No Lie: This Pinocchio Is Delightful

Writer-director Guillermo del Toro's has reportedly had one passion project for the whole of his career. After false starts and a long stint in "development hell," he has finally been able to release that project: Guillermo del Toro's Pinocchio. (The title seems more of an effort to distinguish the film from the live-action remake of Disney's film, released in the same year, and not a slight on del Toro's co-director in the project, Mark Gustafson.)

This Pinocchio is a stop-motion animated effort full of del Toro's signature style. Lush visuals, child-like wonder, and dark undertones all blend in equal measure in this telling of the story. While it does draw on the original 1883 Italian novel as a basis for the script, it's still very much an reinterpretation; the action is transposed to Italy between the two World Wars, and the rise and role of fascism in daily life is a major element of this version.

Wait, this Pinocchio is about fascism? That's right; this is definitely not a Disney movie. It also throws softer punches at organized religion... all of these big themes more than you'd expect in a movie that's sure to attract a younger audience. Del Toro, it seems, doesn't want to alienate the kids, but he's probably making the movie for the adults.

Which is not to say that this movie is overly didactic or heavy. The characters especially are a lot of fun. Ewan McGregor plays Sebastian J. Cricket with a delightful mix of exasperation and sentiment. David Bradley plays a sympathetic Geppetto. Christoph Waltz built his career on playing this sort of hateable villain. Tilda Swinton plays her trademark blend of regal oddness. And in perhaps the weirdest bit of casting, Cate Blanchett only makes monkey noises for most of the movie. (She reportedly wanted to do the movie very much, but del Toro had only this part left to be cast.)

The animation is wonderful, as is the character design. It's tempting to compare some of it to Tim Burton or Henry Selick, but I think only because stop motion animation is rather rare, and those are the styles within easy mental reach. There's a seriousness here that holds even in the more playful moments, matching the tone of this take on the material.

Still, there are a few elements that don't quite hit the bullseye. While Pinocchio himself is, of course, supposed to be wide-eyed and naive, his exuberance is a bit cloying at times. (But I think the directors got exactly what they wanted out of young actor Gregory Mann.) I also question the choice to make this a musical with nearly 10 original songs. Perhaps only one of those songs leaves even the tiniest lingering impression; inevitably, they will seem lacking in unavoidable comparison to the songs from the 1940 Disney version (some of the most iconic tunes from the original Walt era).

Nevertheless, I'd certainly recommend the film overall. It's a solid B+, and it in fact earns a slot in my now-settling-down list of the Top 10 Movies of 2022. (At #7.)