, he and other foolish boys grotesquely mutate into donkeys, ready to be put to unpaid work. Instead of becoming a Real Boy, Pinocchio nearly becomes even more of a puppet, a voiceless instrument in someone else's hands. Thoughtless pleasure-seeking enslaves the boys. Jiminy Cricket ultimately helps Pinocchio to escape -- but his friends do not.
By contrast, Mussolini-era setting enables del Toro to develop a story with different themes. While Mussolini's rhetoric is as omnipresent in the film as in Fellini's Amarcord, Pinocchio seems only interested in its spectacle. Clownish and chronically defiant, he ruins a performance for Il Duce himself by lacing a patriotic song with fart and poop jokes. But circumstances ultimately force Pinocchio into a fascist youth camp. There, he bonds with the village podesta's son, Candlewick. Both boys long to please disappointed fathers. But life in the camp only teaches them that they love life and friendship more than war and death, that defiance is braver than fascist obedience. And, in this version, Pinocchio finally starts on the path toward Real Boyhood when he realizes that life is precious because it's fleeting. A final act reunites him with Gepetto, on a seaborne caper reminiscent of Terry Gilliam's The Adventures of Baron Munchausen. The conclusion dwells on life, death, and renewal -- and leaves you wondering what being a Real Boy means, after all. Beautiful.
All in all, I wish that I'd been able to see this version instead of Disney's 1940 adaptation when I was a kid. I might not have run out of the room midway through. That Pleasure Island bit really upset me when I was five or so ...