Every “Pinocchio” is some wonderstruck filmmaker’s hope that their carved, sculpted and painted version of Italian author Carlo Collodi’s 140-year-old story about a manufactured boy will be accepted as a real movie someday.
It’s clever, for instance, to tweak Collodi’s fixation on discipline over disobedience by simply setting “Pinocchio” during fascist Italy during World War II, when the populace were puppets. But before it gets into “Hunger Games”-meets-“Pan’s Labyrinth” territory in the second half, war is what drops a stray bomb on the mountain village where Geppetto lives, killing his adored son Carlo.
Our six-legged gentleman narrator is Sebastian J. Cricket , here a pompous raconteur frequently subjected to splat gags but still positioned as a commenting conscience. The deep-blue apparition awarding life to Pinocchio is a kindly but eerie-looking wood sprite , who we later learn has an Underworld sister named Death.
Sweet and defiant, Pinocchio has a generous, inquiring soul but succumbs to the corrupting pull of carnival boss Count Volpe and his hench-monkey Spazzatura . But he must also deal with the oppressive eye of a severe Catholic priest in cahoots with a Fascist official , whose son Candlewick is jealous of the attention a charmed puppet boy is getting.
But it’s all plenty inventive and heart-conscious, grim without being punishing and, in its openness about impermanence and humility, could spark some significant parent-child exchanges about love, flaws and the necessity of meaningful time together. Which makes a bracingly big-picture, big-themed “Pinocchio” like Del Toro’s a worthy movie candidate for a close-knit family’s catalog of shared experiences.
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