Pinocchio (1940)
Directed by Hamilton Luske
When the gentle woodcarver Geppetto builds a marionette to be his substitute son, a benevolent fairy brings the toy to life. The puppet, named Pinocchio, is not yet a human boy. He must earn the right to be real by proving that he is brave, truthful, and unselfish.
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What critics compared Pinocchio to
Leto commands the often hyperbolic storyline as a modern cyber-punk Pinocchio with a dash of the friendlier Terminator and a splash of Star Trek’s Data.
…the script itself alludes to both Frankenstein and Pinocchio…
One of the producers of TRON: Ares likened the film’s concept to Pinocchio because the puppet evolved to become a person.
…than it is about Ares’s Pinocchio-esque transformation into a real boy.
…a predictable mashup of Pinocchio, The Terminator and Robocop…
…heavy-handed references to Mary Shelley’s “Frankenstein; or, The Modern Prometheus” (1818) and “Pinocchio?”
Based on the 1883 children’s story by Carlo Collodi, Pinocchio is in spirit a classical European fairy tale, full of wonder and terror, implacable moralism and providential hope.
Such was the case with Walt Disney's 1940 release of "Pinocchio."
There’s my Pinocchio!”
Title villain Ultron is well-voiced by James Spader and gets a few wickedly cool characteristics, including his recurring "I've Got No Strings" callback to Disney's 1940 animated feature "Pinocchio," but the longer he is around the more glaringly one-note he becomes.
"There are no strings on me," he says, quoting from Disney's 1940 classic cartoon "Pinocchio" in one of the strangest recent instances of corporate synergy.
The 20th century had Disney's Pinocchio (1940).
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…but Shapiro’s spot seems like Pinocchio’s Pleasure Island. It’ll be fun for a bit, but instead of being turned into a real chef, Syd is going to end up a donkey.
It adds an extra edge, which is saying something, considering how wildly impressive 1940’s Pinocchio from Disney still is as one of their best hand-drawn animated features.
The story beats will be familiar to audiences since the movie mostly splits the difference between Carlo Collodi’s source material, The Adventures of Pinocchio, and the classic 1940s Disney adaptation.
Although it’s credited as a direct adaptation of Collodi’s text, del Toro’s Pinocchio owes as much to the 1940 Disney version, including the central presence of a garrulous insect, here named Sebastian J. Cricket and voiced by Ewan McGregor.
And not just any feature, but Pinocchio (1940), one of the most beloved, impeccable, and technically breathtaking films of Disney’s Golden Age.
Perhaps even more so than Disney’s terrifying 1940 Pinocchio, this stop-motion variation—co-directed by del Toro and animator Mark Gustafson—leans into the more unnerving aspects of a wooden puppet coming to life, while still capturing the fairy-tale wonder at the heart of the tale.
And boy, this is not your Disney “Pinocchio” — not the 1940 classic nor the remake of a few months ago.
And that’s a problem, because the cartoon is already basically perfect: the best and most justly beloved film of the 1990s Disney renaissance, and the only cartoon Disney ever made after the mid-1940s that I would rank alongside their early masterpieces, Snow White , Pinocchio , Fantasia and Bambi .
Bunlar dışında filmde birçok gönderme olsa da, yazımızın sınırlarını aşmamak adına sadece isimlerini vermekle yetinelim: Pinocchio (1940), The Big Sleep (1946), Peter Pan (1953), The Collector (1965), Monkey (1978) ve Blade Runner (1982).
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While Frankenstein shares thematic DNA with Pinocchio, there are shades of Crimson Peak, Cronos, The Shape of Water, and Nightmare Alley, making the film feel like a culmination of del Toro’s cinematic obsessions.
In del Toro’s work, from Cronos to Pinocchio, from ghosts to gillmen, the monsters are indisputably the heroes.
…(remember, Close Encounters referenced “When You Wish Upon a Star” from Pinocchio)…