GUILLERMO DEL TORO’S PINOCCHIO
Accept nose substitutes…
Guillermo del Toro’s stopmotion masterwork offers a typically unique take on the oft-adapted story of the wooden boy who wants to be real. Co-directed by animation veteran Mark Gustafson, Pinocchio cherry-picks some recognisable elements from Carlo Collodi’s original 1883 children’s book. But those expecting something as moppet-friendly as the 1940 Disney ’toon may be in for a shock.
Set in Italy at a time when Mussolini and fascism are on the rise, it’s closer to del Toro’s Spanish Civil War-era fable Pan’s Labyrinth than anything else. The story begins with kindly woodcarver Geppetto (David Bradley), who suffers unimaginable grief when his son Carlo is killed by an aerial bomb. “The world moved on, but Geppetto did not,” we’re told, as he’s left heartbroken, consoling himself with booze.
One night, angry and drunk, he cuts down a tree and creates a wooden boy. When he falls asleep, a magical spirit brings life to this lad, naming him Pinocchio. Looking on is Sebastian J. Cricket (Ewan McGregor), an amusingly pompous insect (and the film’s occasional narrator) who agrees to care for the boy. Initially terrified of his creation, Geppetto is also unable to discipline the mischievous Pinocchio, whose nose famously grows every time he lies.
But there are other, more pernicious forces who prey on this handmade miracle. Carnival barker Count Volpe (Christoph Waltz) and his monkey Spazzatura (Cate Blanchett, doing her best simian impression) have designs on exploiting him as the next main attraction, while the Podestà (Ron Perlman), the town’s local fascist government official, wants him to be a model Italian soldier.
There’s much more to come in a story that grapples with meaty themes of immortality, time and parental love. Inspired by artist Gris Grimly’s work in the 2002 edition of Collodi’s book, the earthy design of Pinocchio may take a little getting used to. But from the holes in Carlo’s shoes to a string of sausages that look good enough to eat, every inch of this film is lovingly designed.
Meanwhile, the voice casting, led by a buoyant Gregory Mann as Pinocchio, is spot-on. Some kids might not find it immediately accessible, though for most there’ll be something to love, not least the occasional, utterly charming songs. Adults, on the other hand, will revel in every frame of this exceptional reinterpretation of a storybook classic.
THE VERDICT Exquisite craftsmanship, warm voice acting and political nuance make for a wondrous new spin on an age-old fable.