Two decades after the death of son during World War I, the film follows a man who drunkenly creates a wooden boy to cope with his loss as it comes to life where the boy struggles with not just winning his father’s approval but also what it means to live. It is a film that takes the premise of the story of a man who creates a puppet who turns into a boy as it is set in Fascist Italy at a time when conformity and playing to certain rules are in tow which is something that a puppet with no strings is trying to deal with as well as the idea of love and what it means to exist. The film’s screenplay by Guillermo del Toro and Patrick McHale is told largely by a cricket in Sebastian J. Cricket (Ewan McGregor) about the titular character (Gregory Mann) and how he had been created by this lonely carpenter in Geppetto (David Bradley) after having lost his son Carlo (Gregory Mann) during an aerial bombing in World War I as he had been ravaged by grief until he cuts down a tree where Cricket was living and turned it into a puppet. It is then where a fairy in the Wood Sprite (Tilda Swinton) would cast a spell for the puppet to come to life while asking Cricket to watch over and guide him.
While Geppetto’s initial encounter with Pinocchio has him confused and frightened as does Pinocchio’s appearance at the town’s local church. Geppetto does what he can to steer Pinocchio the right way but also him wanting to be like Carlo yet there is also pressure from the Podesta (Ron Perlman) who wants Geppetto to ensure that Pinocchio becomes part of the Italian Royal Army upon a major discovery they would have much to Geppetto’s horror. Even as Pinocchio would encounter the failing circus ringmaster Volpe (Christoph Waltz) who would get Pinocchio to sign a contract that would keep him out of the eye of the Podesta but also keep Pinocchio performing in order to keep Geppetto out of debt. It all plays into Pinocchio’s development and his conversations with Cricket as it has him thinking about not just wanting to live but also to find his own voice as he watches the abuse that Volpe has on his longtime assistant monkey Spazzatura (Cate Blanchett) as well as a closer look into the world of Fascist Italy upon being watched by the Podesta at youth training camp.
The direction of del Toro and Mark Gustafson is astonishing in its overall presentation due to the attention to detail that both men put into its look as it is created on studio locations in Portland, Oregon and Guadalajara, Mexico. With Gustafson and his team of animators doing much of the stop-motion work with production designers Guy Davis and Curt Enderle, with set decorators Jesse Gregg, Gillian Hunt, Samantha Levy, Molly Light, Laura Savage, and Zach Sheehan plus art directors Andy Berry, Karla Castaneda, Robert DeSue, and Juan J. Medina, helping to create much of the backdrops in the look of the forests and woods in such grand detail. Even with Davis also creating some of the creatures including Cricket, Spazzatura, and the sea monster for the film’s climax, there is a look that is del Toro in terms of its approach to death as well as horror with the former involving a sequence in which Pinocchio meets a death fairy (Tilda Swinton) in a surrealistic presentation of the afterlife. Since the film is also based on the illustrations of Gris Grimly, del Toro and Gustafson maintain this look that quite wobbly in its presentation as there is a realism to the animation as well as a physicality in how they take this story and set it into a world where there are elements of politics and existentialism in the mix.
Even in a scene where Pinocchio asks his father why people don’t like him but love this model of the crucifixion as it is among these things that Pinocchio would go into. The compositions that del Toro and Gustafson create add to the drama that Pinocchio goes through in the wide and medium shots in a location or in one of Pinocchio’s stage performances as well as close-ups that play into the characters as they cope with whatever situation they’re in. Notably in the climax as it plays into Pinocchio and Geppetto dealing with a sea monster as all of the lessons that Pinocchio would learn allows him to deal with the situations as well as an understanding of both life and death. Overall, del Toro and Gustafson craft an exquisitely moving and ravishing film about a wooden boy who comes to life and learns about existence and identity during the era of Fascist Italy.
Cinematographer Frank Passingham does incredible work with the cinematography as it helps the look of the film give it a sense of physicality in the lighting while helping to set mood to help bring more texture to the production design. Editors Ken Schretzmann and Holly Klein do amazing work with the editing as it is largely straightforward to play into some of the musical numbers but also in some of the dramatic and terrifying moments with its rhythmic cuts. Visual effects supervisors Cameron Carson and Aaron Weintraub do excellent work with the visual effects as it is mainly set dressing for some scenes involving war and fire as it help broaden the visuals. Sound designer Scott Martin Gershin does brilliant work with the sound in the way certain objects sound as well as the way an instrument sounds on a location or how bombs sound from afar. The film’s music by Alexandre Desplat is phenomenal with its rich orchestral score that has elements of lush strings and orchestral pianos themes along with some offbeat percussive-based themes while the soundtrack also feature original songs written by Desplat along with lyrics by del Toro, McHale, and Roeben Katz that add to the drama and humorous moments in the film that are sung by its cast.
The casting by Mary Hidalgo is great as it feature some notable small voice roles from Tom Kenny in a trio of voice performances as a sea captain, a right-hand for Mussolini, and the Italian Fascist leader Benito Mussolini as well as Tim Blake Nelson as a quartet of black rabbits, John Turturro as a doctor in the small town Geppetto lives in, Burn Gorman as the local priest, Finn Wolfhard as the son of the Podesta in Candlewick who at first bullies Pinocchio only to befriend him late in the film, and Cate Blanchett in a superb voice cameo as Volpe’s monkey assistant Spazzatura who talks through puppets where Blanchett brings unique voices as a monkey who is jealous of Pinocchio only to realize the good in Pinocchio. Tilda Swinton is fantastic in a dual voice role as the magical fairy known as the Wood Sprite and her sister known as Death where Swinton brings different tones to the two characters as they lament on the ideas of both life and death. Ron Perlman is excellent as the Podesta as a Fascist government official who sees Pinocchio at first as a freak only to see that he could become a symbol for the government in their rise while trying to raise his son as a perfect soldier for Fascist Italy.
Christoph Waltz is brilliant as Volpe as a former aristocrat-turned circus ringmaster who sees Pinocchio as a way to get him back into aristocracy as well as a chance to get in the good graces of Mussolini as he brings a charm to this evil character. Ewan McGregor is amazing as Sebastian J. Cricket as the film’s narrator and conscience-of-sorts who tries to steer Pinocchio onto the right path while dealing with being squished and such as well as trying to do what he can where he laments over his role. David Bradley is incredible as Geppetto as a woodcarver/carpenter who laments over the loss of his son as well as dealing with Pinocchio as he is someone ravaged by grief while trying to understand the many flaws of Pinocchio while trying to go on a search for him when Pinocchio joins the circus. Finally, there’s Gregory Mann in a sensational voice performance in the dual role of Carlo and the titular character as he brings an exuberance and innocence to the former as well as an energy into the latter as well as this vulnerability of someone who is just trying to understand the ideas of life and death where Mann brings a lot of life into both of these roles.
Pinocchio is a tremendous film from Guillermo del Toro and Mark Gustafson. Featuring a great ensemble cast, gorgeous visuals, ravishing art direction, its story of existentialism and identity, amazing character/creature designs, and Alexandre Desplat’s enchanting music score. It is a film that takes a tale told many times but bring something new to it and set it during a tumultuous time in world history as it help play into a wooden boy trying to find himself as well as a physicality that gives the film an edge in its stop-motion animation presentation. In the end, Pinocchio is a magnificent film from Guillermo del Toro and Mark Gustafson.
Guillermo del Toro Films: Cronos - Mimic - The Devil's Backbone - Blade II - Hellboy - Pan's Labyrinth - Hellboy II: The Golden Army - Pacific Rim - Crimson Peak - The Shape of Water - Nightmare Alley (2021 film)
Related: (Pinocchio (1940 film)) - The Auteurs #10: Guillermo del Toro
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3 comments:
I'm glad the voice actor for Pinocchio worked for you because oh man, did it not work for me. I hated it. That and the misplaced songs really killed this for me, which is a shame because I liked the take on the story.
I thought this was great. It's not only gorgeously animated, but it feels like a legitimately new interpretation of an old story that has all of the important elements of the classic tale, but with parts that make it feel modern.
I hope it gets an Oscar nomination. It won't win, but I hope it gets nominated.
@Brittani-I actually didn't mind the songs since I felt it help played into the development of the character though I'm glad you liked this take of the story. I saw a little bit of the recent Disney version by Zemeckis and... I was like "fuck this".
@SJHoneywell-That's one of the reasons why it worked for me as I thought it was a new take instead of doing the stupid by-the-numbers bullshit that's been told many times and Guillermo did the right thing in just going "no, we're not going to do it like that. We're going to do it absolutely differently" and it worked. He better fucking win some Oscars for this. Him, Mark Gustafson, and the animators.
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