PINOCCHIO (2022) – Review

As the Summer box office slowly begins to cool off, it may be time for another entry in one of Hollywood’s most lucrative franchises. Now, we’ve got to wait a few more weeks for the latest Marvel Cinematic Universe installment, the much-anticipated BLACK PANTHER: WAKANDA FOREVER. Oh, but you’re very close as this new film is from another ‘branch” of this huge studio “Redwood”. Nope, not that “galaxy far, far away” either. This springs from the fountain that helped form the Disney dynasty. You see, when the MCU began its climb to multiplex majesty, other studios combed their libraries to cultivate their own “multiverse” (Universal hit with those Fast and Furious flicks along with Gru and his Minions, while their classic monsters, well, languish in their crypt). Around 2016, the “mouse house” realized they had another series “in the vault” as they began a string of live-action (though with lotsa’ CGI wizardry) remakes of their animated feature films. Sure, they’ve been hit-and-miss, but they’re now going way, way back to the second classic, as they “slap a new coat of digital paint” on the “toy who wants to be a boy”, PINOCCHIO.

Audiences may be startled (the first of many in this flick) as the company logo theme song, an instrumental snippet of “When You Wish Upon a Star”, is suddenly given lyrics by a bug. Jiminy Cricket (voice of Joseph Gordon-Levitt) actually, who begins his narration with a peak at his “past self”, clad in raggedy clothes and seeking food and warmth. . He spots just the sanctuary, a tiny little shop with its lights still on. Inside is the place’s grey-haired owner, Geppetto (Tom Hanks), who turns away a potential customer, insisting that his ornate hand-crafted clocks are not for sale. As his disgruntled wannabe’ patron leaves, Geppetto returns to his “passion project”, a wooden marionette fashioned after his late son, which he dubs Pinocchio. His pets, the cat Figaro and the “water baby” Cleo aren’t that impressed. As the old cobbler drifts off to sleep, he makes a wish that the puppet would be a “flesh n’ blood” boy, which is heard by Jiminy as he drifts off. Ah, but that wish is also heard by the Blue Fairy (Cynthia Erivo) who awakens Jiminy when she instills life (and a voice) in Pinocchio (Benjamin Evan Ainsworth). As the fairy departs in a showing of glowing blue specks of dust, Geppetto also opens his eyes to meet his new “son”. After several hours of questions from the lad, Geppetto decides that school will best give him knowledge (and let the old fellow rest). Jiminy (assuming his new duty as the boy’s “conscience”) is separated from him as “Honest John” the fox (Keegan Michael Key) and his mute feline sidekick, tell the naive boy that his future is “on the stage”. Pinocchio resists but is swayed when the school doesn’t accept him (“No puppets!!”) and he joins the traveling wagon of the cruel Stromboli (Guiseppe Battiston). With the help of a sympathetic performer, Fabiana (Kyanne Lamaya) Pinocchio escapes, only to be scooped up by the glowering Coachman (Luke Evans) on the way back to the shop. An adventure on Pleasure Island with new pal Lampwick (Lewin Lloyd) eventually leads to the sea where Geppetto is scouring the seas in a tiny boat, searching for his “son”. But will they all become victims of the savage sea beast, Monstro?!

The production is an interesting mix of vocal performances mixed with the latest high-tech motion capture and “un-digitally enhanced” actors. Most prominent in the latter category is the always compelling Mr. Hanks who deftly balances sentimentality with his often “snarky’ talk show persona, which we didn’t get in recent dramas like ELVIS and NEWS OF THE WORLD. Hanks forgoes a heavy middle-European accent and gives his line-readings the slightest “lilt” to give the clockmaker an endearing charm, much like a beloved grandpa’ who tells tales of coming “over on the big boat”.Best of all he conveys the longing of a parent who has somehow endured the worst loss of all. Erivo projects an ethereal beauty as the Blue Fairy and truly delivers goosebumps with her take on the classic’s most celebrated tune. Lamaya also displays her musical talents in an original song as the protective puppeteer who smiles despite her challenges. Another actor lending his pipes to another new tune is Evans, who intimidates and dominates as the growling sinister Coachman. Essaying another formidable menace is Battistorm who combines his threats toward the wooden boy with a half-sloshed sneer, his anger only adding to his no-doubt constant hangover. The other great sneer is provided by Lloyd as the aggressively friendly Lampwick, who seems to relish taking the smaller Pinocchio under his wing and leading him astray. As for the vocal talents, Gordon-Levitt makes the plucky cricket a truly charming rascal, more than up to the challenge of steering the lad down the right path. And that’s despite the energetic cajoling of Key as the flamboyant “Honest John”, who seems to be having a blast with “An Actor’s Life for Me”. Oh, and there’s a new character, Sofia the very helpful seagull, given a raspy tone by the great Lorraine Braco. Oops, almost forgot the lead, Ainsworth who makes us care about the innocent wooden kid. much like “real boys” is equally exasperating and sweet (with almost no “syrup”).

After thirteen years away from “mo-cap”, Robert Zemeckis returns to deftly balance the mix of techniques. He gets the best of the cast, no matter the method or form. I mentioned earlier about these “live make-overs” being hit and miss, Well, put this in the first division, closer to THE JUNGLE BOOK and MULAN than Burton’s depressing DUMBO or THE LION KING. Of course the original is “darned-near-perfection” (I’ll admit to it being my fave of Walt’s legacy), so the “blueprint” is impeccable. The film’s artists have skillfully given a nice gleam to the 1800s town from the cobblestone streets to the quaint shops (especially Geppetto’s), while also doing a nice “twist” on the familiar, particularly with the revamp of Pleasure Island, recalling a certain theme park. But the most pleasant surprise is the script’s wit and humor (by Zemeckis and Chris Weitz) as it takes a playful jab at the whole genre, and its main producer. I was astounded to find myself laughing out a lot at several clever gags and wordplay. I only have a few “qualms” with this “re-imagining”. Though it might not have meshed with the “overall look” I had wished that Key could have had a specialty prosthetic make-up as the Fox (much as Rick Baker’s work on THE GRINCH), so we could see his wonderful facial expressions fully. And the new songs don’t quite measure up to those unforgettable 1940 standards (one of those is sorely missed here). But my biggest “beef” is the fact that we won’t be able to see these amazing visuals projected on a big Imax screen. Or “up-converted to 3D, since a few scenes look like they may have been planned for it). Oh well, it’s a shame that this one’s getting punished for the last couple of “underperforming” redos. Still, it’s certainly worth your time since it’s a film that has something for the whole family, although the “left turn” taken in the story’s final moments may inspire lots of animated (sorry) discussions (I’m sure it’ll inspire a cable TV news channel debate or two). Sure, it won’t “wipe out” the memories of that 40s still-gorgeous gem, but it’s nice to see there’s lots of magic in PINOCCHIO. And that’s with “no strings attached”.

3.5 Out of 4

PINOCCHIO streams exclusively on Disney+