IN BRIEF: Fine production values cannot hide the film's odd and creepy interpretation of the original folktale.
JIM'S REVIEW: (MILDLY RECOMMENDED) Let me begin at the outset to hereby state that I love, love, love Disney's 1940 classic animated film, Pinocchio. That said, this somber Italian fantasy film seems a radical re-telling that clings more closely to Carlo Collodi's 1883 novel but without the enchantment.
Gone is the detailed hand-drawn images. Gone is the infectious music score. Gone is the sentiment story of growing up and wishing upon a star. Gone is the well-earned sense of wonder. The overall story is still recognizable to those who grew up with and know the Disney film. Leave your pre-conceived notions of this folktale behind. This version is definitely different. This Pinocchio is still the story of a puppet who becomes a boy, but the transformation from page to screen this go-round is more akin to a Frankenstein monster let loose in a wicked wicked world. Some moviegoers might ask themselves, "Which becomes the lesser if two evils, the wooden-headed puppet or mankind?" (And Pinocchio wins by a nose!)
Yes, Geppetto (a surprisingly subdued Roberto Benigni) still yearns for a son, be he wooden or not. However, when Pinocchio (Federico Ielapi) appears, he is a full-fledged brat, a juvenile delinquent on a reign of terror. In the original cautionary tale, The Adventures of Pinocchio, our puppet is naive and selfish. As this film adaptation unfolds, Pinocchio begins his coming-of-age tale with a mean streak. He does encounter many obstacles on his series of misadventures, be they, greedy con men or cruel teachers. Yet, some of these incidents are presented more appealingly than others. The screenplay by writer / director Matteo Garrone and Massimo Ceccherini takes the original Collodi source too seriously and in doing so, this film adaptation completely loses its magic.
One can see that there was much care and passion in the making of this lavish movie. Mr. Garrone directs this surreal story with style, although some of our anti-hero's detours go on far too long and the pacing seems lethargic and as bloated as its sea monster. Most of the movie's production values remain strong. The art direction and set design are lovely. Dario Marianelli's melancholy score has many haunting moments while it reinforces the film's more serious tone. The fine camerawork by Nicolai Brüel has a lyrical and naturalistic quality and the CGI is uniformly well done. Pinocchio's wooden complexion is extremely effective throughout the film, but the make-up design with others is inconsistent. A few characters, like the Cricket (far from the Jiminy of yore), the Cat, and the Fox are downright creepy and not fully realized which hinders the film's attempts at magic realism.
The cast is uneven. Mr. Benigni is fine, but young Mr. Ielapi is not very convincing in the title role and eludes the charm factor. In his defense, the character, as written, has no redeeming virtues and remains unlikeable to the end. Rocco Papaleo and Massimo Ceccherrini as the villainess Cat and Fox duo are far too hammy in their roles, although Marine Vacth emits the right degree of innocence as the Fairy with Turquoise Hair (a.k.a. The Blue Fairy) that works quite well.
Pinocchio (2020) is a very mixed blessing. More odd than endearing, the film is always diverting, even if it gets lost in its own Wonderland...without that needed scintilla of wonder. It's a curiouser and curiouser affair, indeed. (GRADE: C+)
JIM'S REVIEW: (MILDLY RECOMMENDED) Let me begin at the outset to hereby state that I love, love, love Disney's 1940 classic animated film, Pinocchio. That said, this somber Italian fantasy film seems a radical re-telling that clings more closely to Carlo Collodi's 1883 novel but without the enchantment.
Gone is the detailed hand-drawn images. Gone is the infectious music score. Gone is the sentiment story of growing up and wishing upon a star. Gone is the well-earned sense of wonder. The overall story is still recognizable to those who grew up with and know the Disney film. Leave your pre-conceived notions of this folktale behind. This version is definitely different. This Pinocchio is still the story of a puppet who becomes a boy, but the transformation from page to screen this go-round is more akin to a Frankenstein monster let loose in a wicked wicked world. Some moviegoers might ask themselves, "Which becomes the lesser if two evils, the wooden-headed puppet or mankind?" (And Pinocchio wins by a nose!)
Yes, Geppetto (a surprisingly subdued Roberto Benigni) still yearns for a son, be he wooden or not. However, when Pinocchio (Federico Ielapi) appears, he is a full-fledged brat, a juvenile delinquent on a reign of terror. In the original cautionary tale, The Adventures of Pinocchio, our puppet is naive and selfish. As this film adaptation unfolds, Pinocchio begins his coming-of-age tale with a mean streak. He does encounter many obstacles on his series of misadventures, be they, greedy con men or cruel teachers. Yet, some of these incidents are presented more appealingly than others. The screenplay by writer / director Matteo Garrone and Massimo Ceccherini takes the original Collodi source too seriously and in doing so, this film adaptation completely loses its magic.
One can see that there was much care and passion in the making of this lavish movie. Mr. Garrone directs this surreal story with style, although some of our anti-hero's detours go on far too long and the pacing seems lethargic and as bloated as its sea monster. Most of the movie's production values remain strong. The art direction and set design are lovely. Dario Marianelli's melancholy score has many haunting moments while it reinforces the film's more serious tone. The fine camerawork by Nicolai Brüel has a lyrical and naturalistic quality and the CGI is uniformly well done. Pinocchio's wooden complexion is extremely effective throughout the film, but the make-up design with others is inconsistent. A few characters, like the Cricket (far from the Jiminy of yore), the Cat, and the Fox are downright creepy and not fully realized which hinders the film's attempts at magic realism.
The cast is uneven. Mr. Benigni is fine, but young Mr. Ielapi is not very convincing in the title role and eludes the charm factor. In his defense, the character, as written, has no redeeming virtues and remains unlikeable to the end. Rocco Papaleo and Massimo Ceccherrini as the villainess Cat and Fox duo are far too hammy in their roles, although Marine Vacth emits the right degree of innocence as the Fairy with Turquoise Hair (a.k.a. The Blue Fairy) that works quite well.
Pinocchio (2020) is a very mixed blessing. More odd than endearing, the film is always diverting, even if it gets lost in its own Wonderland...without that needed scintilla of wonder. It's a curiouser and curiouser affair, indeed. (GRADE: C+)