As Geppetto, though, Benigni is perfect — a naive, ever-exuberant, hopelessly devoted father. Interviews with leading film and TV creators about their process and craft. The book is literary royalty in Italy — it’s in their bones there, and Garrone’s film, shot on home turf, by and with Italians, is as faithful as adaptations get. All rights reserved. None too subtly, the film suggests that to earn one’s humanity – in other words, to become a real boy – is a near impossible task in such an arbitrarily cruel world. Review: Pinocchio (2020) – Darker Than Your Average Puppet Show. Copyright © 2020 Penske Business Media, LLC. Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube. It is so sweet, full of love, and utterly charming. In Matteo Garrone’s mesmerisingly creepy live-action reimagining, the misbehaving puppet is portrayed by child actor Federico Ielapi and aided by prosthetics expert Mark Coulier (Harry Potter, The Iron Lady). It was a curious decision that had potential — Benigni is a sprite, of sorts — but ultimately it proved to be a big bag of no, even if the film had its moments. Matteo Garrone sends his disarmingly human puppet out into a harsh world in this retelling of the Italian classic. Such is the nature of Pinocchio’s plight, and no matter its otherworldly nature, Garrone’s version shows how the premise has grown more relatable with time. It is cinema’s own white whale. In the process, he exhumes the appeal of the original story all over again. Garrone’s biggest spin is to put a little more emphasis on Geppetto, the puppet’s long-suffering creator, and here, emotion skews towards his desperate longing to hold on to his runaway son. His hands are clumsy and slightly too big for his body, but his delicately chiselled ears are disarmingly lifelike. Garrone has cast impeccably, the screen populated with incredible faces, unique, lived-in, weathered visages which tell their own stories. As Pinocchio defies his father in search of worldly fun, he comes undone — often literally — and must learn right from wrong the hard way. After Pinocchio abandons school to explore the circus, he’s thrust into slavery with his own kind, marking the first of several dark twists in the boy’s winding journey. The second the creature chirps an adorable “Babbo!” back at his creator, “Pinocchio” settles into its unnerving blend of spookiness and charm, as young newcomer Federico Ielapi embodies the wooden kid with the wide-eyed curiosity of a bite-sized golem. Director Matteo Garrone is similarly stricken, having loved Pinocchio since he was a kid. “Pinocchio” premiered at the Berlin Film Festival as a special gala. Already a commercial hit in Italy, Garrone’s “Pinocchio” doesn’t look like any version an American studio might produce today, and instead occupies a peculiar limbo between the sensibility of a children’s movie and a more unsettling adult take. Unless you’re a small child, do seek out the latter.

“In this country, the innocent go to prison!” he’s told. No role is wasted. Once the movie enters its loony collage-like trajectory, the hits keep coming. On September 30, 2020 September 29, 2020 By hoops2448 In Film, Review. Sitting in front of an ape judge, Pinocchio proclaims his innocence. Moments after carving a bust, Geppetto notices a heartbeat, and keeps chipping away. He finds some measure of sympathy when he lands in the home of the Fairy with Turquoise Hair (alternately played by Alida Baldari Calabria and Marine Vacth), whose magical benevolence introduces Pinocchio to a whole range of inventive new characters, from rabbits hauling a tiny coffin to coax him into taking his medicine to the Jabba-like Snail (Maria Pia Timo), the Fairy’s doting housekeeper whose slimy path creates a tripping hazard everywhere she goes.



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