Matteo Galloni's film is a more traditional adaptation of Carlo Collodi's classic children's story Pinocchio in the late 19th century, blending sweet elements with grotesque elements, a style that should win the hearts of young people who love Roald Dahl's work. Pinocchio is a fantasy adventure film, but it also has a moral story feel, a bit like a children's version of "Journey to Heaven".
The film presents pinocchio (Federico Ipadi), a puppet who wants to be a boy, in an otherworldly way— perhaps magically presented, but not intimidating. Pinocchio is a loving but somewhat mischievous boy, and it should not be difficult for children to empathize with him. His rebellious personality caused him a lot of trouble, but at the same time, he always opened up to others.
Moreover, the whole film exudes an air of nostalgia — at the beginning of the film, you can almost smell the sawdust when the impoverished Geppetto (Roberto Bernini, who directed Pinocchio himself in 2002, which is undoubtedly an interesting return) sculpts Pinocchio. Before Pinocchio appeared, director Galloni also took the time to construct Pipetto and his world in the opening scene of the film.
After Pinocchio was carved, the adventures he experienced were varied, and this random adventure reminds us that Pinocchio was originally published in serial form, but the film has its own internal logic, with an atmosphere similar to Alice in Wonderland. The animals are played by humans, further adding a slightly eerie fantasy style, such as a huge snail that leaves a lot of slime on the ground for others to slip, providing some funny funny scenes, and a nested and sinister fox (Massimo Ceccolini) and cat (Rocco Papaleo), who falsely claim to be Pinocchio's friend, which will make children worry about Pinocchio.
Pinocchio's nose has only grown once throughout the film, and kids who've seen Disney or other versions of the story will probably feel a little disappointed, but the film's ideas are endless and they may have quickly overlooked it. Galloni wasn't afraid to make certain parts a little scarier. For example, some younger children may find Pinocchio's puppet friends a little too much, or find the scene where he turns into a donkey scary— basically a child's version of the morphing scene in American Werewolf in London.
But the director, who has never shied away from violence in films like Kennel Horror and Gomorrah, balances everything well. He made it clear to us early on through an unfortunate fire that Pinocchio's wooden construction meant that he would not feel pain, so that even if he was in big trouble, it always felt that he was protected, not only his own good nature protected him, but also the fairy (Marion Vacott) always seemed to appear at crucial moments.
The movie may look long, with two hours, but the storyline is rich and basically doesn't get you bored. Because it was released on Children's Day, there were basically only Chinese dubbed versions in the cinema. This is understandable, at least for children who may not be able to read the subtitles, it is easier to understand, but some of the plots are more adult and may need to be explained by parents. Even Chinese dubbed version, we can still feel the rich Italian cultural heritage of this film, and we also need more of this kind of foreign children's film like Heidi and Grandpa that is suitable for all growing children.
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Pinocchio ¥15.99 purchase