Not surprisingly, Guillermo del Toro's version of "Pinocchio" is defiantly unique. In his version, Geppetto (David Bradley) is a wood carver who's beloved son Carlo dies tragically during WWI leading him down a spiral of grief and drunkenness. One night he creates Pinocchio (Gregory Mann) in a drunken rage as a replacement for Carlo and the Wood Sprite (Tilda Swinton) takes pity on him and gives Pinocchio life. She makes a deal with Sebastian J. Cricket (Ewan McGregor), an insect who lived in the tree Pinocchio was carved from. If he can guide Pinocchio to being a good boy, he can have a wish.
The first thing that stands out in this film is the magnificent design work. Pinocchio looks very much like a wooden puppet carved in a drunken stupor ... spindly with nails sticking out, missing an ear, and he moves like a monstrous insect until he gets his physical bearings. Sebastian J. Cricket is ... a cricket. The Wood Sprite (and her sister Death, also voiced by Swinton) are blue, sphinx-like beasts with eyes along their wings. The afterlife is inhabited by blue-black skeletal bunnies ... the whole film is a macabre delight.
The message of the film also reverses Disney's emphasis on conformity. Set in pre-WWII fascist Italy, this version emphasizes non-conformity. Ultimately, it's not that Pinocchio needs to learn to behave like Carlo, but Geppetto needs to learn to love Pinocchio for who her is. The fascist elements of the plot are a little heavy handed and lead to the only section of the film that drags (the film's main point could easily be made without this element), but they aren't bad. It's a really delightful film.
The first thing that stands out in this film is the magnificent design work. Pinocchio looks very much like a wooden puppet carved in a drunken stupor ... spindly with nails sticking out, missing an ear, and he moves like a monstrous insect until he gets his physical bearings. Sebastian J. Cricket is ... a cricket. The Wood Sprite (and her sister Death, also voiced by Swinton) are blue, sphinx-like beasts with eyes along their wings. The afterlife is inhabited by blue-black skeletal bunnies ... the whole film is a macabre delight.
The message of the film also reverses Disney's emphasis on conformity. Set in pre-WWII fascist Italy, this version emphasizes non-conformity. Ultimately, it's not that Pinocchio needs to learn to behave like Carlo, but Geppetto needs to learn to love Pinocchio for who her is. The fascist elements of the plot are a little heavy handed and lead to the only section of the film that drags (the film's main point could easily be made without this element), but they aren't bad. It's a really delightful film.