When I was around six or seven, I told my mom a whopping, big lie. I didn’t want to get into trouble. It was easier to make up a story than to tell the truth. The thing is, I got caught in the web of dishonesty. I had lost my brand-new watch while playing in front of our apartment building in the Bronx. When I was asked where I had been playing, I told my mom I hadn’t gone out into the busy street, but I had. The proof was discovered when my watch had fallen off my wrist and landed next to the street-side of a parked car. My mom found the watch and asked me again where I had been playing. “Not in the street,” I replied. Oh, I was toast. 

“A lie keeps growing and growing until it is as plain as the nose on your face.” 

Truer words were never expressed so well, even if recited by the Blue Fairy. Years later, when I was a teacher, I had to endure hundreds of parent-teacher conferences throughout my 35-year career. Parents would often tell me, “My child does not lie.” Ha, I would secretly reply. All kids lie. It is a proven fact that we, in the education field, are aware of this, and many adults also lie. If a child is not taught this lesson early enough, they will grow into a lying machine for the rest of their life. Thank goodness, my mom made sure this was not my fate. This incident had a profound impact on me, and it became one of my defining moments, shaping who I would become and how I would choose to live my life. My broken watch would even become the foundation for one of my future children’s books (Cue the gratuitous plug… REBECCA AND THE PURPLE BRACELET). 

Everyone has a conscience. It’s that little voice deep within our gut. It helps us distinguish between right and wrong. Everyone must learn to listen. Everyone must make good choices for the welfare of our souls and society. We must all learn to be “honest, brave, and unselfish.” The Blue Fairy was very wise in 1940. These were turbulent, violent times. It made total sense that Walt Disney would create the iconic tale of PINOCCHIO. This timeless story would help get our upside-down world through those frightening nights.  

PINOCCHIO was surprisingly not a financial success when it was first released. It took five years to cover their $2.5 million budget. It would then go on to gross over 120 million. It was the first animated film to win a real Oscar (SNOW WHITE AND THE SEVEN DWARFS was awarded a Special Oscar in 1937). WHEN YOU WISH UPON A STAR received the award for Best Song, along with a second Oscar for Best Musical Score. Disney loved the warbling Jiminy Cricket voice (sung by Cliff Edwards) so much that he made it his theme song for his studio and eventually for Disneyland. 

The film was Disney’s first dark-themed feature, but it still boasted a happily ever after ending. Gepetto was a straightforward, kind, lonely, coo-coo clock creator. I always thought he was drawn too old to be a dad image. He was more the grandfather model with his white hair and mustache. I wanted to know his backstory as to why he never married and had his own kids. In addition, he was a cat and goldfish owner. Figaro was said to be Disney’s favorite, and his cat personality can be found in future animated movies. Okay, I must mention the sexy, long-lashed goldfish in a bowl who understands English and has a teasing crush on Figaro. I have never seen a cat and a fish grab a quick smooch before. Bizarre (Lots of suspension of disbelief there).

My favorite character had to be Jiminy Cricket, which in those days was code for the phrase “Jesus Christ.” He was first drawn as an insect complete with antennas, but that picture did not go over well. It would take hundreds of illustrations to get him to appear “more human.” Disney used to say that the public would see him as a cricket because we are telling them what to see. It worked. No one questioned him wearing shabby or stylish clothes, complete with a top hat, spats, and an umbrella. He was the voice we all heard in our heads. 

The Blue Fairy was inspired by the Columbia Pictures Studio image on all their films.  She had that perfect look even without her torch. Over two million illustrations were created for PINOCCHIO, and only a mere 300,000 made it to the final cut. 

PINOCCHIO was not a perfect film. There were flaws within the story content. It took three villains to scare the wooden boy straight. Why didn’t he catch on sooner? He was depicted as an extremely innocent and naive child, with no thought for the consequences of his actions. This was not your typical fairy tale, but at this time in history, millions were being led to concentration camps. The world believed what they were told until it was too late. I think Disney was ahead of his time and was subliminally warning us to wake up with the placement of an Ace of Spades card (which means death) and Monstro, the killer whale. 

The musical score for PINOCCHIO was awesome. Who doesn’t love tunes such as GIVE A LITTLE WHISTLE, I HAVE NO STRINGS, and HI DIDDLY DEE, AN ACTOR’S LIFE FOR ME. I think I can hear you humming as you are reading. 

PINOCCHIO is a masterpiece. It is a classic in every sense of the word. Its style, tone, and point of view gave audiences substance and food for thought. It is timeless, adventurous, ambitious, and brilliantly created. “A boy who won’t be good might as well be made of wood.” I think there are still far too many wooden boys in charge of our planet. 

PINOCCHIO is available on Disney+. 

Esta Rosevear

Esta Rosevear has been a Theatre Arts teacher and director for 35+ years, published Children’s author of the Rebecca series, and is passionate about playing her violin, walking, gardening, and reading murder mysteries.

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PINOCCHIO 😊

It's...fine. I guess.

Disney’s latest in a line of live-action (and photo-realistic) remakes is charming but no masterpiece. Famed director Robert Zemeckis has been tasked with translating the beloved PINOCCHIO to a modern form of filmmaking, and while many of his efforts are appreciated, the film just doesn’t live up to the original.

I wish I didn’t have to compare it to the original film, but unfortunately, I do. Walt Disney’s second animated feature was not as big a success as their first, SNOW WHITE. In fact, while it was critically regarded as an artistic marvel, the film just didn’t make the studio money. It would be the first in a string of unsuccessful animated features for several years. Yet the movie lives on and is to this day hailed as one of Disney’s best films. In my opinion, it may still be the best (It’s included in my top three absolute favorites—and no, I won’t rank them in any order!). It showcases a time when Disney animation wasn’t afraid to be dark, scary, or sad. It was ambitious and pioneering.

Let me back up a little here: I’m a former Disney cast member, a bit of a Disney history nerd, and a self-identifying, dreaded “Disney Adult.” However, I’m the kind of Disney Adult who looks at the company with an eye of harsh criticism. I fully recognize its faults but also recognize the magic it has provided to the very fabric of the world’s culture. I also fully understand that I’m no longer Disney’s target audience when it comes to movies like this, it’s children, and that modern children probably don’t find the original animated classic all that appealing and therefore have no reference point with which to judge this film. And that’s disappointing.

All that being said, this movie was…fine. But it should have been great.

Pieces of the movie work, but it doesn’t quite come together as a whole. The story itself is sort of a serial account of adventures, and so that would make sense, and while the new script (written by Chris Weitz and Zemeckis) attempts to tighten the narrative, it plants many seeds that never actually bloom. It starts out strong and with the potential to be a success but just doesn’t maintain that steam throughout.

The iconic characters are well-represented. Tom Hanks gives a big, hearty turn as Geppetto. I can forgive his (weird) accent coming and going because he is so entirely committed to what he’s doing. At times he looks foolish, but in the most endearing way possible. Joseph Gordon-Levitt’s Jiminy Cricket is honestly a darn-good impression. The character is well-utilized but weirdly animated (more on that later). Benjamin Evan Ainsworth lends a spot-on, endearing performance as the voice of Pinocchio himself—he sounds eerily like the original. Keegan-Michael Key’s Honest John is great, Giuseppe Battiston as the drunken Stromboli deserves some sort of award, and Luke Evans as the Coachman does the best he can with what he’s given. I have to say I was disappointed with how the Blue Fairy (the wonderful Cynthia Erivo) was used—or rather, not used—in the film. While her magic is creatively evident throughout, I have to wonder: was Erivo only available for one day of shooting? The addition of a new character, Sabina (Jaquita Ta’le), starts out interesting but then becomes forced and confusing. Shoutout to Lewin Lloyd who plays Lampwick, Pinoch’s partner in sin on Pleasure Island–he’s terrific.

In addition to the iconic songs from the original, Zemeckis’ long-time composer Alan Silvestri, along with Glen Ballard, have written a handful of new ditties for the flick. A couple of them work…one of them doesn’t. It’s tricky adding new music to such a well-known property. At least an effort seems to have been made to try and make it match the original score. The same can’t be said for composing duo Pasek and Paul, whose contribution to the live-action ALADDIN film sounded distractingly nothing like the rest of the movie. Fortunately, in PINOCCHIO, none of the songs are long enough for this to really matter. The worst, however, might be Luke Evans’ song during the Pleasure Island sequence. He gives it his all, he sings with golden pipes, and the sequence itself is like a Las Vegas/Wonka fever dream (which I loved) but the song is just…bad.

The CGI is questionable. At times it looks unfinished. Pinocchio looks fine from afar, but up close, he’s unnerving. His facial expressions don’t make sense in this form of animation. His face forms wrinkles and furrowed brows, and his eyebrows move in ways wood just shouldn’t move. Does he have a layer of pliable, elasticized wooden skin? (Know what? Never mind. I don’t want to know the answer to that.) Jiminy is animated with a strange exoskeletal texture, and while his voice is enthusiastic and emotive, his face seems emotionless. Some other animated animals look fine, while others look terrible. Cleo the goldfish, Figaro the cat, and Sophia the seagull (don’t ask me…) just look…bad. However, Gideon and Honest John translate well, and Monstro is pretty cool, despite that whole sequence being awkwardly rushed. At almost two hours, it’s surprising how quickly the film’s climax comes and goes. The ending, however, was lovely.

Look, here’s the thing: compared to Disney’s other live-action (and photo-realistic) remakes, I personally thought this was one of the better ones…but that’s not saying much. It didn’t try to add a weird, out-of-place backstory about the plague like BEAUTY AND THE BEAST, the movie was better cast and directed than ALADDIN, it didn’t take itself too seriously like THE LION KING, and it didn’t stray too far from its source material like MALEFICENT. I have no notes about CRUELLA…it’s fabulous and très iconique!

Aside from its inconsistency and the occasional out-of-place modern reference, I found myself quite taken with its charm. Maybe I’m jaded, and I’ve lowered my expectations. Maybe I’m disappointed with what Disney has delivered recently. Maybe I wish they’d just stop these live-action (and photo-realistic) remakes altogether.

I’d classify it with live-action LADY AND THE TRAMP. It’s fine, it’s not hurting anyone, and it’s pretty to look at. But ultimately (and unfortunately) it’s fairly forgettable.

 PINOCCHIO is available to stream on Disney+.

Ricky J Duarte

[He/him/his] Ricky is a writer, actor, and singer. He's also the host of Rick or Treat Horrorcast, a biweekly horror movie podcast. He lives in a super haunted apartment in New York City above a giant, spooky cemetery with his evil cat, Renfield, and the ghosts of reasons he moved to New York in the first place. www.RickOrTreat.com

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