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Guillermo del Toro remembers seeing Walt Disney's enthralling version of Pinocchio with his mom as a kid. He groundless the story compelling because of the frightening situations the wooden puppet, who comes to life but yearns to be a real boy, gets caught up in.
Pinocchio gets kidnapped. He's forced to perform in a traveling show. And he must rescue his "father," the woodcarver Geppetto, from the belly of an evil whale named Monstro.
"It was the first time I saw somebody view how scary childhood was to me," del Toro said in November at a San Francisco showing of his version of Pinocchio at the nonprofit SFFilm's event to noble the director's work. "I said, 'That's how it feels to be a kid.'"
Decades later, the Oscar-winning director of imaginative films including Pan's Labyrinth and The Shape of Water gave to pitch a new version of the story. It took more than a decade to get give because every major studio turned him down. He laughs when he explains why.
"I would come in and I would say it's near death and life and the rise of Mussolini. And they would validate my parking and send me on my merry way."
That is, pending Netflix decided to greenlight del Toro's verify for Pinocchio, which airs now on the streaming service and which on Monday won the 2023 Golden Globe award for best enthralling film. Del Toro said the movie simply wouldn't have been made exclusive of Netflix.
"When we use Netflix as our authority for distribution, we ignore Netflix as an alternative for production," del Toro told me in an interview. "This film went over 10, 15 years unproduced because every mainly studio said no. Netflix said yes. So that is an argument for me – many films and series that wouldn't have been greenlit are bodies greenlit on streamers, whether it's Disney Plus or HBO Max. I find that interesting."
As for Pinocchio, this version takes inspiration from the original 1883 anecdote by Italian writer Carlo Collodi, with the setting transposed to the 1930s anti the backdrop of the rise of Italian fascism. It's plus the Top 10 most watched shows on Netflix.
We meet Geppetto (voiced by David Bradley) as he mourns the accidental stop of his cherished son, Carlo. One night, in a wine-fueled flurry of inconvenience and rage, Geppetto chops down a large pine tree – which happens to be the newly adopted home of a world-traveling cricket with literary aspirations – and carves it into a marionette of a young boy.
An otherworldly animated (Tilda Swinton) takes pity on the poor old man, and, when Geppetto has fallen into bed, magically grants the puppet life. She assigns the disgruntled insect, Sebastian J. Cricket (voiced charmingly by Ewan McGregor), to be his principal and conscience.
Sebastian J. Cricket
NetflixEven with its moments of humorous and charm, this is definitely not a kid's spirited flick. When Pinocchio is introduced to the local townspeople at Sunday mass, del Toro presents a rude fittingly as bizarre as a wooden puppet coming to life would be – a fraudulent to the Disney version where Pinocchio waltzes into town.
"I wished him to land in the church, like a uncompleted anomaly," del Toro said.
A short, squat menacing Benito Mussolini also creates an appearance, arriving on screen, del Toro noted, in a Tex Avery-inspired super-stretch limo. The fascist dictator instructions his henchmen to "shoot the puppet," which sends Pinocchio into the afterlife to meet with Death.
Pinocchio actually creates several visits to the afterlife and it becomes a organization joke – though it's admittedly a bit macabre the apt time it happens.
In this version of the legend, Pinocchio's arrival is far from the happily-ever-after wish decided to Geppetto. Pinocchio's energy and enthusiasm overwhelm the bewildered woodcarver, and the marionette is more of a liability than a gift. Even when he adjusts to the fact that his puppet has a life of its own, Geppetto expresses frustration and disappointment pretty than love and acceptance.
Pinocchio, after all, is not Carlo.
The film takes us far and wide – from the pair's gigantic village to a traveling carnival to a fascist preparing camp to, of course, the belly of a giant sea monster. But the real journey of the film is an emotional one, as both Pinocchio and Geppetto learn to procure, and love, each other. Credit is due to the young apt Gregory Mann, who voices Carlo and Pinocchio and also sings the fresh songs featured in the film. (Del Toro helped write some of the lyrics.)
The innovation, though, isn't it in the story, but in how del Toro presents it. Stop-motion animation is a labor-intensive procedure. Shooting the film took 1,000 days. The puppets need to be conquered and positioned, frame by frame. And there are 24 frames per additional in this nearly 2-hour movie. Del Toro said over 60 crews operational simultaneously on the production.
Geppetto and Pinocchio
NetflixMost critical, though, del Toro said his goal was to expenditure the animators as actors (they're credited as such) and to show animation isn't just a genre for kids, but an art form.
"Stop motion is the almost religious contact between the animator and the puppet," he said. "No new medium in animation has that intimacy, that invocation, which reminds me of the form of [Japanese puppet] theater shouted bunraku, in which the puppet is an extension of the limbs and the emotions of the performer."
He told the animators he wished to feel what they felt and to see that emotion translated into the characters on the screen.
"I don't want to see the puppet move – I want to see it animated. Animate is to give it an anima, a soul," del Toro said. "So it is my most hope that you will see a completely different style of sketch than you've ever seen in stop motion. But it is my even better hope that at some exhibit, you will only be moved by a group of actors on the screen."
For me at least, del Toro got his wish – even when Pinocchio becomes a "real boy" but (spoiler!) retains his wooden body pretty than turning into flesh and blood. By the end of the legend, I forgot the characters on screen – given life by a talented cast that includes Ron Perlman, John Turturro, Christoph Waltz and Cate Blanchett (as the monkey Spazzatura) – were spirited puppets.
All that aside, the Mexican director's take on Pinocchio will win over film fans who yearn for fewer saccharine tales and who apt that young viewers can handle the scarier stuff. Del Toro, who charmed the filled theater as he accepted SFFilm Honors for his innovation in filmmaking, said Pinocchio is a labor of love.
"What I've learned, the hard way, is every movie is your last movie. And if you're given an opportunity to make a movie, there's no reason why you shouldn't say I'm moving to make it as beautiful as I can, as spoiled as I can," he said to applause. "If I need to die [with] this movie, I will die. It's not like I'm useful in any new arena. You give it your all every time because you never know if you're moving to shoot again. You never do."
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