For as long as fairy tales have been told, there always seems to be something new worth discovering within them: a new theme, character trait, or relationship dynamic.Guillermo del Toro’s Pinocchioexpertly manages to mine the classic tale of a wooden boy come to life for novel observations about life and death, right and wrong, and the relationship between fathers and sons.
Directed by del Toro and Mark Gustafson, and rendered in beautiful stop-motion animation, this latest version of Pinocchio (in fact,the second one to come out directly on a streaming service this year) takes a decidedly more mature approach to the story, one that may not quite hit with younger kids, but will definitely make some adults misty-eyed by its final minutes.
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It would be tempting to say that the story begins the way it always does, but that isn’t true this time around. Instead, the film introduces audiences to woodworker Geppetto’s life before he carved a boy from a block of pine, when he had a son named Carlo. This is also when the movie establishes itself in time. Rather than this being a nondescript moment in the past, theopening scenes are set during the Great War, leading to the tragic death of Carlo.
Many years later, a lot has changed, both in small and large ways. A grief-stricken Geppetto (played with a heartfelt surliness byGame of Thronesand Harry Potterveteran David Bradley) has mostly given up on woodworking, leaving a wooden Jesus on the cross unfinished in the previously bombed church. As indicated by newly painted murals in the town, fascism is also on the rise. This may be the first time that Pinocchio has been firmly placed in history, and the tale is much richer for it.The decision calls back toPan’s Labyrinth, in which a dark fairy tale was also rooted in the real-life horrors of war.
In a fit of anger, fueled by excessive drinking and the unhealed wound of losing Carlo, Geppetto builds the wooden boy in his workshop. This sequence subverts everything audiences might think they know about this classic story. Rather than building Pinocchio with care and craftsmanship, as a labor of love, Geppetto aggressively carves, cuts, and builds the pieces of Pinocchio’s body, evokingthe image of Frankenstein building his monster.
Around this time, the story also introduces Sebastian J. Cricket (Ewan McGregor), whose small life is interrupted when the tree he has chosen as his home is turned into a puppet. Of course, the puppet is brought to life in the night by a magical being (designed very similarly to del Toro’sHellboycreationsand voiced by Tilda Swinton), with the cricket being given the job of conscience. The discovery of him by Geppetto is less a heartwarming introduction than a frightening one, even with a jaunty song included. From here on out, the story reflects even more of del Toro’s influences.
Whereas the more well-known Disney version of the story sees Geppetto immediately joyful at having a son, even if he is made of wood, this version of Geppetto is frightened and angry at Pinocchio’s existence. It’s a great twist on the story to see Geppetto rejecting his own creation at first, allowing for more character growth on his part as the story continues. The same goes for Pinocchio, who is immediately brazen, mischievous, and willing to cause trouble.
As with all other versions of the story, Pinocchio eventually leaves home to go on a journey. The difference here is that he chooses to do so in an effort to try and do the right thing. He’s ferried along this journey by the corrupt Count Volpe (Christoph Waltz), who enlists Pinocchio in his traveling carnival, as well as Podesta (played byfrequent del Toro collaborator Ron Perlman), the town’s resident military fascist, who sees Pinocchio as a strong, true Italian, in opposition to his own son Candlewick (Finn Wolfhard).
The particular historical setting is a brilliant choice, as it allows for a more nuanced look at right vs wrong in a classic story that is all about listening to one’s conscience. Granted, this message is sometimes lost in the fray or overshadowed by other big ideas. However, having Pinocchio make more of his own decisions in regards to his journey makes for stronger character development and a more satisfying story overall. Oddly, this doesn’t leave much for Sebastian J. Cricket to do throughout the film besides giving information to other characters and getting repeatedly smashed by heavy objects, but it’s a smart choice regardless, giving Pinocchio much more agency.
One of the big ideas looming over the story is the eternal dichotomy of life and death. This version ofPinocchiotakes a decidedly darker approach to the idea of a wooden boy coming to life, asking whether he can die or not, and what that means for him and those he loves. These dark interludes involve Pinocchio spending time in a darkly realized afterlife with death herself (also played by Tilda Swinton). Despite the seeming contrast of these two ideas, they do manage to get pulled together by the end of the movie, reflectingPinocchio’s ultimate moral about doing the right thing.
The story wouldn’t shine as much without being supported by the beautiful animation on display. Del Toro and Gustafson have created a fully realized world with gorgeous set designs and expressive characters. Along with the fairy tale elements like a living puppet and a giant sea monster are more realistic and grounded elements like warplanes and military compounds. The sets and the people that inhabit them have a lived-in quality that makes them feel real, likely owing tothe more tactile demands of stop-motion animation. This is del Toro’s first time directing this type of animation, but hopefully, the director continues to explore the medium, as it really seems to fit his particular visual style.
As with other animated projects, music plays a part in this story, with a few songs sprinkled throughout the story (as well as a very funny runner involving the cricket’s song). The songs are well-realized and performed, but they don’t quite have the same impact as some of the musical creations put out in other animated films. There’s nothing here that lives up to “No Strings,” and the numbers often feel somewhat truncated. Still the musical work by Oscar-winner Alexandre Desplat lends some great texture to the story, evoking the music of an Italian countryside, and blending happy and melancholy melodies to great effect.
Guillermo del Toro’s Pinocchiois a gift to any animation fan and a beautiful rendering of a classic tale. After being trapped in development hell for years, the director’s vision has finally found its way to the screen, and while it may not be as directly aimed at young kids, it’s certainly a meaningful and mature watch that has more to say than previous incarnations of the wooden boy who came to life.
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