Not gonna lie, ‘Pinocchio’ is dark and amazing

Guillermo Del Toro's take on iconic character is propelled by stop-motion technique and mature narrative

There have been many versions of the famous character Pinocchio, some animated, and some live-action. Guillermo Del Toro’s take on the classic children’s bedtime story is quite dark in its tone.

The story of Pinocchio has always been quite interesting. It’s not exactly a bedtime story as it talks about one’s quest for identity, and humanity even while discussing loneliness. This is a coming of age story that is definitely not a Richard Linklater film like Dazed and Confused (1993) and Boyhood (2014).

Walt Disney was the first to adapt the literary work in 1940. Post that, each adaptation seems to have its own unique take on the pine wood boy’s story. From the animation style to the tone and the approach, each version has its own quirks. That said, Pinocchio in Outer Space (1965), where the titular character as mentioned in the title goes to the outer space, got slammed by both critics and audiences alike.

The latest version of Pinocchio employs the stop-motion technique. It’s an art form that requires utmost patience, craft, and of course, superhuman attention to detail. Each frame needs to be crafted painstakingly by hand to create an illusion of movement. And when done right, it can result in some of the most stunning visuals on the screen. From classics like Tim Burton’s The Nightmare Before Christmas (1993) to the more recent Isle of Dogs (2018) by Wes Anderson, this technique is a testament to the creativity of the makers.

Del Toro’s adaptation is dark yet visually stunning with the director’s stamp visible throughout the film. The detailed puppetry (no pun intended) and the beautiful production design are sure to transport you to a 1940s Italian model village during the fascist regime. The attention to detail is just extraordinary.

He manages to breathe new life into the old story with a mature narrative and an emotional drama that is sure to stay with you long after the film is over. And what makes it even better is the cast. Ewan McGregor as Jiminy Cricket, Tilda Swindon as the Blue Fairy, David Bradley playing Geppetto, Christoph Waltz essaying Count Volpe, and Gregory Mann as the titular character are fantastic.

It’s hard not to think of how similar a wooden puppet who dreams of being human isn’t that different from the other classic — Frankenstein’s Monster. Though they are two iconic figures in the field of literature, they share some striking similarities.

Mary Shelby’s antagonist, Frankenstein’s Monster, is rejected and shunned by society, while Pinocchio longs to be a human boy. Both are on a journey of self-discovery, searching for their identities and trying to figure out where they belong in this cruel world. They are misunderstood for being different, and often treated as objects than beings with feelings.
They are both lonely, with very little or nobody to talk to. You can’t help but think of the quote— “loneliness is underrated”— from Tom Hansen, Joseph Gordon Lewitt’s character in 500 Days of Summer (2009). But both characters ultimately find redemption through compassion and kindness. They might seem vastly different on the surface but share some deep and meaningful similarities. That’s what makes them such enduring figures in cinema and literature.

Del Toro’s Pinocchio is nominated for this year’s Oscars. The Best Animated Feature nominations are nothing short of impressive and it’s going to be a tough call for the jury. All five films Pinocchio, Turning Red, Marcel the Shell with Shoes on, Puss in Boots: The Last Wish, and The Sea Beast have an equal chance of winning this year. Would this be Guillermo Del Toro’s third Academy Award? We will find out on March 12.