| Guillermo del Toro's Pinocchio | |
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.jpg) Release poster | |
| Directed by | |
| Screenplay by |
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| Story by |
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| Based on | Pinocchio byCarlo Collodi[a] |
| Produced by |
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| Starring | |
| Cinematography | Frank Passingham |
| Edited by |
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| Music by | Alexandre Desplat[1] |
Production companies |
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| Distributed by | Netflix |
Release dates |
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Running time | 117 minutes[3] |
| Countries |
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| Language | English |
| Budget | $35 million[5] |
| Box office | $109,846[6] |
Guillermo del Toro's Pinocchio (or simplyPinocchio) is a 2022 animatedmusicaldark fantasy film[7] directed byGuillermo del Toro andMark Gustafson, from a story byMatthew Robbins and del Toro, and a screenplay by del Toro andPatrick McHale. It is loosely based onCarlo Collodi's 1883 Italian novelThe Adventures of Pinocchio, with the title character's design strongly influenced by illustratorGris Grimly's work. Set inFascist Italy during theinterwar period, the story followsPinocchio, a wooden puppet who comes to life as the son of his carver,Geppetto. The film stars the voice of Gregory Mann as Pinocchio andDavid Bradley as Geppetto, alongsideEwan McGregor,Burn Gorman,Ron Perlman,John Turturro,Finn Wolfhard,Cate Blanchett,Tim Blake Nelson,Christoph Waltz, andTilda Swinton.Pinocchio was the final film credited to Gustafson before his death in 2024.
A longtime passion project for del Toro, who considers that no other character ever "had as deep of a personal connection to [him]" as Pinocchio, the film is dedicated to the memories of his parents. It was originally announced in 2008 with a release in 2013 or 2014. However, it went intodevelopment hell. In January 2017, McHale was announced to co-write the screenplay, but production was suspended in November 2017 as no studios were willing to provide financing. It was revived the following year after being acquired byNetflix.
Pinocchio premiered at the66th BFI London Film Festival on October 15, 2022. It was released inselect theaters on November 9, and beganstreaming on Netflix on December 9. The film received widespread critical acclaim for its direction, writing, voice performances, animation, production design, musical numbers, and faithfulness in retaining the darkness of the source material. Amongits numerous accolades,Pinocchio won Best Animated Feature category at theAcademy Awards,BAFTA Awards,Golden Globe Awards,Critic's Choice Awards andPGA Awards.
InItaly, woodcarverGeppetto loses his son Carlo to anaerial bombardment byAustro-Hungarian forces duringWorld War I. Twenty years later, he uses the pine wood planted in Carlo's grave to create a puppet in drunken despair. TheWood Sprite appears in the middle of the night and brings it to life, christening himPinocchio due to the puppet being made of pine, and assignsSebastian J. Cricket, who formerly lived inside the pine wood, to guide him morally, promising him a wish in exchange. Geppetto wakes up and is frightened by Pinocchio exploring and destroying his home. He becomes fed up with Pinocchio's antics due to his newborn lack ofself-control, and he decides to send the boy to school. He gifts Pinocchio a schoolbook that used to belong to Carlo.
On his way, Pinocchio is intercepted by showmanCount Volpe and his monkey Spazzatura, who bring Pinocchio to their circus to perform. Geppetto arrives to take him back, resulting in a confrontation that causes them to fight over him and ends with Pinocchio being fatally hit by thePodestà's truck. In the afterlife, he meets the Wood Sprite's sister,Death, who explains that he is immortal and revives when an hourglass empties, cautioning that each time he dies, he will spend longer in the afterlife before returning to life.
After Pinocchio comes back to life, an army officer hears about him and meets up with Geppetto. The officer tells Geppetto that Pinocchio may be a distraction by others and should be sent to military youth camp by law. Geppetto is conflicted over sending Pinocchio to youth camp or sending him to perform in the circus. Seeing Geppetto upset, Pinocchio decides to earn money for him by performing in the circus, and to avoid being conscripted into theArmy by the Podestà, who thinks his immortality makes him the ideal soldier. A jealous Spazzatura, the former star, reveals to Pinocchio that Volpe has been lying to him about sending half their profits to Geppetto. Hearing this, Volpe viciously beats Spazzatura as a result, upsetting Pinocchio, who performs a song ridiculingBenito Mussolini while he is in attendance. Mussolini has Pinocchio executed and the circus burned down.
Once revived, Pinocchio is taken by the Podestà tomilitary recruit training, where other boys are trained for war. He befriends the Podestà's mistreated son,Candlewick. At a training game, Pinocchio and Candlewick win in a tie; the Podestà orders Candlewick to shoot Pinocchio, but he refuses and finally stands up to his father. The training camp is then bombed byAllied aircraft, killing the Podestà, while the boys flee. Pinocchio is captured by Volpe, who tries toburn him to death as revenge for ruining his career. Spazzatura saves Pinocchio and attacks Volpe, resulting in all three falling off a seaside cliff, which kills Volpe.
Lost at sea, Pinocchio and Spazzatura are swallowed bythe Terrible Dogfish. Inside its belly, Pinocchio and Spazzatura find Geppetto and Sebastian, who were also swallowed during their search for Pinocchio. Sebastian realizes they can escape the dogfish by climbing out of its blowhole. Pinocchio lies to make his nose grow into a large branch, forming a bridge leading out of the monster's blowhole. As the dogfish attempts to eat them again, Pinocchio sacrifices himself by detonating anaval mine inside the dogfish, killing them both. Upon meeting Death again, Pinocchio demands to be sent back early to save Geppetto from drowning. Aware that it will make him mortal, Pinocchio breaks the hourglass to return and dies saving his father. The Wood Sprite reappears to a mourning Geppetto and Sebastian, who uses his wish to make her revive Pinocchio.
Pinocchio, Geppetto, Sebastian, and Spazzatura return home to live together as a family. After outliving all of them, Pinocchio decides to travel the world and find his own place in life.
In 2008,Guillermo del Toro announced that his next project, a darker adaptation of the Italian novelThe Adventures of Pinocchio (1883), was in development.[11] He has calledPinocchio his "passion project", stating: "No art form has influenced my life and my work more than animation, and no single character in history has had as deep of a personal connection to me asPinocchio", and "I've wanted to make this movie for as long as I can remember".[12] When he was a child, del Toro saw and likedWalt Disney's1940 animated film adaptation inGuadalajara, Mexico, partially because he felt it was like a "horror movie" in its own way due to a few intense moments it included. Since his teen years, he had longed to make his own version of the story. In 2003, del Toro discoveredGris Grimly's illustrations for the 2002 edition ofCarlo Collodi's book, portraying Pinocchio as a puppet with a long, pointed nose and spindly limbs, with gestures that del Toro felt captured the energy of an unruly but otherwise goodhearted puppet. He concluded that Grimly's illustrations reflected the setting he had in mind for his own, more somber version of Collodi's tale.[13] When del Toro asked Grimly why Pinocchio looked the way he did, Grimly said it was becauseGeppetto was drunk when he made him. This thought evolved into an important part of Geppetto's backstory.[14]
On February 17, 2011, it was announced that Grimly and Mark Gustafson would co-direct astop-motion animatedPinocchio film written by del Toro and his long-time collaboratorMatthew Robbins, and that it would be visually based on Grimly's designs. Del Toro would produce the film along withThe Jim Henson Company andPathé.[15] Grimly devised Pinocchio's look for the film, depicting him as unfinished wood.[8] Though Grimly was initially set to direct the film and del Toro was set to produce it,[13] on May 17, 2012, del Toro took over as director.[16] He then teamed up with Gustafson, a stop-motion veteran who had experience in similar stop-motion features likeFantastic Mr. Fox (2009), to assist him in achieving his ambitious vision for the project.[13] In February 2012, del Toro released someconcept art of Pinocchio, Geppetto, theTalking Cricket,Mangiafuoco andthe Fox and the Cat.[17] On July 30, 2012, it was announced that the film would be produced and animated byShadowMachine. It was originally scheduled to be released in 2013 or 2014,[18] but went intodevelopment hell, with no further information forthcoming about it for years.
On January 23, 2017,Patrick McHale was announced to co-write the script with del Toro.[19] On August 31, 2017, del Toro toldIndieWire at the74th Venice International Film Festival that the film would need a budget increase of $35 million or it would be cancelled.[20] On November 8, 2017, he reported that the project was not happening because no studios were willing to finance it.[21] At one point, Matthew Robbins considered making a 2D-animated version of the film with French artistJoann Sfar to bring the costs down, but del Toro decided that it had to be stop-motion, even if the higher budget made it harder to get itgreenlit.[22] On October 22, 2018, it was announced that the film had been revived, withNetflix acquiring it, and Pathé no longer involved.[23]
Almost all the years of development were spent by del Toro and Gustafson defining the designs for the principal characters, basing them on either Grimly's designs or letting del Toro's frequent collaboratorGuy Davis, who joined the project as co-production designer with art director Curt Enderle, to design them. They then gave the animation models to England's Mackinnon & Saunders stop-motion puppet firm, which is considered by del Toro to be the "best in the world", and they fabricated the designs of Pinocchio, Geppetto, Sebastian J. Cricket, Count Volpe, and Spazzatura the Monkey.[13] Most of the key characters have mechanical heads to create facial expressions, but for Pinocchio, a metal 3-D printed puppet, 3000 replacement faces were used.[24]
The antagonist Count Volpe is a combination of Mangiafuoco and the Fox from the original story. Mangiafuoco was originally supposed to appear in the movie as an antagonist, but he was removed halfway through production as del Toro disliked the character and thought he was acliché; as a character model had already been made for Mangiafuoco, to not waste the model, Mangiafuoco's original design was used as a background character for Volpe's circus as a strongman.[25][26] The Cat, who was shown in a concept art, was replaced by Spazzatura, while theLand of Toys was replaced with an Italian kids training camp.[27] At first, the fairy with blue hair was a dead girl from the same cemetery where Carlo was buried. This was changed into two angel-like beings, which ended up as the two sisters of life and death, and Carlo was no longer buried in a cemetery;[28] their design as supernatural winged beings with multiple eyes harkens back to the biblicalseraphim as well as to the Angel of Death fromHellboy II: The Golden Army (2008).[10]
To me, it's essential to counter the idea that you have to change into a flesh-and-blood child to be a real human. All you need to be human is to really behave like one, you know? I have never believed that transformation [should] be demanded to gain love.
Guillermo del Toro was intrigued by similarities between Collodi'sThe Adventures of Pinocchio andMary Shelley's novelFrankenstein; or, The Modern Prometheus (1818). Both tell of a childlike figure, brought to life and thrown into the world by a father figure who expects him to discover, on his own, the qualities that make us human, such as love and the capacity to distinguish between right and wrong. These themes reminded del Toro of his childhood.Frankenstein partly inspired del Toro to give hisPinocchio agothic direction, but the film was still crafted to be family friendly. He sought to make connections across generations, and convey compassion, a value del Toro feels is essential for children faced with the tremendous complexity of today's world.[8]
In del Toro'sPinocchio, the wood used to construct the puppet is carved from a tree that grows over the grave of Carlo, Geppetto's son. Pinocchio's arrival provides his grief-blinded father another opportunity for fatherhood. However, Pinocchio is rowdy, exuberant, and wild, in contrast to the well-behaved and docile Carlo. The characterization of Sebastian J. Cricket, the talking cricket, is also changed. Sebastian somewhat ponderously takes on the role of Pinocchio's conscience. His self-importance annoys Pinocchio, causing him to escape Sebastian's supervision. The cricket comes to see that Pinocchio must discover certain things for himself, such as love, humility, and how to behave. As in the original book, Sebastian is "killed" a number of times over the duration of the film, but always comes back in order to fulfill hischaracter arc.[8] Del Toro did not wish to overly rely upon magical creatures in the film. Desiring more realism, he reworked the Fox into a human, naming him Count Volpe and having him replace Mangiafuoco as an homage to and amalgamation of both characters. The Cat was omitted and the Land of Toys was transformed into an Italian children's training camp. In the donkey subplot,the Coachman is replaced by thePodestà, afascist official who, realizing that Pinocchio cannot be killed, strives to recruit him intoItaly's military.Candlewick is changed into a bully who eventually redeems himself.[8]
Most versions of the story take place in afairy tale environment. Del Toro's film resituates the story inFascist Italy betweenWorld War I andWorld War II, during the rise ofBenito Mussolini. Pinocchio thus awakens in a society of people who behave like obedient puppets. By contrast, Pinocchio is independent and irrepressible.[8] He cannot bring himself to abide by the rules or submit to authority figures, even when he encounters Mussolini himself, and then the spirit ofDeath, inlimbo. Gustafson was drawn to this characterization of Pinocchio, newly born, arriving in the world fresh and unaware of consequences. Over the course of the narrative, Pinocchio awakens to his latent humanity, and in the end chooses to become mortal in order to save the life of Geppetto.[13] Del Toro chose to move away the original book's apparent agenda, which can be interpreted as a moral tale that seeks to repress the spirits of children, encouraging blind obedience to parents and other authority figures. Del Toro, however, saw the development of Pinocchio's autonomy as a virtue. Del Toro's film is oriented around self discovery and moral agency. Del Toro's sought to explore aspects of father-son relationships, such as Geppetto's initial inability to accept Pinocchio as his own being, more than just Carlo's replacement. Geppetto struggles with guilt about the disruptiveness of the "freakish monster" that the town rejects initially.[8] Some themes of this work may seen in previous works such asThe Devil's Backbone (2001),Pan's Labyrinth (2006) andThe Shape of Water (2017). These three films also explore the humanity of those, like Pinocchio, who are perceived as different.[13]
Most previous renditions of this story feature the necessity of physical transmutation from wooden puppet to flesh and blood. Del Toro explicitly rejects this concept, that Pinocchio must physically change in order to be loved by his father and find happiness. The film asserts that the essence of humanity lies in the feelings of interiority and the expressions of exteriority, especially as behavior.[8] Pinocchio is therefore unconcerned with whether or not he turns into a "real boy". The basis of the transformation is instead Geppetto's journey to accepting and loving Pinocchio for who he is. In the end, he loves him as fiercely as he did Carlo. This reminded del Toro of his relationship with his father Federico.[13]
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In assembling the film's voice cast, del Toro and Gustafson selected multipleAcademy Award winners and gifted performers with past creative ties with the former.[13]Daniel Radcliffe,Tom Waits andChristopher Walken were originally considered to star in the film. Waits was reportedly considered to voice Geppetto and del Toro was reported by/Film to be floating up casting Walken as the Fox, though he was also consideringDonald Sutherland for that part. Radcliffe would later instead remain as executive producer of the film.[29] Early on during the film's development, del Toro first approachedJohn Hurt, with whom he had worked onHellboy (2004) andHellboy II: The Golden Army, to voice Geppetto, but Hurt eventually died in 2017 long before any recordings for the film could begin.[30]
On January 31, 2020, it was announcedRon Perlman,Tilda Swinton,Ewan McGregor,Christoph Waltz andDavid Bradley had joined the cast of the film.[31] Bradley was chiefly cast due to his previous collaborations with del Toro on the television seriesThe Strain andTrollhunters: Tales of Arcadia. He considered his role as Geppetto to be a "real emotion rollercoaster" of a part, feeling it to resemble moreKing Lear than thePinocchio story he had heard as a child.[13] Perlman was originally cast to voice Mangiafuoco, but once del Toro decided to remove the character in favor of Count Volpe, Perlman was recast as the Podestà while Waltz was cast as Volpe, who del Toro regards as the film's closest character to theDevil, a more over-the-top character than the Fox and the Cat and a comically evil man who seems like taken out from the cartoonish and fantastical tone of the original book.[26]
On August 19, 2020, Gregory Mann,Cate Blanchett,Tim Blake Nelson,Finn Wolfhard,John Turturro andBurn Gorman were added to the cast.[32] For Pinocchio, del Toro sought a child actor who sounded like an ordinary boy instead of a cute one, which led him to cast Mann for his phenomenal vocal range that made him sound like a natural child, yet one absolutely emotional.[13] Mann's vocal performance provided a "silly and sunny" personality for the titular character who longs to learn about the world and meet everyone, but given how he was created with the wood of the tree next to Carlo's grave, his roots are somewhat sad.[8] Wolfhard, who is not particularly fond of voice acting due to feeling himself not as proficient as professional voice actors, was nevertheless relaxed enough to record some of his lines as Candlewick together with Mann, as he felt that he performs voice-over better with people around instead of alone in a recording booth, crediting del Toro and Gustafson for allowing him that.[33] Blanchett approached del Toro about joining the film as they worked together onNightmare Alley (2021); he told her that all roles had already been cast minus that of Spazzatura the Monkey, which Blanchett gladly accepted as long as she could work with del Toro again. She also suggested that the monkey was her spirit animal as del Toro prepared to commence production ofPinocchio to ensure her casting. Blanchett recorded her voice-over shot-by-shot instead of making different emotion sounds to be edited later on like it is usually done in other productions.[34]
Filming commenced at thePortland, Oregon offices of ShadowMachine by January 31, 2020.[13][31] Production continued through early summer 2022, with some select sequences being handled by del Toro's own Centro Internacional de Animación (CIA) local studio, settled onGuadalajara, Mexico since 2019 to foster local talent from Mexico. All sets, props and character costumes were crafted to the same historical and realistic standards del Toro's live-action work has often contained, hence the production's decision to not overly stylize buildings through methods like stylizing them in a curvy, stretched and leaning way, leading to a mix of stop-motion and live-action styles that support the film's themes. Animators were also encouraged to achievenaturalistic performances from the puppets by making them "commit mistakes" like itching, sneezing or looking away if embarrassed or scared in order to shoot the characters thinking and listening, traits not usually shot in animation.[13] For Count Volpe'scarnival, Davis and Enderle drew from the reference material library collected for del Toro's previous filmNightmare Alley, which prominently starred a 1930s carnival and in which Davis had previously worked as a concept artist, even though that film's carnival was one settled in theAmerican Midwest rather than inEurope, so despite the great overlap between American and European carnivals, the filmmakers developed looks for both carnivals that were similarly downtrodden and threadbare. SomeNightmare Alley early shots featuringBradley Cooper's Stanton Carlisle arriving at the carnival inspired the sequence that establishes Volpe's carnival.[35] The afterlife sequences and the end credits scene were animated by studio El Taller de Chucho in Guadalajara,Mexico.[36]
The film's production quality was formed through the ornate detail of the sets and characters with their own textures in order to reinterpret Collodi's work in a way that differed from theDisney animated version. Del Toro toldVanity Fair: "I have been very vocal about my admiration and my great, great love for Disney all my life, but that is an impulse that actually makes me move away from that version. I think it is a pinnacle ofDisney animation. It's done in the most beautiful,hand-drawn 2D animation".[8] He saw as "beautiful" the idea of using puppets to create a movie about a puppet, while pushing the boundaries of stop-motion as much as possible to create a "heartfelt" movie any audience could watch.[13]Moving Picture Company worked on the visual effects, with Bot VFX and Mist VFX. Digital effects, like rain, snow, fire, explosions and water, were made to look like practical effects instead of real, to make them fit with the rest of the stop motion-world. The shelves with hourglasses that is seen in the background when Pinocchio meets Death, were meant to be physical models made of acrylic. But because ofCOVID, there was a shortage of acrylic materials, and so it had to be done digitally instead.[37]
On January 8, 2020,Alexandre Desplat started composing the film's score and original songs.[1] It is Desplat's and del Toro's second collaboration, afterThe Shape of Water.[1] Roeban Katz was thelyricist.[13] On August 23, 2012,Nick Cave was attached to compose the score, but he was replaced by Desplat eight years later.[38]
In November 2018, Netflix set the film's release date for 2021.[39] In January 2021, Netflix CEOTed Sarandos revealed that the release could be moved to 2022 or later, with Netflix's notion of releasing six animated films a year.[40] In December 2021, del Toro stated it will be released in the last quarter of 2022.[41] In January and July 2022, with the release of the film's first teaser, it was announced for a December release.[42] Over its first seven days of digital release, the film logged over 10.91 million hours viewed worldwide.[43]
Pinocchio premiered at the66th BFI London Film Festival on October 15, 2022.[44][45] It debuted in the United States at the 2022AFI Fest on November 5, 2022.[46] It was released in select cinemas on November 9, 2022, and began streaming on Netflix on December 9, 2022.[47][48] One of the theatres scheduled to show the film on November 11, 2022, was theTIFF Bell Lightbox inToronto,Ontario.[49]
In Mexico, the director's country, theCinemex movie theater chain – one of the largest exhibitors – suspended the screenings that were scheduled, causing protests by del Toro, who wanted most of the people in his country to see the film. In response, on November 25, the filmmaker made a call on his Twitter account to show the film in independent theaters throughout the country. Some thirty independent theaters and clubs joined the call to show the film, including the country's Cineteca Nacional, where an exhibition of the figures used in the film was also set up in its central courtyard.[50] On December 18, it was announced that, on December 30, a massive screening would be held in Mexico City's main square, theZócalo.[51] The event was attended by 1,400 people.[52]
From December 4, 2022, through January 4, 2023, the film played at theMuseum of Modern Art in New York City in the Debra and Leon Black Family Film Center.[53] This coincided with a multi-floor exhibition at the MoMa called "Guillermo Del Toro: Crafting Pinocchio", which ran through April 15, 2023 and showcased various aspects of the film's inspiration and production.[54]
The Criterion Collection released the film onUltra HD Blu-ray,Blu-ray, andDVD on December 12, 2023.[55][56]
On thereview aggregator websiteRotten Tomatoes, 96% of 290 critics' reviews are positive, with an average rating of 8.3/10. The website's consensus reads: "Guillermo del Toro's Pinocchio delivers fully on its title – which is to say it's a visually stunning adaptation that embraces its source material's darkness."[57]Metacritic, which uses aweighted average, assigned the film a score of 79 out of 100, based on 49 critics, indicating "generally favorable" reviews.[58]
The Hindu's Gautam Sunder wrote, "Having more in common with del Toro's ownPan's Labyrinth than any Pinocchio adaptation before this, the modern-day Mexican auteur reimagines the children's tale into something much more sinister, serious and politically inclined."[59] TheBBC's Caryn James said, "You've probably never seen a Pinocchio who dances for Mussolini, but Guillermo del Toro's dark, stirring, yet life-affirming take on the classic tale of the puppet who becomes a real boy has more in common withPan's Labyrinth andThe Shape of Water... than with the familiar Disney version."[60]Peter Bradshaw ofThe Guardian gave the film 3/5 stars, saying it "certainly has its moments of poignancy and sadness and McGregor's droll tones as the longsuffering cricket provide some grace notes of fun."[61]
Brian Lowry ofCNN was more critical, writing, "beyond answering the streaming giant's wish for another marquee attraction carved from a beloved property, any praise comes with a few strings attached, depriving it of the consistent sense of wonder that would qualify as a dream come true."[62]The New York Times'sManohla Dargis wrote, "As weird as the story is, it's been made all the stranger by the decision to turn it into a metaphor aboutfascism, a conceit that is as politically incoherent as it is unfortunately timed."[63]
In December 2024,Collider ranked the film at number 5 on its list of the "10 Best Fantasy Movies of the 2020s," with Robert Lee III calling it "a story all its own while still adhering to the same magic and strengths of the original novel, creating what can easily be considered one of the best adaptations of the fairy tale. The stop-motion animation is a breathtaking sight to behold, with exceptional character design and charm exuding from each setting and facial expression."[64]
Pinocchio was the first animated film from a streaming service to win theAcademy Award for Best Animated Feature.[65] The animation studioNetflix Animation previously competed with three previous nominations for the same category. It was the seventh non-Disney/Pixar film to win and the first non-Disney/Pixar film sinceSpider-Man: Into the Spider-Verse, the second stop-motion animated film afterAardman'sWallace & Gromit: The Curse of the Were-Rabbit, andThe Adventures of Pinocchio's second adaptation to win any category from theAcademy Awards after Disney's animatedPinocchio.[66][67][68]
