Director and co-writer Matteo Garrone embraces the grotesqueness and sentimentality of Collodi’s 1883 story
There is something rich and strange and generous in Matteo Garrone’s new live-action version of the Pinocchio story, for which the director and his co-screenwriter Massimo Ceccherini have gone back to the original 1883 children’s tale by Carlo Collodi. They have given us a story which combines sentimentality and grotesqueness in a very startling way. It often looks like a horror film. This Pinocchio could almost have been one of the stories that Garrone dramatised in his freaky-fabular movie Tale of Tales, and the story is very different from the legendary 1940 Disney musical version.
Walt Disney, for example, never had Pinocchio being brutally hanged from a tree by two swindlers who wanted to rob him. But one of the interesting things about this drama is that Pinocchio - the magical wooden puppet who yearns to...
There is something rich and strange and generous in Matteo Garrone’s new live-action version of the Pinocchio story, for which the director and his co-screenwriter Massimo Ceccherini have gone back to the original 1883 children’s tale by Carlo Collodi. They have given us a story which combines sentimentality and grotesqueness in a very startling way. It often looks like a horror film. This Pinocchio could almost have been one of the stories that Garrone dramatised in his freaky-fabular movie Tale of Tales, and the story is very different from the legendary 1940 Disney musical version.
Walt Disney, for example, never had Pinocchio being brutally hanged from a tree by two swindlers who wanted to rob him. But one of the interesting things about this drama is that Pinocchio - the magical wooden puppet who yearns to...
- 2/23/2020
- by Peter Bradshaw
- The Guardian - Film News
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