Pinocchio (2019)
Written by Andreas Babiolakis
We are playing catch up by reviewing films that are a part of the current awards season.
I’m not sure what it is, but there is this massive obsession with the tale of Pinocchio, even when distanced away from the Disney classic that placed the animation studio in an untouchable standing. Now, we have a brand new one (the words “brand” and “new” are to be taken with a grain of salt, since this is a late 2019 film that was brought to America late last year), and it’s by Matteo Garrone. I went right into this film and thought I had started watching the wrong version, because I saw Roberto Benigni and immediately had traumatizing flashbacks of his horrifying version that killed the career he had right after Life is Beautiful; in case you’re unaware, Benigni played Pinocchio in the 2002 one (and, no, I’m not joking). Even though this Pinocchio may not even be the worst one I have ever seen (please refer here to see how that is even possible), I’m still shocked that Benigni would even want to attach himself to this name (in any capacity) ever again.
After watching the film, I can easily see why he took the plunge. The Pinocchio of 2019 is so inventive on a creative level, for better or for worse. It’s difficult, because the exact things that I like about Pinocchio are also problems the film has. If you want to know what I mean, compare some of the intricate character designs, where animals are actually mixtures between creatures and humans. This idea works so well with some characters, like the crow and owl, who are frightening to look at but in an effective way. It also doesn’t play out too well at all: the “Talking Cricket” looks appalling; the makeup job is amazing, but the design of this cricket is mind boggling. All in all, I get that this is an adaptation meant for both children and adults, but I can’t see how many viewers in the former category won’t be having nightmares after watching the film. I kind of wish Pinocchio stuck to its guns and just went full on Pan’s Labyrinth; I don’t expect anything gory or violent, but at least a fantasy film that didn’t feel held back by trying to appeal to everybody.
The design of this version of Pinocchio is quite fantastic, even with the experiments that don’t work out.
I think my main issue with the story of Pinocchio in general is that so many things just happen because it is a magical tale, even with zero regard for rhyme or reason. I think in a well made version, it doesn’t matter, as I get swept away by the magic of it all. The Disney version is such an example where this works. What saves the 2019 Pinocchio, despite its narrative limitations, is that it shows glimpses of this kind of result as well. When I’m not questioning some choices or wanting to hide under my bed, I’m seeing hints of a mature Pinocchio tale that really succeeds in some way. Unfortunately, the film feels a little wobbly, because it really is a spectacle at its best. When the makeup work, costumes, sets, and effects are all on point, Pinocchio is actually breathtaking (even at its weirdest or most disturbing).
It’s why I can forgive the designs that don’t work as well: there was clear initiative to be different here. It was also nice seeing Roberto Benigni as Geppetto, with an emotional side to his character; maybe this Pinocchio will be the one to place him back on the right track. Hits and misses included, Pinocchio is a strong attempt at revitalizing this old story, with its strengths outweighing its weaknesses enough to claim it even a partial success. Enough of the film is stagnant enough to not feel even better about the greatest moments of the film, but there’s a lot of good stuff for fantasy buffs to get from here. I’d like to think we’ll get more fairy tale adaptations of this sort later on, since I feel like there’s room to grow from Pinocchio; this could be an untapped well of actually mesmerizing fantasy filmmaking that has life in it, unlike some microwaved live-action remakes of a certain sort.
Andreas Babiolakis has a Masters degree in Film and Photography Preservation and Collections Management from Ryerson University, as well as a Bachelors degree in Cinema Studies from York University. His favourite times of year are the Criterion Collection flash sales and the annual Toronto International Film Festival.