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Guillermo del Toro’s Pinocchio
(Netflix)
By Lucas Allen
Since the publication of the original story by Carlo Collodi in 1883, the fairy tale “Pinocchio” continues to be discovered by younger generations through the magic of film. Disney famously brought it to life in 1940 through its then-groundbreaking hand-drawn animation, and naturally, they recently remade it in live-action for its Disney+ debut last September. Now, it’s Oscar-winning director Guillermo del Toro’s turn to bring a unique vision to this oft-adapted story this time through the magic of stop-motion animation. “Guillermo del Toro’s Pinocchio” is likely the finest version of the tale ever conceived that would make even Walt Disney himself blush.
Updating the story to early 20th-century Italy, the film is told from the perspective of a little cricket named Sebastian J. Cricket (Ewan McGregor). While searching for a home to write his memoir, he discovers an old wood maker named Geppetto (David Bradley) mourning the loss of his son Carlo (Gregory Mann) after a bomb blast during World War I. One stormy night, the drunken old man cuts down a tree and makes a wooden puppet out of it, hoping it resembles his dead son. Then a magical wood spirit (Tilda Swinton) brings the puppet to life, with Sebastian tasked to be his conscience. The next morning, Geppetto becomes surprised to see a living puppet now named Pinocchio (also Mann) in his house.
It’s not long before this walking and talking puppet attracts some attention. Count Volpe (Christoph Waltz) wants him to be the star of his traveling puppet show being co-run by his pet monkey Spazzatura (Cate Blanchett), while the Podesta (Ron Perlman) wants to recruit him for fascist leader Mussolini’s youth army with his son Candlewick (Finn Wolfhard). This brings Pinocchio through one adventure after another, while learning some lessons from both Sebastian and Death (also Swinton).
Though the story remains familiar, del Toro still finds a way to freshen it up for his film version by making sure it stands out in its own way. With the stop-motion animation, it complements the original author’s imagination as well as bringing a different style and substance than what Disney has previously done twice already. A lot of the time, the movie looks bright and colorful, but it’s also not afraid to linger into the darkness, similar to what Tim Burton’s “The Nightmare Before Christmas” did. It’s best to describe this PG-rated film as the kind that works for the bigger kids and the grown-ups.
The movie is a steady mix of comedy and adventure with doses of heavy drama. It also carries the theme of fathers and sons more prominently than in previous adaptations, with Geppetto bringing a greater burden of fatherhood towards his puppet. There are some musical numbers scattered throughout almost like del Toro was directing a classic Disney film, though they’re not as memorable as the ones from the 1940 version. However, the stunning animation and set design help bring this one over to the top.
As far as the voice acting goes, it all fits well for the movie’s tone. Top-billed McGregor brings wisdom and charm to his performance plus he gets to sing a big number in the end that’s very catchy. Both Mann and Bradley also bring heart to their roles as well as provide the movie’s soul. Waltz is delightful in his villainous role, while del Toro regular Perlman offers a more low-key antagonist role that’s perfectly suited for him. Another del Toro regular, Swinton, does double duty as both a version of the Blue Fairy and the angel of death that wonderfully fits her.
“Guillermo del Toro’s Pinocchio” certainly has more to show about its fairy tale origins than any recent adaptation. Funny, dark, and entertaining; it once again shows a true visionary filmmaker at the top of his game. His fans and filmgoers can look forward to what he’ll produce next.
THE MOVIE’S RATING: PG (for dark thematic material, violence, peril, some rude humor, and brief smoking)
THE CRITIC’S RATING: 3.5 Stars (Out of Four)
