Fascist Italy, allusions to Christ and incredible beauty. Pinocchio Guillermo del Toro turned out perfect

On December 9th, Pinocchio Guillermo del Toro premiered on Netflix.

For the first time, Guillermo del Toro spoke about working on a story about Pinocchio back in 2008. In 2012, del Toro even released concept art with some of the characters, including a fox and a cat. Studio changes, cancellations, postponements - the real work only began in 2017. It is noteworthy that there is neither a fox nor a cat in the film - one can only guess how many times the script was rewritten. For 14 years, del Toro managed to shoot "Crimson Peak" and "The Shape of Water", turn from a talented director into a cult figure, and his "Pinocchio" became the expected long-term construction. Rescued by Netflix, which allocated money for work.

"Pinocchio Guillermo del Toro" is a puppet animation. This is one of the most complex production methods: each frame is a separate photograph. The films "Corpse Bride" and "Isle of Dogs" were made in the same way.

The characters were voiced by Gregory Mann (Victoria), Ewan McGregor (Trainspotting, Star Wars), David Bradley (The Game of Thrones", "The Strain"), Christoph Waltz ("Inglourious Basterds"), Tilda Swinton ("Only Lovers Left Alive"), Cate Blanchett ("Aviator").

According to the story, the old master Geppetto loses his son during the First World War: Carlo dies after a bomb falls on the church. Years later, Geppetto, who has lost the meaning of life, gets drunk and makes a doll. The fairy brings the puppet to life. The old man must not only accept Pinocchio as a son, but also protect him from the horrors of the world around him - outside the window is fascist Italy and a new world war.

Perfect visual line

"Pinocchio Guillermo del Toro" looks amazing. The highest level of detail causes a constant desire to stop the film and enjoy individual frames. Threads sticking out of old clothes, handwritten inscriptions on the walls - each element is in its place.

The characters were incredible too. Pinocchio looks like a tree, beautifully crafted by a master. At the same time, he is similar to other heroes - the artists managed to catch this fine line between the unnatural and the natural. This is especially noticeable when compared with previous adaptations.

A large part of the screen time is occupied by a demonstration of fascist Italy. By the way, even a poster inviting Pinocchio to perform hangs next to Mussolini's poster.

Fascist aesthetics is a vibrant artistic language, and a visionary like Guillermo del Toro could not miss the opportunity to play with it. The streets look like a documentary chronicle. Big fish do not just swim and look for victims - they are forced to bypass sea mines.

New filling of heroes

Perhaps for the first time in the history of screen adaptations of Pinocchio, the cricket turns out to be not just a storyteller - he fancies himself an intellectual and even carries with him a portrait of Arthur Schopenhauer. Geppetto has also changed. Now he is not a cheerful master who is sometimes sad, but a broken man. The loss of his son drove him to despair and alcoholism. In addition, he does not immediately accept Pinocchio - for him this is a whole test.

Pinocchio himself is forced to become a nonconformist. If in the original story Pinocchio suffered from desires and disobedience, then in the new one it is more dangerous to obey. The state is trying to send the puppet to war, the owner of the circus is forcing him to fulfill the terms of the contract - Pinocchio must break the law in order to free himself. It is noteworthy that in the film there is no episode with beer and donkey ears - perhaps the most moralizing moment of the fairy tale and the original cartoon.

Not always a good satire

"Pinocchio Guillermo del Toro" not only shows the darkness of the fascist state, but also tries to ridicule it. Sometimes it works out well. So, even the inhabitants of the afterlife work in shifts, and Pinocchio is called a “dissident doll” for his bad behavior.

But sometimes satire seems too superficial. Del Toro portrays Benito Mussolini as a fat dwarf with a ridiculous walk, and Pinocchio sings about the Duce eating excrement.

Due to the fact that these scenes are adjacent to the real drama of the characters, they look a little strange and seem superfluous. Perhaps it would be better without them - the image of the terrible Mussolini, which is present only on the posters and in the conversations of the heroes, really pumps up darkness, and his appearance spoils everything.

Christian allusions

Del Toro takes seriously the original's loose ends. For example, in his film Pinocchio is immortal. More precisely, he can die, he will simply resurrect after that. In one of the scenes, Pinocchio is even tied to a cross.

Del Toro also introduces a church (as an important place for the plot) and a wooden statue of Jesus Christ, which Geppetto carves, into the story. Well, how can one not remember about the carpenter Joseph and not compare the owner of the circus with a snake-tempter?

There are plenty of allusions to the New Testament in the film. Their interpretation depends on the viewer. Perhaps someone will even consider them inappropriate, but they definitely make the film more interesting.

A parable instead of a fairy tale

Pinocchio Guillermo del Toro is a complex drama filled with references and allusions. Making your way through them, you can suddenly realize that this is not a fairy tale, but a parable. The fact is that logic reigns in the film, not miracle, and for sure many people will not like it. The ending is not so much touching as it is stunning - precisely because it is correct, in contrast to the happy and incredible ending of the original Pinocchio.

Beautiful visuals, a huge number of references and a strong desire to tell the classic tale in a new way made "Pinocchio Guillermo del Toro" a unique film. It fascinates, frightens, makes laugh, it can be enjoyed. But it is unlikely that he is able to fall in love with himself - like any ideal job.