As a child, I saw many films. I recall that I remembered elements from some. Were haunted by others to this day. Rare beasts they were, they stuck in my mind due to some element that embedded itself in there. Often I believe it was because I felt something deeply and would remember it as a passing image or flashed thought. Like many, WATERSHIP DOWN left me deeply scarred. Disney often has a lot to answer for early film experience and traumatic memories in generations. The dinosaurs in FANTASIA as an example for me. GUILLERMO DEL TORO PINOCCHIO will not be the case. Using pioneering stop-motion animation, it will be remembered for the levels of work put into delivering it.

Set in Fascist Italy at the beginning of the Second World War, it tells the tale both in its native land and as a timely reminder of the rise of Fascism and how many are lulled into it. After the death of his little boy, Master Gepetto buries and then builds his son anew from wood. He wishes that this boy will become flesh and passes out. This wish is heard by the spirits of the trees and the wooden boy is magically brings a wooden boy to life in small town Italy, giving him a chance to care for the child again. However, the two of them have to struggle to find a place for themselves as the dark cloud of hate floats across the land.

As you know, I respect GDT as a filmmaker but find his films can be very hit and miss recently. Take NIGHTMARE ALLEY, which mixed Noir sensuality and toxic masculinity perfectly. THE SHAPE OF WATER however was on the side of the magical and was empty. It felt like an attempt to play with the creature from the black lagoon, simply because he loves cult cinema. With GUILLERMO DEL TORO PINOCCHIO however, he has latched onto something that really works for him and for his audience. The vileness of fascism (see THE DEVILS BACKBONE and Franco) resonates with an audience and allows him to create his most personal work. Reverting back to childhood and the aforementioned trauma, it feels like he he is overcoming demons and that catharsis has crafted a work of delightful range and emotion.

Criterion get the need to really deliver on this as well. Glorious box, with illustrations and a box of essays that unfold and floats in dreams thanks to some real thought going into it. Next A stellar 4K digital master that shines, waxy and new from the screen. Akin to sitting in the cinema and staring wide eyed at the wonder anew. The work put into it has been richly acknowledged. Thanks to both directors having worked on this.

Handcarved Cinema, is a little obvious and feels studio in its presentation. I value the work. I admire its complexity, but wouldn’t the best way to show this would be to not be trite but show how long a scene takes and the work within? Directing Stop-Motion does some of this and is a better offer for those looking to understand film making. del Toro and film critic Farran Smith Nehme conversation is rounded but I was underwhelmed because a little bit of idolisation left the screen feeling this was buddies talking and not a critic examining. Weirdly, Panel discussion featuring del Toro, Gustafson, production designer Guy Davis, composer Alexandre Desplat, and sound designer Scott Martin Gershin, moderated by filmmaker James Cameron, sees Cameron do just that. I loved it. 

Next to the extras.

DIRECTOR-APPROVED BLU-RAY SPECIAL EDITION FEATURES

· 4K digital master, supervised by directors Guillermo del Toro and Mark Gustafson, with Dolby Atmos soundtrack

· Handcarved Cinema, a new documentary featuring del Toro, Gustafson, and cast and crew, including the film’s puppet creators, production designers, and animation supervisor

· Directing Stop-Motion, a new program featuring del Toro and Gustafson

· New conversation between del Toro and film critic Farran Smith Nehme

· New interview with curator Ron Magliozzi on The Museum of Modern Art’s 2022 exhibition devoted to the film

· New program on the eight rules of animation that informed the film’s production

· Panel discussion featuring del Toro, Gustafson, production designer Guy Davis, composer Alexandre Desplat, and sound designer Scott Martin Gershin, moderated by filmmaker James Cameron

· Conversation among del Toro, Gustafson, and author Neil Gaiman

· English subtitles for the deaf and hard of hearing and English descriptive audio

· PLUS: Essays by film critic Matt Zoller Seitz and author Cornelia Funke

· Cover by James Jean