Pinocchio

Because now comes Guillermo del Toro, with his blazing creative talent, to really stir things up. And boy, this is not your Disney “Pinocchio” — not the 1940 ...

More than 80 years after Walt Disney seemed to crystallize the Pinocchio tale for American audiences, Guillermo del Toro makes it his own.

Conversely, del Toro is speaking to something that he’s personally felt and infused in most of the films throughout his career: that to be “different” is to be glorious. And who wants to be “a real boy” when being made of wood makes Pinocchio so special that even il Duce is riveted by his individuality? and we do mean an ending as the film flashes forward to Pinocchio caring for Geppetto until his death, and then doing the same for Sebastian J.. In one of the biggest changes from the book and its Disney counterparts, Guillermo del Toro’s Pinocchio is something of a revenant, or at least a cat with nine lives. Notes of complaint caused Collodi to later alter the story so that Pinocchio proves his worth and is transformed into a real boy by the magical fairy. Apparently in the original serialized version of The Adventures of Pinocchio published across several magazines, the wooden boy is hanged and killed for his many crimes and selfish deeds. By his own self-description, Sebastian is a novelist, a raconteur, and ultimately a gentleman (gentlecricket?) who’s lived a life of refined adventure around the world. In perhaps homage to Disney, Guillermo del Toro’s Pinocchio is narrated by the talking cricket who is assigned by the wood sprite fairy to be Pinocchio’s conscience. He wants to be loved like a real boy but he resents being constantly compared to the “real” Carlo by Gepetto. Of course how Pinocchio sees the world, and how it sees him, is entirely different from Geppetto’s own struggles. While Tom Hanks is definitely playing Geppetto in the flesh and blood, he is acting against mostly computer-generated animations, including a picture-perfect recreation of old Walt’s Pinocchio from 1940. For generations of children the world over, and particularly in the United States, Pinocchio would always have strings on him: and they came in the shape of

Ryan Reynolds Amy Sussman/Getty Images ; Lizzo and James Corden Chris Polk/E! Entertainment/NBC via Getty Images ; James Pickens Jr., Kelly McCreary, Ellen Pompeo ...

The event was emceed by Dancing with the Stars’ Maksim Chmerkovskiy and joined on stage by his brother Val, both of whom were born in Ukraine. Seuss Baking Challenge, Hotel for the Holidays, Leverage: Redemption, Play-Doh Squished and Something From Tiffany’s. The event included more than 40 people currently featured in the archive, including television stars Kevin Eubanks, James Hong, Geri Jewell and Michael Learned in addition to creative professionals from iconic TV shows such as Ron Cowen and Daniel Lipman, Judy Crown, Ron Friedman, Asaad Kelada and Ken Levine. Cher made a special appearance to introduce the film and lead a standing ovation for Deadwyler. for its 12th year of recognizing the creator community in more than 45 award categories. Guests in attendance included Adam Shankman, Jon Huertas, Leonardo Nam and Hailie Sahar. on Monday, honoring Nicco Annan (Actor Award for Television), Angela Bassett (Career Achievement Award), Elegance Bratton (Social Justice Award), Quinta Brunson (Actress Award for Television), Danielle Deadwyler (Actress Award for Film), Ayo Edebiri (Rising Star Award presented by IMDbPro), Berry Gordy (Icon Award), Brian Tyree Henry (Supporting Actor Award), Quincy Isaiah (Rising Star Award presented by IMDbPro), Michael B. Vance and civil rights attorney Ben Crump hosted a screening and evening of conversation for Till in L.A. Paramount+ hosted the world premiere of 1923 on Dec. The event, held on the Grammy Museum Rooftop Terrace, welcomed GLAAD execs Liz Jenkins, Anthony Allen Ramos and Melissa Harris, along with Braunwyn Windham-Burke, Gigi Gorgeous Getty, August Getty, Nats Getty and Justin Tranter. Jessica Chastain, Oscar Isaac, Michael Shannon, Ariana DeBose and Chloë Sevigny were among the stars in attendance. Guests included Julia Roberts, Matt Damon, Sacha Baron Cohen, Isla Fisher, Sheryl Crow and Ariana DeBose.

The Netflix movie is this year's third adaptation of Carlo Collodi's book—and the first to truly come to life.

Del Toro has rationalized the connection by saying that Pinocchio represents a kind of innocent disobedience, of which fascism’s calculated conformity is the precise opposite, but the movie also shows how easily his innocence can be corrupted. Del Toro finds in this oft-told tale both the heart that has allowed it to endure for so long and an idiosyncratic connection that makes his version feel new. Although it’s credited as a direct adaptation of Collodi’s text, del Toro’s Pinocchio owes as much to the 1940 Disney version, including the central presence of a garrulous insect, here named Sebastian J. Del Toro first announced his plans to make Pinocchio in 2008, and the project was set up and fell apart several times over the years, which helps explain why, even though it arrives less than a year after his Nightmare Alley, the movie has the feel of a last at-bat, a go-for-broke heedlessness that avoids the micromanaged fussiness that often infects live-action directors’ forays into animation. Written by del Toro and Patrick McHale, it’s heavily entwined with two of del Toro’s favorite things, Catholic imagery and the march to fascism, and set in the only place where the two fit together more snugly than the mid-20th-century Spain of his The Devil’s Backbone and Pan’s Labyrinth: mid-20th-century Italy. The boy, named Carlo, is killed by a World War I bomber while he’s admiring the crucifix Geppetto has been installing in the village church, shortly after handing the old man a bucket of red paint to touch up Christ’s stigmata.

'Pinocchio' directors Guillermo del Toro and Mark Gustafson use their new animated film to explore the parallels between fascism and fatherhood.

“The conceit behind fascism is the darkest interpretation of a father figure,” said Del Toro. But beyond the connection between fascism and certain types of parenting, his “Pinocchio” addresses death and rebirth and the consequences of one’s decisions — themes and topics that some may consider too weighty for children’s entertainment. Our greatest hope, [as with] every generation after us, is that we are seen for who we are, not for who they wanted us to be.” Kids want to put the real answers together.” It’s important to have these conversations about “the bigger realities of life,” he said, “because kids don’t want easy answers. That might be why a certain cricket is the repeated target of more traditional cartoon violence. “I felt that it was a close match to my child-rearing experience.” “Pinocchio is there to transform the lives of the others,” said Del Toro during a recent video call. What can you learn from the world by pushing back a little bit when everybody is just in lockstep and going one direction?” The Academy Award-winning Mexican filmmaker lists Pinocchio and Frankenstein’s creature as two characters he identified “very strongly with” growing up. “It opened [the story] up in a very different way,” said Gustafson. Directed by Del Toro and Mark Gustafson, the wooden puppet at the center of this tale is a grief-stricken father’s drunken creation brought to life by a wood sprite.

If you thought being swallowed by a whale, a con artist fox and Jiminy Cricket leering at can-can girls made Pinocchio one of Disney's more mature movies, ...

Much like the Disney version, the moral of the story is to work hard to get what you want, but even The Adventures of Pinocchio's end is decidedly dark. This was where Collodi wanted the story to end – as a message to naughty children – but his publishers demanded it to continue. Pinocchio later encounters a dying Candlewick, who is still a donkey and expires from exhaustion before he can be saved. As soon as the log takes on his Pinocchio persona, he kicks Geppetto in the face and runs off. Pinocchio repays this favour by selling the book to visit a marionette show. Creeped out by the whole thing, Cherry gives it to his lonely pal Geppetto who's been looking to make a marionette.

The straight-to-Disney+ remake of the animated classic from the same studio was nearly a scene-by-scene rendition of its celebrated, golden era 1940s version.

It’s a topography comprised of gorgeous artistry and impressive craftsmanship that is (mostly) strapped for cash and studio support on one end of it; the other is made up of depressingly hyperrealistic computer-generated imagery and hollow storytelling that somehow still rakes in the big bucks (in spite of audiences and critics begging Disney to stop making lackluster live-action remakes of animated classics). Netflix is heating up with Pinocchio, The Sea Beast, Drifting Home, Wendell & Wild, and My Father’s Dragon, Universal Pictures was applauded for Minions: The Rise of Gru and The Bad Guys, while DreamWorks may finally get the upper-hand over Disney with Puss in Boots: The Last Wish. We already know what to expect with Disney’s slate of scene-for-scene, live-action remakes of the groundbreaking hand-drawn animated classics that built its empire. Disney is sticking to a tired, but safe formula for at least the next six years. Pinocchio’s thin line between person and puppet, and the viewer’s ability to see the darkness of that predicament, is probably the most shocking and effective trick del Toro pulls off. Indeed, Guillermo del Toro seemed to have been gifted a rare exception to the norm — time to carve out his unique vision for Pinocchio, as well as a steadfast belief from Netflix that it would pay off. [that have made it generally unappealing for streamers](https://variety.com/2021/film/news/laika-animation-studios-live-action-1234941348/), who rely heavily on quick turnarounds and cutting corners). Dazzling, dizzying, and disturbing, Pinocchio is a labor of love from start to finish. How is it possible that these two versions of Pinocchio, both based on the same Italian folktale and both released in the same year, were so wildly different? The CGI and the visuals throughout the Pinocchio remake are sensational, as is to be expected from a movie with Robert Zemeckis (Back to the Future, Death Becomes Her, Who Framed Roger Rabbit?) at the helm. [Guillermo del Toro’s Pinocchio](https://www.inverse.com/entertainment/guillermo-del-toro-pinocchio-review), released months after Disney’s, is the moviemaking magic that happens when a director is doggedly determined to carry out his bonkers — and brilliant — vision, and a studio is equally set on making his wish come true. The straight-to-Disney+ remake of the animated classic from the same studio was nearly a scene-by-scene rendition of its celebrated, golden era 1940s version.