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Pinocchio
Theatrical release poster
Directed by	Supervising Directors Ben Sharpsteen Hamilton Luske Sequence Directors Bill Roberts Norman Ferguson Jack Kinney Wilfred Jackson T. Hee
Story by	Ted Sears Otto Englander Webb Smith William Cottrell Joseph Sabo Erdman Penner Aurelius Battaglia
Based on	The Adventures of Pinocchio by Carlo Collodi
Produced by	Walt Disney
Starring	Cliff Edwards Dickie Jones Christian Rub Walter Catlett Charles Judels Evelyn Venable Frankie Darro
Music by	Leigh Harline Paul J. Smith
Production company	Walt Disney Productions
Distributed by	RKO Radio Pictures
Release dates	February 7, 1940 (Center Theatre)[1] February 23, 1940 (United States)[2]
Running time	88 minutes
Country	United States
Language	English
Budget	$2.6 million[3]
Box office	$164 million

Pinocchio is a 1940 American animated musical fantasy film produced by Walt Disney Productions and based on the 1883 Italian children’s novel The Adventures of Pinocchio by Carlo Collodi. It was the second animated feature film produced by Disney, made after the first animated success Snow White and the Seven Dwarfs (1937).

The plot involves an old Italian woodcarver named Geppetto who carves a wooden puppet named Pinocchio and wishes that he might be a real boy. The puppet is brought to life by a blue fairy, who informs him that he can become a real boy if he proves himself to be «brave, truthful, and unselfish». The key character of Jiminy Cricket, who takes the role of Pinocchio’s conscience, attempts to guide Pinocchio in matters of right and wrong. Pinocchio’s efforts to become a real boy involve encounters with a host of unsavory characters, representing the temptations and consequences of wrongdoing.

The film was adapted by several storyboard artists from Collodi’s book. The production was supervised by Ben Sharpsteen and Hamilton Luske, and the film’s sequences were directed by Norman Ferguson, T. Hee, Wilfred Jackson, Jack Kinney, and Bill Roberts. Pinocchio was a groundbreaking achievement in the area of effects animation, giving realistic movement to vehicles, machinery and natural elements such as rain, lightning, smoke, shadows and water. Pinocchio was released to theatres by RKO Radio Pictures on February 23, 1940.

Although it received critical acclaim and became the first animated feature to win a competitive Academy Award — winning two for Best Music, Original Score and for Best Music, Original Song for «When You Wish Upon a Star» — it was initially a box office bomb, mainly due to World War II cutting off the European and Asian markets overseas. It eventually made a profit in its 1945 reissue, and is considered one of the greatest animated films ever made, with a 100% rating on the website Rotten Tomatoes. The film and characters are still prevalent in popular culture, featuring at various Disney parks and in other forms of entertainment. In 1994, Pinocchio was added to the United States National Film Registry for being deemed «culturally, historically, or aesthetically significant».^[4]

A 2000 live-action movie titled Geppetto, told from Geppetto’s perspective, was released direct to television.^[5] In April 2015, a live-action adaptation of the same name officially entered development; filming began in March 2021 and ended that April, and it was released on Disney+ on September 8, 2022.

Plot[edit]

Jiminy Cricket addresses the audience as the narrator and begins to tell a story. Jiminy came to a village in Italy sometime in the late 19th century, where he arrived at the shop of a woodworker and toymaker named Geppetto, who creates a marionette whom he names Pinocchio. Falling asleep, Geppetto wishes upon a star for Pinocchio to be a real boy. Late that night, a Blue Fairy visits the workshop and brings Pinocchio to life, although he remains a puppet. She informs him that if he proves himself brave, truthful, and unselfish, he will become a real boy. When Jiminy reveals himself, the Blue Fairy assigns him to be Pinocchio’s conscience. Geppetto wakes up upon hearing a commotion from Pinocchio falling, and is overjoyed to discover that his puppet is alive and will become a real boy.

The next morning on his way to school, Pinocchio is led astray by con artist fox Honest John and his sidekick Gideon the Cat. Honest John convinces him to join Stromboli’s puppet show, despite Jiminy’s objections. Pinocchio becomes Stromboli’s star attraction, but when he tries to go home, Stromboli locks him in a bird cage and leaves to tour the world with Pinocchio. After Jiminy unsuccessfully tries to free his friend, the Blue Fairy appears, and an anxious Pinocchio lies about what happened, causing his nose to grow. The Blue Fairy restores his nose and frees him when Pinocchio promises to make amends, but she warns him that she can offer no further help.

Meanwhile, Honest John is hired by a mysterious coachman to find disobedient boys for him to take to Pleasure Island. Though Honest John and Gideon are frightened by the Coachman’s implication of what happens to the boys, the former reluctantly accepts the job and finds Pinocchio, convincing him to take a vacation on Pleasure Island. On the way, Pinocchio befriends Lampwick, a delinquent boy. At Pleasure Island, without rules or authority to enforce their activity, Pinocchio, Lampwick, and countless other boys soon engage in vices such as smoking and drinking. Jiminy eventually discovers that the island hides a horrible curse, turning boys into donkeys, which the Coachman plans to sell as slave labor to salt mines and circuses. Pinocchio witnesses Lampwick transform into a donkey, and with Jiminy’s help, Pinocchio escapes, partially transformed with a donkey’s ears and tail.

Returning home, Pinocchio and Jiminy find Geppetto’s workshop deserted. They get a letter from the Blue Fairy in the form of a dove, stating that Geppetto had gone out looking for Pinocchio and sailed to Pleasure Island. After learning that Pinocchio had left, he was then swallowed by Monstro, a terrible sperm whale, and is now living in the belly of the beast. Determined to rescue his father, Pinocchio jumps into the ocean, accompanied by Jiminy. Pinocchio is soon swallowed by Monstro, where he reunites with Geppetto. Pinocchio devises a scheme to make Monstro sneeze, giving them a chance to escape. The scheme works, but the enraged whale chases them and smashes their raft with his tail. Pinocchio selflessly pulls Geppetto to safety in a cove just as Monstro crashes into it and Pinocchio is seemingly killed.

Back home, Geppetto, Jiminy, Figaro, and Cleo mourn the loss of Pinocchio. However, having proven himself brave, truthful, and unselfish, Pinocchio is revived and turned into a real human boy by the Blue Fairy, getting rid of the Pleasure Island curse in the process, much to everyone’s joy. As the group celebrates, Jiminy steps outside to thank the Fairy and is rewarded with a solid gold badge that certifies him as an official conscience.

Voice cast[edit]

• Dick Jones as Pinocchio, an exuberant and endearing wooden puppet carved by Geppetto, and brought to life by the Blue Fairy.
• Cliff Edwards as Jiminy Cricket, a cheerful, intelligent, wisecracking, optimistic and wise cricket, who acts as Pinocchio’s «conscience», and the partial narrator of the story.
• Christian Rub as Geppetto, a kind and elderly wood-carver, who creates Pinocchio, and wishes for him to become a real boy. He speaks with an Austrian accent.
• Clarence Nash as Figaro, Geppetto’s spoiled pet cat who is prone to jealousy. Cleo, Geppetto’s flirty pet goldfish with a habit of being Figaro’s counselor, is unvoiced. Figaro and Cleo were original characters added to the script by the Disney team.^[6]
• Walter Catlett as «Honest» John Worthington Foulfellow, an anthropomorphic red fox con artist who swindles Pinocchio twice.
  • Gideon the Cat, Honest John’s mute, dimwitted and bumbling anthropomorphic feline partner and sidekick who serves as the film’s comic relief. He was originally intended to be voiced by Mel Blanc of Looney Tunes and Merrie Melodies fame (in his second work for Disney until his final work in Who Framed Roger Rabbit), but the filmmakers removed his dialogue from the script in favor of a mute performance just like Dopey in Snow White and the Seven Dwarfs and the circus elephant title character Dumbo;^[7] however, Gideon’s hiccups were provided by Blanc.^[7]
• Charles Judels as Stromboli, a greedy and abusive puppeteer, who intends to force Pinocchio to perform onstage in order to make money and to use him as «firewood» once he gets «too old» to perform, revealing also his sadistic attitude. He speaks English with an Italian accent, and curses in an Italian gibberish when he gets angry, though he is called «Gypsy» by Honest John, probably due to his theatre and caravan always traveling, along with other names like «rascal» and «faker». Due to his popularity, he has been for long the only character of the film to be part of the official Disney Villains line-up.
  • Judels also voiced the nefarious and cunning Coachman, owner and operator of Pleasure Island, where unruly boys are turned into donkeys and sold. This latter is the only antagonist of the film which is not an official member of the aforementioned Disney Villains line-up/franchise.
• Evelyn Venable as the Blue Fairy, who brings Pinocchio to life, and promises to turn him into a real boy if he proves himself brave, truthful, and selfless. Live-action references for the Blue Fairy were provided by Marge Champion, who did live-action references for the titular heroine in Snow White and the Seven Dwarfs.
• Frankie Darro as Lampwick, a naughty and spoiled boy who Pinocchio befriends on his way to Pleasure Island. He is turned into a donkey on Pleasure Island for his mischief.
• Stuart Buchanan as the Carnival Barker, the announcer heard on Pleasure Island. In a book adaptation of the film, «Barker» is how the Coachman is named.
• Thurl Ravenscroft as Monstro, the terrible sperm whale. He swallows Pinocchio, Geppetto, Figaro and Cleo, then tries to kill them after they escape from his belly by making him sneeze.

(The voice cast were all uncredited as was the practice at the time for many animated films.)

Production[edit]

Development[edit]

In September 1937, during the production of Snow White and the Seven Dwarfs, animator Norman Ferguson brought a translated version of Carlo Collodi’s 1883 Italian children’s novel The Adventures of Pinocchio to the attention of Walt Disney. After reading the book, «Walt was busting his guts with enthusiasm» as Ferguson later recalled. Disney then commissioned storyboard artist Bianca Majolie to write a new story outline for the book, but after reading it, he felt her outline was too faithful.^[8] Pinocchio was intended to be the studio’s third feature, after Bambi (1942). However, due to difficulties with Bambi (adapting the story and animating the animals realistically), Disney announced that Bambi would be postponed while Pinocchio would move ahead in production. Ben Sharpsteen was then re-assigned to supervise the production while Jack Kinney was given directional reins.^[9][8]

Writing and design[edit]

Unlike Snow White, which was a short story that the writers could expand and experiment with, Pinocchio was based on a novel with a very fixed, although episodic, story. Therefore, the story went through drastic changes before reaching its final incarnation.^[7] In the original novel, Pinocchio is a cold, rude, ungrateful, inhuman brat that often repels sympathy and only learns his lessons the hard way.^[10] The writers decided to modernize the character and depict him similar to Edgar Bergen’s dummy Charlie McCarthy,^[11] but equally as rambunctious as the puppet in the book. The story was still being developed in the early stages of animation.^[10]

Early scenes animated by Frank Thomas and Ollie Johnston show that Pinocchio’s design was exactly like that of a real wooden puppet with a long pointed nose, a peaked cap and bare wooden hands.^[12] Disney, however, was not impressed with the work that was being done on the film. He felt that no one could really sympathize with such a character and called for an immediate halt in production.^[10][11] Fred Moore redesigned the character slightly to make him more appealing, but the design still retained a wooden feel.^[13]

Young and upcoming animator Milt Kahl felt that Thomas, Johnston, and Moore were «rather obsessed with the idea of this boy being a wooden puppet» and felt that they should «forget that he was a puppet and get a cute little boy; you can always draw the wooden joints and make him a wooden puppet afterwards». Co-supervising director Hamilton Luske suggested to Kahl that he should demonstrate his beliefs by animating a test sequence.^[14]

Kahl then showed Disney an animation test scene in which Pinocchio is underwater looking for his father.^[15] From this scene, Kahl re-envisioned the character by making him look more like a real boy, with a child’s Tyrolean hat and standard cartoon character four-fingered (or three and a thumb) hands with Mickey Mouse-type gloves on them.^[16] The only parts of Pinocchio that still looked more or less like a puppet were his arms, legs and his little button wooden nose. Disney embraced Kahl’s scene and immediately urged the writers to evolve Pinocchio into a more innocent, naïve, somewhat coy personality that reflected Kahl’s design.^[17]

However, Disney discovered that the new Pinocchio was too helpless and was far too often led astray by deceiving characters. Therefore, in the summer of 1938, Disney and his story team established the character of the cricket. Originally, the talking cricket was only a minor character that Pinocchio abruptly killed by squashing him with a mallet and that later returned as a ghost. Disney dubbed the cricket «Jiminy», and made him into a character that would try to guide Pinocchio into the right decisions.^[18] Once the character was expanded, he was depicted as a realistic cricket with toothed legs and waving antennae, but Disney wanted something more likable. Ward Kimball had spent several months animating two sequences—a soup-eating musical number and a bed-building sequence—in Snow White, which was cut from the film due to pacing reasons. Kimball was about to quit until Disney rewarded him for his work by promoting him to the supervising animator of Jiminy Cricket.^[19] Kimball then conjured up the design for Jiminy Cricket, whom he described as a little man with an egg head and no ears.^[20] Jiminy «was a cricket because we called him a cricket,» Kimball later joked.^[18]

Casting[edit]

Due to the huge success of Snow White, Walt Disney wanted more famous voices for Pinocchio, which marked the first time an animated film had used celebrities as voice actors.^[21] He cast popular singer Cliff Edwards, also known as «Ukulele Ike», as Jiminy Cricket.^[22] Disney rejected the idea of having an adult play Pinocchio and insisted that the character be voiced by a real child. He cast 11-year-old child actor Dickie Jones, who had previously been in Frank Capra’s Mr. Smith Goes to Washington (1939).^[23] He also cast Frankie Darro as Lampwick, Walter Catlett as «Honest» John Foulfellow the Fox, Evelyn Venable as the Blue Fairy, Charles Judels as both the villainous Stromboli and the Coachman, and Christian Rub as Geppetto, whose design was even a caricature of Rub.^[24]

Another voice actor recruited was Mel Blanc, best remembered for voicing many of the characters in Warner Bros. cartoon shorts, including Looney Tunes and Merrie Melodies. Blanc recorded the voice of Gideon the Cat in sixteen days. However, it was eventually decided that Gideon would be mute, so all of Blanc’s recorded dialogue was subsequently deleted except for a solitary hiccup,^[25] which was heard three times in the finished film.

Animation[edit]

Animation on the film began in January 1938, but work on Pinocchio’s animation was discontinued as the writers sought to re-work his characterization and the film’s narrative structure. However, animation on the film’s supporting characters started in April 1938.^[12] Animation would not resume again with the revised story until September.^[17]

During the production of the film, story artist Joe Grant formed a character model department, which would be responsible for building three-dimensional clay models of the characters in the film, known as maquettes. These models were then given to the staff to observe how a character should be drawn from any given angle desired by the artists.^[15] The model makers also built working models of Geppetto’s elaborate cuckoo clocks designed by Albert Hurter, as well as Stromboli’s gypsy wagon and wooden cage, and the Coachman’s carriage. However, owing to the difficulty of animating a realistic moving vehicle, the artists filmed the carriage maquettes on a miniature set using stop motion animation. Then, each frame of the animation was transferred onto animation cels using an early version of a Xerox. The cels were then painted on the back and overlaid on top of background images with the cels of the characters to create the completed shot on the rostrum camera. Like Snow White, live-action footage was shot for Pinocchio with the actors playing the scenes in pantomime, supervised by Luske.^[26] Rather than tracing, which would result in stiff unnatural movement, the animators used the footage as a guide for animation by studying human movement and then incorporating some poses into the animation (though slightly exaggerated).^[26]

Pinocchio was a groundbreaking achievement in the area of effects animation, led by Joshua Meador. In contrast to the character animators who concentrate on the acting of the characters, effects animators create everything that moves other than the characters. This includes vehicles, machinery and natural effects such as rain, lightning, snow, smoke, shadows and water, as well as the fantasy or science-fiction type effects like the pixie dust of Peter Pan (1953). The influential abstract animator Oskar Fischinger, who mainly worked on Fantasia (1940), contributed to the effects animation of the Blue Fairy’s wand.^[27] Effects animator Sandy Strother kept a diary about his year-long animation of the water effects, which included splashes, ripples, bubbles, waves and the illusion of being underwater. To help give depth to the ocean, the animators put more detail into the waves on the water surface in the foreground, and put in less detail as the surface moved further back. After the animation was traced onto cels, the assistant animators would trace it once more with blue and black pencil leads to give the waves a sculptured look.^[28] To save time and money, the splashes were kept impressionistic. These techniques enabled Pinocchio to be one of the first animated films to have highly realistic effects animation. Ollie Johnston remarked «I think that’s one of the finest things the studio’s ever done, as Frank Thomas said, ‘The water looks so real a person can drown in it, and they do.'»^[29]

Music[edit]

The songs in Pinocchio were composed by Leigh Harline with lyrics by Ned Washington. Harline and Paul J. Smith composed the incidental music score.^[30] The underscore for the Monstro chase sequence was orchestrated by Metro-Goldwyn-Mayer composer Leo Arnaud. The soundtrack was first released on February 9, 1940.^[30] Jiminy Cricket’s song, «When You Wish Upon A Star», became a major hit and is still identified with the film, and later as the theme song of The Walt Disney Company itself.^[31] The soundtrack won an Academy Award for Best Original Score.^[31]

Themes[edit]

M. Keith Booker considers the film to be the most down-to-earth of the Disney animated films despite its theme song and magic, and notes that the film’s protagonist has to work to prove his worth, which he remarked seemed «more in line with the ethos of capitalism» than most of the Disney films.^[32] Claudia Mitchell and Jacqueline Reid-Walsh believe that the male protagonists of films like Pinocchio and Bambi (1942) were purposefully constructed by Disney to appeal to both boys and girls.^[33] Mark I. Pinsky said that it is «a simple morality tale—cautionary and schematic—ideal for moral instruction, save for some of its darker moments», and noted that the film is a favorite of parents of young children.^[34]

Nicolas Sammond argues that the film is «an apt metaphor for the metaphysics of midcentury American child-rearing» and that the film is «ultimately an assimilationist fable».^[35] He considered it to be the central Disney film and the most strongly middle class, intended to relay the message that indulging in «the pleasures of the working class, of vaudeville, or of pool halls and amusement parks, led to a life as a beast of burden». For Sammond, the purpose of Pinocchio is to help convey to children the «middle-class virtues of deferred gratification, self-denial, thrift, and perseverance, naturalized as the experience of the most average American».^[36]

Author and illustrator Maurice Sendak, who saw the film in theaters in 1940, called the film superior to Collodi’s novel in its depiction of children and growing up. «The Pinocchio in the film is not the unruly, sulking, vicious, devious (albeit still charming) marionette that Collodi created. Neither is he an innately evil, doomed-to-calamity child of sin. He is, rather, both lovable and loved. Therein lies Disney’s triumph. His Pinocchio is a mischievous, innocent and very naive little wooden boy. What makes our anxiety over his fate endurable is a reassuring sense that Pinocchio is loved for himself — and not for what he should or shouldn’t be. Disney has corrected a terrible wrong. Pinocchio, he says, is good; his «badness» is only a matter of inexperience,» and also that «Pinocchio’s wish to be a real boy remains the film’s underlying theme, but «becoming a real boy» now signifies the wish to grow up, not the wish to be good.»^[37]

Home media[edit]

On July 16, 1985, it was released on VHS, Betamax, CED, and LaserDisc in North America for the first time as part of the Walt Disney Classics label, the second title with the Classics label after Robin Hood (1973) which was released the previous December.^[38] It would become the best-selling home video title of the year selling 130–150,000 units at $80 each.^[39] It was re-issued on October 14, 1986 to advertise the home video debut of Sleeping Beauty (1959), this release also helped leave out the preview of The Black Cauldron from the original 1985 VHS release due to the preview being too dark and scary for kids. Then, for the first time, it was released on VHS in the UK in 1988, 1995, and 2000.^[40] The digital restoration that was completed for the 1992 cinema re-issue was released on VHS and Laserdisc on March 26, 1993,^[41] followed by its fourth VHS release and first release on Disney DVD as the 60th Anniversary Edition on October 25, 1999.^[42]

The film was re-issued on DVD and one final time on VHS as part of the Walt Disney Gold Classics Collection release on March 7, 2000.^[43] Along the film, the VHS edition also contained a making-of documentary while the DVD had the film’s original theatrical trailer as supplemental features.^[44] The Gold Classic Collection release was returned to the Disney Vault on January 31, 2002.^[45]

A special edition VHS and DVD of the film was released in the United Kingdom on March 3, 2003.^[46] The fourth DVD release and first Blu-ray Disc release (the second Blu-ray in the Walt Disney Platinum Editions series) was released on March 10, 2009.^[47] Like the 2008 Sleeping Beauty Blu-ray release, the Pinocchio Blu-ray package featured a new restoration by Lowry Digital in a two-disc Blu-ray set, with a bonus DVD version of the film also included.^[48] This set returned to the Disney Vault on April 30, 2011.^[49] A Signature Edition was released on Digital HD on January 10, 2017 and was followed by a Blu-ray/DVD combo pack on January 31, 2017.^[50][51]

Reception[edit]

Initial release[edit]

Frank S. Nugent of The New York Times gave the film five out of five stars, saying «Pinocchio is here at last, is every bit as fine as we had prayed it would be—if not finer—and that it is as gay and clever and delightful a fantasy as any well-behaved youngster or jaded oldster could hope to see.»^[52] Time magazine gave the film a positive review, stating «In craftsmanship and delicacy of drawing and coloring, in the articulation of its dozens of characters, in the greater variety and depth of its photographic effects, it tops the high standard Snow White set. The charm, humor and loving care with which it treats its inanimate characters puts it in a class by itself.»^[53]

Variety praised the animation as superior to Snow White‘s writing the «[a]nimation is so smooth that cartoon figures carry impression of real persons and settings rather than drawings to onlooker.» In summary, they felt Pinocchio «will stand on [its] own as a substantial piece of entertainment for young and old, providing attention through its perfection in animation and photographic effects.^[54] The Hollywood Reporter wrote «Pinocchio is entertainment for every one of every age, so completely charming and delightful that there is profound regret when it reaches the final fade-out. Since comparisons will be inevitable, it may as well be said at once that, from a technical standpoint, conception and production, this picture is infinitely superior to Snow White.»^[55]

Initially, Pinocchio was not a box-office success.^[56] The box office returns from the film’s initial release were both below Snow White’s unprecedented success and below studio expectations.^[57] Of the film’s $2.6 million negative cost—twice the cost of Snow White^[3]—Disney only recouped $1 million by late 1940, with studio reports of the film’s final original box office take varying between $1.4 million and $1.9 million.^[58] Animation historian Michael Barrier notes that Pinocchio returned rentals of less than one million by September 1940, and in its first public annual report, Walt Disney Productions charged off a $1 million loss to the film.^[59] Barrier relays that a 1947 Pinocchio balance sheet listed total receipts to the studio of $1.4 million. This was primarily due to the fact that World War II and its aftermath had cut off the European and Asian markets overseas, and hindered the international success of Pinocchio and other Disney releases during the early and mid-1940s.^[60] Joe Grant recalled Walt Disney being «very, very depressed» about Pinocchio’s initial returns at the box office.^[57] The distributor RKO recorded a loss of $94,000 for the film from worldwide rentals of $3,238,000.^[61]

Accolades[edit]

The film was nominated and won two Academy Awards for Best Original Score and Best Original Song (for «When You Wish Upon a Star»), the first Disney film to win either category.^[31]
To date, only six other Disney films have made this achievement: Mary Poppins (1964), The Little Mermaid (1989), Beauty and the Beast (1991), Aladdin (1992), The Lion King (1994), and Pocahontas (1995).

Reissues[edit]

With the re-release of Snow White and the Seven Dwarfs in 1944 came the tradition of re-releasing Disney films every seven to ten years.^[68] Pinocchio was theatrically re-released in 1945, 1954, 1962, 1971, 1978, 1984, and 1992. RKO handled the first two reissues in 1945 and 1954, while Disney itself reissued the film from 1962 on through its Buena Vista Distribution division. The 1992 re-issue was digitally restored by cleaning and removing scratches from the original negatives one frame at a time, eliminating soundtrack distortions, and revitalizing the colour.^[69]

Despite its initial struggles at the box office, a series of reissues in the years after World War II proved more successful, and allowed the film to turn a profit. By 1973, the film had earned rentals of $13 million in the United States and Canada from the initial 1940 release and four reissues.^[70][71] After the 1978 reissue, the rentals had increased to $19.9 million^[72] from a total gross of $39 million.^[73] The 1984 reissue grossed $26.4 million in the U.S. and Canada,^[74] bringing its total gross there to $65.4 million^[73] and $145 million worldwide.^[38] The 1992 reissue grossed $18.9 million in the U.S. and Canada bringing Pinocchio’s lifetime gross to $84.3 million at the U.S. and Canadian box office.^[73]

Modern acclaim[edit]

On the review aggregator website Rotten Tomatoes, the film has the website’s highest rating of 100%, meaning every single one of the 60 reviews of the reviews from contemporary, to modern re-appraisals, on the site are positive, with an average rating of 9.1/10.^[75] The general consensus of the film on the site is «Ambitious, adventurous, and sometimes frightening, Pinocchio arguably represents the pinnacle of Disney’s collected works – it’s beautifully crafted and emotionally resonant.».^[75] On Metacritic, Pinocchio has a weighted score of 99 out of 100 based on 17 critics, indicating «universal acclaim». It is currently the highest-rated animated film on the site, as well as the highest-rated Disney animated film.^[76]

Many film historians consider this to be the film that most closely approaches technical perfection of all the Disney animated features.^[77] Film critic Leonard Maltin said, «with Pinocchio, Disney reached not only the height of his powers, but the apex of what many critics consider to be the realm of the animated cartoon.»^[78]

In 1994, Pinocchio was added to the United States National Film Registry as being deemed «culturally, historically, or aesthetically significant».^[4] Filmmaker Terry Gilliam selected it as one of the ten best animated films of all time in a 2001 article written for The Guardian^[79] and in 2005, Time magazine named it one of the 100 best films of the last 80 years, and then in June 2011 named it the best animated movie of «The 25 All-TIME Best Animated Films».^[80]

In June 2008, the American Film Institute revealed its «Ten top Ten»—the best ten films in ten «classic» American film genres—after polling over 1,500 people from the creative community. Pinocchio was acknowledged as the second best film in the medium of animation, after Snow White.^[81] It was nominated for the AFI’s 100 Years…100 Movies,^[82]
and received further nominations for their Thrills^[83] and Heroes and Villains (Stromboli in the villains category) lists.^[84] The song «When You Wish Upon A Star» ranked number 7 on their 100 Songs list,^[85] and the film ranked 38th in the 100 Cheers list.^[86] The quote «A lie keeps growing and growing until it’s as plain as the nose on your face» was nominated for the Movie Quotes list,^[87] and the film received further nomination in the AFI’s Greatest Movie Musicals list.^[88]

On June 29, 2018, Pinocchio was named the 13th best Disney animated film by IGN.^[89] Film critic Roger Ebert, adding it to his list of «Great Movies», wrote that the movie «isn’t just a concocted fable or a silly fairy tale, but a narrative with deep archetypal reverberations.»^[90]

Legacy[edit]

Figaro, the petulant and jealous kitten character, primarily animated by Eric Larson, has been described as a «hit with the audiences», which resulted in him making appearances in several subsequent Disney short films in the 1940s.^[91]

Many of Pinocchio‘s characters are costumed characters at Disney parks.^[92] Pinocchio’s Daring Journey is a popular ride at the original Disneyland,^[92] Tokyo Disneyland,^[93] and Disneyland Park in Paris.^[94] Pinocchio Village Haus is a quick service restaurant at Walt Disney World that serves pizza and macaroni and cheese.^[95] There are similar quick-service restaurants at the Disneyland parks in Anaheim and Paris as well, with almost identical names.^[95]

Disney on Ice starring Pinocchio, toured internationally from 1987 to 1992.^[96] A shorter version of the story is also presented in the current Disney on Ice production «One Hundred Years of Magic».^[96]

Cancelled sequel[edit]

In the mid-2000s, Disneytoon Studios began development on a sequel to Pinocchio. Robert Reece co-wrote the film’s screenplay, which saw Pinocchio on a «strange journey» for the sake of something dear to him. «It’s a story that leads Pinocchio to question why life appears unfair sometimes,» said Reece.^[97] John Lasseter cancelled Pinocchio II soon after being named Chief Creative Officer of Walt Disney Animation Studios in 2006.^[98]

Live-action adaptations[edit]

Geppetto[edit]

A Disney’s made-for-television movie titled Geppetto was released in 2000. It was based on a book by David Stern, which was a re-telling of the original 1883 original Pinocchio book but told from Geppetto’s perspective.^[99][5] While not a direct adaptation of the 1940 animated film, it features few commons elements such as the character of Figaro, the song «I’ve Got No Strings», and Pleasure Island. It stars Drew Carey as Geppetto and Seth Adkins as Pinocchio, and features music and lyrics by Stephen Schwartz.^[5]

The movie was in turn adapted into a musical, Disney’s My Son Pinocchio: Geppetto’s Musical Tale, which premiered at The Coterie Theatre, Kansas City, Missouri in 2006.^[100]

2022 remake[edit]

A live-action adaptation^[101][102] directed by Robert Zemeckis who also co-produced and co-written with Chris Weitz,^{[103][104][105]} and stars Tom Hanks as Geppetto, Benjamin Evan Ainsworth as Pinocchio, Joseph Gordon-Levitt as Jiminy Cricket, Cynthia Erivo as the Blue Fairy, Keegan-Michael Key as Honest John, Luke Evans as the Coachman and Lorraine Bracco as a new character named Sofia the Seagull.^{[106][107][108]} The film was released to the streaming service Disney+ on September 8, 2022.^[109]

In other media[edit]

The Silly Symphony Sunday comic strip published an adaptation of Pinocchio from December 24, 1939 to April 7, 1940. The sequences were scripted by Merrill De Maris and drawn by Hank Porter.^[110]

Video games[edit]

Aside from the Sega Genesis/Mega Drive, Game Boy, and SNES games based on the animated film, the characters appear in several Disney video games.

Jiminy Cricket appears as a main character in Disney’s Villains’ Revenge, being player’s guide during the progress of the game.

In the Kingdom Hearts series, Jiminy Cricket appears acting as a recorder, keeping a journal of the game’s progress in Kingdom Hearts, Kingdom Hearts: Chain of Memories, Kingdom Hearts II, and Kingdom Hearts III.^[111] Pinocchio, Geppetto and Cleo also appear as characters in Kingdom Hearts.^[112] and the inside of Monstro is also featured as one of the worlds.^[111] Pinocchio’s home world was slated to appear in Kingdom Hearts 358/2 Days, but was omitted due to time restrictions, although talk-sprites of Pinocchio, Geppetto, Honest John and Gideon have been revealed.^[113] As compensation, this world appears in Kingdom Hearts 3D: Dream Drop Distance, under the name «Prankster’s Paradise», with Dream world versions of Pinocchio, Jiminy Cricket, Geppetto, Monstro and the Blue Fairy appearing.^[113]

Pinocchio, Jiminy Cricket, Geppetto, Figaro, the Blue Fairy, Honest John and Stromboli appear as playable characters in the video game Disney Magic Kingdoms, along with some attractions based on locations of the film. Monstro also appeared temporarily as a non-player character for a Boss Battle during the limited time «Pinocchio Event» in which the characters and material related to the film were included. In the game, the characters are involved in new storylines that serve as a continuation of the film.^[114]

See also[edit]

• 1940 in film
• List of American films of 1940
• List of Walt Disney Pictures films
• List of Disney theatrical animated features
• List of animated feature films of the 1940s
• List of highest-grossing animated films
• List of Disney animated films based on fairy tales
• List of films with a 100% rating on Rotten Tomatoes, a film review aggregator website
• List of films considered the best

References[edit]

Bibliography[edit]

External links[edit]

• Official website
• Pinocchio at the American Film Institute Catalog
• Pinocchio at AllMovie
• Pinocchio at The Big Cartoon DataBase
• Pinocchio at Box Office Mojo
• Pinocchio at IMDb
• Pinocchio at Rotten Tomatoes
• Pinocchio at Metacritic
• Pinocchio at the TCM Movie Database
• Eagan, Daniel (2010). «Pinocchio». America’s Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry. A & C Black. pp. 311–313. ISBN 978-0826429773.
• Kaufman, J.B. (2014). «Pinocchio» (PDF). National Film Registry.

Pinocchio
Theatrical release poster
Directed by	Supervising Directors Ben Sharpsteen Hamilton Luske Sequence Directors Bill Roberts Norman Ferguson Jack Kinney Wilfred Jackson T. Hee
Story by	Ted Sears Otto Englander Webb Smith William Cottrell Joseph Sabo Erdman Penner Aurelius Battaglia
Based on	The Adventures of Pinocchio by Carlo Collodi
Produced by	Walt Disney
Starring	Cliff Edwards Dickie Jones Christian Rub Walter Catlett Charles Judels Evelyn Venable Frankie Darro
Music by	Leigh Harline Paul J. Smith
Production company	Walt Disney Productions
Distributed by	RKO Radio Pictures
Release dates	February 7, 1940 (Center Theatre)[1] February 23, 1940 (United States)[2]
Running time	88 minutes
Country	United States
Language	English
Budget	$2.6 million[3]
Box office	$164 million

Pinocchio is a 1940 American animated musical fantasy film produced by Walt Disney Productions and based on the 1883 Italian children’s novel The Adventures of Pinocchio by Carlo Collodi. It was the second animated feature film produced by Disney, made after the first animated success Snow White and the Seven Dwarfs (1937).

The plot involves an old Italian woodcarver named Geppetto who carves a wooden puppet named Pinocchio and wishes that he might be a real boy. The puppet is brought to life by a blue fairy, who informs him that he can become a real boy if he proves himself to be «brave, truthful, and unselfish». The key character of Jiminy Cricket, who takes the role of Pinocchio’s conscience, attempts to guide Pinocchio in matters of right and wrong. Pinocchio’s efforts to become a real boy involve encounters with a host of unsavory characters, representing the temptations and consequences of wrongdoing.

The film was adapted by several storyboard artists from Collodi’s book. The production was supervised by Ben Sharpsteen and Hamilton Luske, and the film’s sequences were directed by Norman Ferguson, T. Hee, Wilfred Jackson, Jack Kinney, and Bill Roberts. Pinocchio was a groundbreaking achievement in the area of effects animation, giving realistic movement to vehicles, machinery and natural elements such as rain, lightning, smoke, shadows and water. Pinocchio was released to theatres by RKO Radio Pictures on February 23, 1940.

Although it received critical acclaim and became the first animated feature to win a competitive Academy Award — winning two for Best Music, Original Score and for Best Music, Original Song for «When You Wish Upon a Star» — it was initially a box office bomb, mainly due to World War II cutting off the European and Asian markets overseas. It eventually made a profit in its 1945 reissue, and is considered one of the greatest animated films ever made, with a 100% rating on the website Rotten Tomatoes. The film and characters are still prevalent in popular culture, featuring at various Disney parks and in other forms of entertainment. In 1994, Pinocchio was added to the United States National Film Registry for being deemed «culturally, historically, or aesthetically significant».^[4]

A 2000 live-action movie titled Geppetto, told from Geppetto’s perspective, was released direct to television.^[5] In April 2015, a live-action adaptation of the same name officially entered development; filming began in March 2021 and ended that April, and it was released on Disney+ on September 8, 2022.

Plot[edit]

Jiminy Cricket addresses the audience as the narrator and begins to tell a story. Jiminy came to a village in Italy sometime in the late 19th century, where he arrived at the shop of a woodworker and toymaker named Geppetto, who creates a marionette whom he names Pinocchio. Falling asleep, Geppetto wishes upon a star for Pinocchio to be a real boy. Late that night, a Blue Fairy visits the workshop and brings Pinocchio to life, although he remains a puppet. She informs him that if he proves himself brave, truthful, and unselfish, he will become a real boy. When Jiminy reveals himself, the Blue Fairy assigns him to be Pinocchio’s conscience. Geppetto wakes up upon hearing a commotion from Pinocchio falling, and is overjoyed to discover that his puppet is alive and will become a real boy.

The next morning on his way to school, Pinocchio is led astray by con artist fox Honest John and his sidekick Gideon the Cat. Honest John convinces him to join Stromboli’s puppet show, despite Jiminy’s objections. Pinocchio becomes Stromboli’s star attraction, but when he tries to go home, Stromboli locks him in a bird cage and leaves to tour the world with Pinocchio. After Jiminy unsuccessfully tries to free his friend, the Blue Fairy appears, and an anxious Pinocchio lies about what happened, causing his nose to grow. The Blue Fairy restores his nose and frees him when Pinocchio promises to make amends, but she warns him that she can offer no further help.

Meanwhile, Honest John is hired by a mysterious coachman to find disobedient boys for him to take to Pleasure Island. Though Honest John and Gideon are frightened by the Coachman’s implication of what happens to the boys, the former reluctantly accepts the job and finds Pinocchio, convincing him to take a vacation on Pleasure Island. On the way, Pinocchio befriends Lampwick, a delinquent boy. At Pleasure Island, without rules or authority to enforce their activity, Pinocchio, Lampwick, and countless other boys soon engage in vices such as smoking and drinking. Jiminy eventually discovers that the island hides a horrible curse, turning boys into donkeys, which the Coachman plans to sell as slave labor to salt mines and circuses. Pinocchio witnesses Lampwick transform into a donkey, and with Jiminy’s help, Pinocchio escapes, partially transformed with a donkey’s ears and tail.

Returning home, Pinocchio and Jiminy find Geppetto’s workshop deserted. They get a letter from the Blue Fairy in the form of a dove, stating that Geppetto had gone out looking for Pinocchio and sailed to Pleasure Island. After learning that Pinocchio had left, he was then swallowed by Monstro, a terrible sperm whale, and is now living in the belly of the beast. Determined to rescue his father, Pinocchio jumps into the ocean, accompanied by Jiminy. Pinocchio is soon swallowed by Monstro, where he reunites with Geppetto. Pinocchio devises a scheme to make Monstro sneeze, giving them a chance to escape. The scheme works, but the enraged whale chases them and smashes their raft with his tail. Pinocchio selflessly pulls Geppetto to safety in a cove just as Monstro crashes into it and Pinocchio is seemingly killed.

Back home, Geppetto, Jiminy, Figaro, and Cleo mourn the loss of Pinocchio. However, having proven himself brave, truthful, and unselfish, Pinocchio is revived and turned into a real human boy by the Blue Fairy, getting rid of the Pleasure Island curse in the process, much to everyone’s joy. As the group celebrates, Jiminy steps outside to thank the Fairy and is rewarded with a solid gold badge that certifies him as an official conscience.

Voice cast[edit]

• Dick Jones as Pinocchio, an exuberant and endearing wooden puppet carved by Geppetto, and brought to life by the Blue Fairy.
• Cliff Edwards as Jiminy Cricket, a cheerful, intelligent, wisecracking, optimistic and wise cricket, who acts as Pinocchio’s «conscience», and the partial narrator of the story.
• Christian Rub as Geppetto, a kind and elderly wood-carver, who creates Pinocchio, and wishes for him to become a real boy. He speaks with an Austrian accent.
• Clarence Nash as Figaro, Geppetto’s spoiled pet cat who is prone to jealousy. Cleo, Geppetto’s flirty pet goldfish with a habit of being Figaro’s counselor, is unvoiced. Figaro and Cleo were original characters added to the script by the Disney team.^[6]
• Walter Catlett as «Honest» John Worthington Foulfellow, an anthropomorphic red fox con artist who swindles Pinocchio twice.
  • Gideon the Cat, Honest John’s mute, dimwitted and bumbling anthropomorphic feline partner and sidekick who serves as the film’s comic relief. He was originally intended to be voiced by Mel Blanc of Looney Tunes and Merrie Melodies fame (in his second work for Disney until his final work in Who Framed Roger Rabbit), but the filmmakers removed his dialogue from the script in favor of a mute performance just like Dopey in Snow White and the Seven Dwarfs and the circus elephant title character Dumbo;^[7] however, Gideon’s hiccups were provided by Blanc.^[7]
• Charles Judels as Stromboli, a greedy and abusive puppeteer, who intends to force Pinocchio to perform onstage in order to make money and to use him as «firewood» once he gets «too old» to perform, revealing also his sadistic attitude. He speaks English with an Italian accent, and curses in an Italian gibberish when he gets angry, though he is called «Gypsy» by Honest John, probably due to his theatre and caravan always traveling, along with other names like «rascal» and «faker». Due to his popularity, he has been for long the only character of the film to be part of the official Disney Villains line-up.
  • Judels also voiced the nefarious and cunning Coachman, owner and operator of Pleasure Island, where unruly boys are turned into donkeys and sold. This latter is the only antagonist of the film which is not an official member of the aforementioned Disney Villains line-up/franchise.
• Evelyn Venable as the Blue Fairy, who brings Pinocchio to life, and promises to turn him into a real boy if he proves himself brave, truthful, and selfless. Live-action references for the Blue Fairy were provided by Marge Champion, who did live-action references for the titular heroine in Snow White and the Seven Dwarfs.
• Frankie Darro as Lampwick, a naughty and spoiled boy who Pinocchio befriends on his way to Pleasure Island. He is turned into a donkey on Pleasure Island for his mischief.
• Stuart Buchanan as the Carnival Barker, the announcer heard on Pleasure Island. In a book adaptation of the film, «Barker» is how the Coachman is named.
• Thurl Ravenscroft as Monstro, the terrible sperm whale. He swallows Pinocchio, Geppetto, Figaro and Cleo, then tries to kill them after they escape from his belly by making him sneeze.

(The voice cast were all uncredited as was the practice at the time for many animated films.)

Production[edit]

Development[edit]

In September 1937, during the production of Snow White and the Seven Dwarfs, animator Norman Ferguson brought a translated version of Carlo Collodi’s 1883 Italian children’s novel The Adventures of Pinocchio to the attention of Walt Disney. After reading the book, «Walt was busting his guts with enthusiasm» as Ferguson later recalled. Disney then commissioned storyboard artist Bianca Majolie to write a new story outline for the book, but after reading it, he felt her outline was too faithful.^[8] Pinocchio was intended to be the studio’s third feature, after Bambi (1942). However, due to difficulties with Bambi (adapting the story and animating the animals realistically), Disney announced that Bambi would be postponed while Pinocchio would move ahead in production. Ben Sharpsteen was then re-assigned to supervise the production while Jack Kinney was given directional reins.^[9][8]

Writing and design[edit]

Unlike Snow White, which was a short story that the writers could expand and experiment with, Pinocchio was based on a novel with a very fixed, although episodic, story. Therefore, the story went through drastic changes before reaching its final incarnation.^[7] In the original novel, Pinocchio is a cold, rude, ungrateful, inhuman brat that often repels sympathy and only learns his lessons the hard way.^[10] The writers decided to modernize the character and depict him similar to Edgar Bergen’s dummy Charlie McCarthy,^[11] but equally as rambunctious as the puppet in the book. The story was still being developed in the early stages of animation.^[10]

Early scenes animated by Frank Thomas and Ollie Johnston show that Pinocchio’s design was exactly like that of a real wooden puppet with a long pointed nose, a peaked cap and bare wooden hands.^[12] Disney, however, was not impressed with the work that was being done on the film. He felt that no one could really sympathize with such a character and called for an immediate halt in production.^[10][11] Fred Moore redesigned the character slightly to make him more appealing, but the design still retained a wooden feel.^[13]

Young and upcoming animator Milt Kahl felt that Thomas, Johnston, and Moore were «rather obsessed with the idea of this boy being a wooden puppet» and felt that they should «forget that he was a puppet and get a cute little boy; you can always draw the wooden joints and make him a wooden puppet afterwards». Co-supervising director Hamilton Luske suggested to Kahl that he should demonstrate his beliefs by animating a test sequence.^[14]

Kahl then showed Disney an animation test scene in which Pinocchio is underwater looking for his father.^[15] From this scene, Kahl re-envisioned the character by making him look more like a real boy, with a child’s Tyrolean hat and standard cartoon character four-fingered (or three and a thumb) hands with Mickey Mouse-type gloves on them.^[16] The only parts of Pinocchio that still looked more or less like a puppet were his arms, legs and his little button wooden nose. Disney embraced Kahl’s scene and immediately urged the writers to evolve Pinocchio into a more innocent, naïve, somewhat coy personality that reflected Kahl’s design.^[17]

However, Disney discovered that the new Pinocchio was too helpless and was far too often led astray by deceiving characters. Therefore, in the summer of 1938, Disney and his story team established the character of the cricket. Originally, the talking cricket was only a minor character that Pinocchio abruptly killed by squashing him with a mallet and that later returned as a ghost. Disney dubbed the cricket «Jiminy», and made him into a character that would try to guide Pinocchio into the right decisions.^[18] Once the character was expanded, he was depicted as a realistic cricket with toothed legs and waving antennae, but Disney wanted something more likable. Ward Kimball had spent several months animating two sequences—a soup-eating musical number and a bed-building sequence—in Snow White, which was cut from the film due to pacing reasons. Kimball was about to quit until Disney rewarded him for his work by promoting him to the supervising animator of Jiminy Cricket.^[19] Kimball then conjured up the design for Jiminy Cricket, whom he described as a little man with an egg head and no ears.^[20] Jiminy «was a cricket because we called him a cricket,» Kimball later joked.^[18]

Casting[edit]

Due to the huge success of Snow White, Walt Disney wanted more famous voices for Pinocchio, which marked the first time an animated film had used celebrities as voice actors.^[21] He cast popular singer Cliff Edwards, also known as «Ukulele Ike», as Jiminy Cricket.^[22] Disney rejected the idea of having an adult play Pinocchio and insisted that the character be voiced by a real child. He cast 11-year-old child actor Dickie Jones, who had previously been in Frank Capra’s Mr. Smith Goes to Washington (1939).^[23] He also cast Frankie Darro as Lampwick, Walter Catlett as «Honest» John Foulfellow the Fox, Evelyn Venable as the Blue Fairy, Charles Judels as both the villainous Stromboli and the Coachman, and Christian Rub as Geppetto, whose design was even a caricature of Rub.^[24]

Another voice actor recruited was Mel Blanc, best remembered for voicing many of the characters in Warner Bros. cartoon shorts, including Looney Tunes and Merrie Melodies. Blanc recorded the voice of Gideon the Cat in sixteen days. However, it was eventually decided that Gideon would be mute, so all of Blanc’s recorded dialogue was subsequently deleted except for a solitary hiccup,^[25] which was heard three times in the finished film.

Animation[edit]

Animation on the film began in January 1938, but work on Pinocchio’s animation was discontinued as the writers sought to re-work his characterization and the film’s narrative structure. However, animation on the film’s supporting characters started in April 1938.^[12] Animation would not resume again with the revised story until September.^[17]

During the production of the film, story artist Joe Grant formed a character model department, which would be responsible for building three-dimensional clay models of the characters in the film, known as maquettes. These models were then given to the staff to observe how a character should be drawn from any given angle desired by the artists.^[15] The model makers also built working models of Geppetto’s elaborate cuckoo clocks designed by Albert Hurter, as well as Stromboli’s gypsy wagon and wooden cage, and the Coachman’s carriage. However, owing to the difficulty of animating a realistic moving vehicle, the artists filmed the carriage maquettes on a miniature set using stop motion animation. Then, each frame of the animation was transferred onto animation cels using an early version of a Xerox. The cels were then painted on the back and overlaid on top of background images with the cels of the characters to create the completed shot on the rostrum camera. Like Snow White, live-action footage was shot for Pinocchio with the actors playing the scenes in pantomime, supervised by Luske.^[26] Rather than tracing, which would result in stiff unnatural movement, the animators used the footage as a guide for animation by studying human movement and then incorporating some poses into the animation (though slightly exaggerated).^[26]

Pinocchio was a groundbreaking achievement in the area of effects animation, led by Joshua Meador. In contrast to the character animators who concentrate on the acting of the characters, effects animators create everything that moves other than the characters. This includes vehicles, machinery and natural effects such as rain, lightning, snow, smoke, shadows and water, as well as the fantasy or science-fiction type effects like the pixie dust of Peter Pan (1953). The influential abstract animator Oskar Fischinger, who mainly worked on Fantasia (1940), contributed to the effects animation of the Blue Fairy’s wand.^[27] Effects animator Sandy Strother kept a diary about his year-long animation of the water effects, which included splashes, ripples, bubbles, waves and the illusion of being underwater. To help give depth to the ocean, the animators put more detail into the waves on the water surface in the foreground, and put in less detail as the surface moved further back. After the animation was traced onto cels, the assistant animators would trace it once more with blue and black pencil leads to give the waves a sculptured look.^[28] To save time and money, the splashes were kept impressionistic. These techniques enabled Pinocchio to be one of the first animated films to have highly realistic effects animation. Ollie Johnston remarked «I think that’s one of the finest things the studio’s ever done, as Frank Thomas said, ‘The water looks so real a person can drown in it, and they do.'»^[29]

Music[edit]

The songs in Pinocchio were composed by Leigh Harline with lyrics by Ned Washington. Harline and Paul J. Smith composed the incidental music score.^[30] The underscore for the Monstro chase sequence was orchestrated by Metro-Goldwyn-Mayer composer Leo Arnaud. The soundtrack was first released on February 9, 1940.^[30] Jiminy Cricket’s song, «When You Wish Upon A Star», became a major hit and is still identified with the film, and later as the theme song of The Walt Disney Company itself.^[31] The soundtrack won an Academy Award for Best Original Score.^[31]

Themes[edit]

M. Keith Booker considers the film to be the most down-to-earth of the Disney animated films despite its theme song and magic, and notes that the film’s protagonist has to work to prove his worth, which he remarked seemed «more in line with the ethos of capitalism» than most of the Disney films.^[32] Claudia Mitchell and Jacqueline Reid-Walsh believe that the male protagonists of films like Pinocchio and Bambi (1942) were purposefully constructed by Disney to appeal to both boys and girls.^[33] Mark I. Pinsky said that it is «a simple morality tale—cautionary and schematic—ideal for moral instruction, save for some of its darker moments», and noted that the film is a favorite of parents of young children.^[34]

Nicolas Sammond argues that the film is «an apt metaphor for the metaphysics of midcentury American child-rearing» and that the film is «ultimately an assimilationist fable».^[35] He considered it to be the central Disney film and the most strongly middle class, intended to relay the message that indulging in «the pleasures of the working class, of vaudeville, or of pool halls and amusement parks, led to a life as a beast of burden». For Sammond, the purpose of Pinocchio is to help convey to children the «middle-class virtues of deferred gratification, self-denial, thrift, and perseverance, naturalized as the experience of the most average American».^[36]

Author and illustrator Maurice Sendak, who saw the film in theaters in 1940, called the film superior to Collodi’s novel in its depiction of children and growing up. «The Pinocchio in the film is not the unruly, sulking, vicious, devious (albeit still charming) marionette that Collodi created. Neither is he an innately evil, doomed-to-calamity child of sin. He is, rather, both lovable and loved. Therein lies Disney’s triumph. His Pinocchio is a mischievous, innocent and very naive little wooden boy. What makes our anxiety over his fate endurable is a reassuring sense that Pinocchio is loved for himself — and not for what he should or shouldn’t be. Disney has corrected a terrible wrong. Pinocchio, he says, is good; his «badness» is only a matter of inexperience,» and also that «Pinocchio’s wish to be a real boy remains the film’s underlying theme, but «becoming a real boy» now signifies the wish to grow up, not the wish to be good.»^[37]

Home media[edit]

On July 16, 1985, it was released on VHS, Betamax, CED, and LaserDisc in North America for the first time as part of the Walt Disney Classics label, the second title with the Classics label after Robin Hood (1973) which was released the previous December.^[38] It would become the best-selling home video title of the year selling 130–150,000 units at $80 each.^[39] It was re-issued on October 14, 1986 to advertise the home video debut of Sleeping Beauty (1959), this release also helped leave out the preview of The Black Cauldron from the original 1985 VHS release due to the preview being too dark and scary for kids. Then, for the first time, it was released on VHS in the UK in 1988, 1995, and 2000.^[40] The digital restoration that was completed for the 1992 cinema re-issue was released on VHS and Laserdisc on March 26, 1993,^[41] followed by its fourth VHS release and first release on Disney DVD as the 60th Anniversary Edition on October 25, 1999.^[42]

The film was re-issued on DVD and one final time on VHS as part of the Walt Disney Gold Classics Collection release on March 7, 2000.^[43] Along the film, the VHS edition also contained a making-of documentary while the DVD had the film’s original theatrical trailer as supplemental features.^[44] The Gold Classic Collection release was returned to the Disney Vault on January 31, 2002.^[45]

A special edition VHS and DVD of the film was released in the United Kingdom on March 3, 2003.^[46] The fourth DVD release and first Blu-ray Disc release (the second Blu-ray in the Walt Disney Platinum Editions series) was released on March 10, 2009.^[47] Like the 2008 Sleeping Beauty Blu-ray release, the Pinocchio Blu-ray package featured a new restoration by Lowry Digital in a two-disc Blu-ray set, with a bonus DVD version of the film also included.^[48] This set returned to the Disney Vault on April 30, 2011.^[49] A Signature Edition was released on Digital HD on January 10, 2017 and was followed by a Blu-ray/DVD combo pack on January 31, 2017.^[50][51]

Reception[edit]

Initial release[edit]

Frank S. Nugent of The New York Times gave the film five out of five stars, saying «Pinocchio is here at last, is every bit as fine as we had prayed it would be—if not finer—and that it is as gay and clever and delightful a fantasy as any well-behaved youngster or jaded oldster could hope to see.»^[52] Time magazine gave the film a positive review, stating «In craftsmanship and delicacy of drawing and coloring, in the articulation of its dozens of characters, in the greater variety and depth of its photographic effects, it tops the high standard Snow White set. The charm, humor and loving care with which it treats its inanimate characters puts it in a class by itself.»^[53]

Variety praised the animation as superior to Snow White‘s writing the «[a]nimation is so smooth that cartoon figures carry impression of real persons and settings rather than drawings to onlooker.» In summary, they felt Pinocchio «will stand on [its] own as a substantial piece of entertainment for young and old, providing attention through its perfection in animation and photographic effects.^[54] The Hollywood Reporter wrote «Pinocchio is entertainment for every one of every age, so completely charming and delightful that there is profound regret when it reaches the final fade-out. Since comparisons will be inevitable, it may as well be said at once that, from a technical standpoint, conception and production, this picture is infinitely superior to Snow White.»^[55]

Initially, Pinocchio was not a box-office success.^[56] The box office returns from the film’s initial release were both below Snow White’s unprecedented success and below studio expectations.^[57] Of the film’s $2.6 million negative cost—twice the cost of Snow White^[3]—Disney only recouped $1 million by late 1940, with studio reports of the film’s final original box office take varying between $1.4 million and $1.9 million.^[58] Animation historian Michael Barrier notes that Pinocchio returned rentals of less than one million by September 1940, and in its first public annual report, Walt Disney Productions charged off a $1 million loss to the film.^[59] Barrier relays that a 1947 Pinocchio balance sheet listed total receipts to the studio of $1.4 million. This was primarily due to the fact that World War II and its aftermath had cut off the European and Asian markets overseas, and hindered the international success of Pinocchio and other Disney releases during the early and mid-1940s.^[60] Joe Grant recalled Walt Disney being «very, very depressed» about Pinocchio’s initial returns at the box office.^[57] The distributor RKO recorded a loss of $94,000 for the film from worldwide rentals of $3,238,000.^[61]

Accolades[edit]

The film was nominated and won two Academy Awards for Best Original Score and Best Original Song (for «When You Wish Upon a Star»), the first Disney film to win either category.^[31]
To date, only six other Disney films have made this achievement: Mary Poppins (1964), The Little Mermaid (1989), Beauty and the Beast (1991), Aladdin (1992), The Lion King (1994), and Pocahontas (1995).

Reissues[edit]

With the re-release of Snow White and the Seven Dwarfs in 1944 came the tradition of re-releasing Disney films every seven to ten years.^[68] Pinocchio was theatrically re-released in 1945, 1954, 1962, 1971, 1978, 1984, and 1992. RKO handled the first two reissues in 1945 and 1954, while Disney itself reissued the film from 1962 on through its Buena Vista Distribution division. The 1992 re-issue was digitally restored by cleaning and removing scratches from the original negatives one frame at a time, eliminating soundtrack distortions, and revitalizing the colour.^[69]

Despite its initial struggles at the box office, a series of reissues in the years after World War II proved more successful, and allowed the film to turn a profit. By 1973, the film had earned rentals of $13 million in the United States and Canada from the initial 1940 release and four reissues.^[70][71] After the 1978 reissue, the rentals had increased to $19.9 million^[72] from a total gross of $39 million.^[73] The 1984 reissue grossed $26.4 million in the U.S. and Canada,^[74] bringing its total gross there to $65.4 million^[73] and $145 million worldwide.^[38] The 1992 reissue grossed $18.9 million in the U.S. and Canada bringing Pinocchio’s lifetime gross to $84.3 million at the U.S. and Canadian box office.^[73]

Modern acclaim[edit]

On the review aggregator website Rotten Tomatoes, the film has the website’s highest rating of 100%, meaning every single one of the 60 reviews of the reviews from contemporary, to modern re-appraisals, on the site are positive, with an average rating of 9.1/10.^[75] The general consensus of the film on the site is «Ambitious, adventurous, and sometimes frightening, Pinocchio arguably represents the pinnacle of Disney’s collected works – it’s beautifully crafted and emotionally resonant.».^[75] On Metacritic, Pinocchio has a weighted score of 99 out of 100 based on 17 critics, indicating «universal acclaim». It is currently the highest-rated animated film on the site, as well as the highest-rated Disney animated film.^[76]

Many film historians consider this to be the film that most closely approaches technical perfection of all the Disney animated features.^[77] Film critic Leonard Maltin said, «with Pinocchio, Disney reached not only the height of his powers, but the apex of what many critics consider to be the realm of the animated cartoon.»^[78]

In 1994, Pinocchio was added to the United States National Film Registry as being deemed «culturally, historically, or aesthetically significant».^[4] Filmmaker Terry Gilliam selected it as one of the ten best animated films of all time in a 2001 article written for The Guardian^[79] and in 2005, Time magazine named it one of the 100 best films of the last 80 years, and then in June 2011 named it the best animated movie of «The 25 All-TIME Best Animated Films».^[80]

In June 2008, the American Film Institute revealed its «Ten top Ten»—the best ten films in ten «classic» American film genres—after polling over 1,500 people from the creative community. Pinocchio was acknowledged as the second best film in the medium of animation, after Snow White.^[81] It was nominated for the AFI’s 100 Years…100 Movies,^[82]
and received further nominations for their Thrills^[83] and Heroes and Villains (Stromboli in the villains category) lists.^[84] The song «When You Wish Upon A Star» ranked number 7 on their 100 Songs list,^[85] and the film ranked 38th in the 100 Cheers list.^[86] The quote «A lie keeps growing and growing until it’s as plain as the nose on your face» was nominated for the Movie Quotes list,^[87] and the film received further nomination in the AFI’s Greatest Movie Musicals list.^[88]

On June 29, 2018, Pinocchio was named the 13th best Disney animated film by IGN.^[89] Film critic Roger Ebert, adding it to his list of «Great Movies», wrote that the movie «isn’t just a concocted fable or a silly fairy tale, but a narrative with deep archetypal reverberations.»^[90]

Legacy[edit]

Figaro, the petulant and jealous kitten character, primarily animated by Eric Larson, has been described as a «hit with the audiences», which resulted in him making appearances in several subsequent Disney short films in the 1940s.^[91]

Many of Pinocchio‘s characters are costumed characters at Disney parks.^[92] Pinocchio’s Daring Journey is a popular ride at the original Disneyland,^[92] Tokyo Disneyland,^[93] and Disneyland Park in Paris.^[94] Pinocchio Village Haus is a quick service restaurant at Walt Disney World that serves pizza and macaroni and cheese.^[95] There are similar quick-service restaurants at the Disneyland parks in Anaheim and Paris as well, with almost identical names.^[95]

Disney on Ice starring Pinocchio, toured internationally from 1987 to 1992.^[96] A shorter version of the story is also presented in the current Disney on Ice production «One Hundred Years of Magic».^[96]

Cancelled sequel[edit]

In the mid-2000s, Disneytoon Studios began development on a sequel to Pinocchio. Robert Reece co-wrote the film’s screenplay, which saw Pinocchio on a «strange journey» for the sake of something dear to him. «It’s a story that leads Pinocchio to question why life appears unfair sometimes,» said Reece.^[97] John Lasseter cancelled Pinocchio II soon after being named Chief Creative Officer of Walt Disney Animation Studios in 2006.^[98]

Live-action adaptations[edit]

Geppetto[edit]

A Disney’s made-for-television movie titled Geppetto was released in 2000. It was based on a book by David Stern, which was a re-telling of the original 1883 original Pinocchio book but told from Geppetto’s perspective.^[99][5] While not a direct adaptation of the 1940 animated film, it features few commons elements such as the character of Figaro, the song «I’ve Got No Strings», and Pleasure Island. It stars Drew Carey as Geppetto and Seth Adkins as Pinocchio, and features music and lyrics by Stephen Schwartz.^[5]

The movie was in turn adapted into a musical, Disney’s My Son Pinocchio: Geppetto’s Musical Tale, which premiered at The Coterie Theatre, Kansas City, Missouri in 2006.^[100]

2022 remake[edit]

A live-action adaptation^[101][102] directed by Robert Zemeckis who also co-produced and co-written with Chris Weitz,^{[103][104][105]} and stars Tom Hanks as Geppetto, Benjamin Evan Ainsworth as Pinocchio, Joseph Gordon-Levitt as Jiminy Cricket, Cynthia Erivo as the Blue Fairy, Keegan-Michael Key as Honest John, Luke Evans as the Coachman and Lorraine Bracco as a new character named Sofia the Seagull.^{[106][107][108]} The film was released to the streaming service Disney+ on September 8, 2022.^[109]

In other media[edit]

The Silly Symphony Sunday comic strip published an adaptation of Pinocchio from December 24, 1939 to April 7, 1940. The sequences were scripted by Merrill De Maris and drawn by Hank Porter.^[110]

Video games[edit]

Aside from the Sega Genesis/Mega Drive, Game Boy, and SNES games based on the animated film, the characters appear in several Disney video games.

Jiminy Cricket appears as a main character in Disney’s Villains’ Revenge, being player’s guide during the progress of the game.

In the Kingdom Hearts series, Jiminy Cricket appears acting as a recorder, keeping a journal of the game’s progress in Kingdom Hearts, Kingdom Hearts: Chain of Memories, Kingdom Hearts II, and Kingdom Hearts III.^[111] Pinocchio, Geppetto and Cleo also appear as characters in Kingdom Hearts.^[112] and the inside of Monstro is also featured as one of the worlds.^[111] Pinocchio’s home world was slated to appear in Kingdom Hearts 358/2 Days, but was omitted due to time restrictions, although talk-sprites of Pinocchio, Geppetto, Honest John and Gideon have been revealed.^[113] As compensation, this world appears in Kingdom Hearts 3D: Dream Drop Distance, under the name «Prankster’s Paradise», with Dream world versions of Pinocchio, Jiminy Cricket, Geppetto, Monstro and the Blue Fairy appearing.^[113]

Pinocchio, Jiminy Cricket, Geppetto, Figaro, the Blue Fairy, Honest John and Stromboli appear as playable characters in the video game Disney Magic Kingdoms, along with some attractions based on locations of the film. Monstro also appeared temporarily as a non-player character for a Boss Battle during the limited time «Pinocchio Event» in which the characters and material related to the film were included. In the game, the characters are involved in new storylines that serve as a continuation of the film.^[114]

See also[edit]

• 1940 in film
• List of American films of 1940
• List of Walt Disney Pictures films
• List of Disney theatrical animated features
• List of animated feature films of the 1940s
• List of highest-grossing animated films
• List of Disney animated films based on fairy tales
• List of films with a 100% rating on Rotten Tomatoes, a film review aggregator website
• List of films considered the best

References[edit]

Bibliography[edit]

External links[edit]

• Official website
• Pinocchio at the American Film Institute Catalog
• Pinocchio at AllMovie
• Pinocchio at The Big Cartoon DataBase
• Pinocchio at Box Office Mojo
• Pinocchio at IMDb
• Pinocchio at Rotten Tomatoes
• Pinocchio at Metacritic
• Pinocchio at the TCM Movie Database
• Eagan, Daniel (2010). «Pinocchio». America’s Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry. A & C Black. pp. 311–313. ISBN 978-0826429773.
• Kaufman, J.B. (2014). «Pinocchio» (PDF). National Film Registry.

• Звонница Ростовского кремля
• Голиаш, Роналд
• Флаг Межевского района (Костромская область)
• Ллин-Ваур
• Сулико (песня)

«Пиноккио» от Диснея (1940, Pinocchio) — полнометражный мультфильм, 2-й по счёту. Поскольку первоисточник, книга Карло Коллоди «Приключения Пиноккио», была довольно жёсткой, её подвергли диснеефикации, убрав смертельные исходы, и сократили (например, вырезали всё, что касалось посещения школы и жизни в цирке, а также болезни Джеппетто) либо перекроили сюжет. Критики говорят, что сказка пропагандирует ценности среднего класса.

Персонажи[править]

Появились новые персонажи:

• Фигаро — избалованный домашний чёрно-белый котёнок, питомец Джеппетто, склонный к ревности. «П*дор»?
• Клео — кокетливая аквариумная золотая рыбка-самочка, ещё один питомец Джеппетто. Привыкла давать советы Фигаро, к которому испытывает безответную (поначалу) любовь. Обычно молчит.
• Зазывала на Острове Удовольствий.
  • И статуя у Дома хулиганства.
• Александр — безвольный мальчик, который на Острове Удовольствий превратился в осла, но сохранил речь. Вероятно, в конце концов он покинет остров и вернёт себе первоначальный вид.

А старые поменяли/приобрели имена:

• Говорящий Сверчок — Джимини Крикетт (по-английски cricket — «сверчок»). Это веселый, интеллигентный и остроумный антропоморфный персонаж, «маленький человечек в коротком фраке, напоминающем покоящиеся надкрылья, с воротником английского денди, зонтиком, яйцевидным лицом без ушей, с двумя волосками на черепе, напоминающими усики, и носом без ноздрей». Розовый красивый зонтик он использует в качестве парашюта, а порядком потрёпанные фрак и синий цилиндр благодаря Фее стали как новенькие. По сравнению с книгой его роль выросла. И Пиноккио его даже не думал убивать!.
  • «Джимини Крикет» переводится с английского как «Сверчок Джимини!» или «Джимини!» — восклицание при виде чего-то неожиданного. Это эвфемизм для «Господи Иисусе!» или «О Боже!». У Диснея оно уже использовалось гномами, когда они вошли в домик и увидели там Белоснежку.
• Антропоморфный Лис Джон Уортингтон Фоулфеллоу aka «Честный Джон» (по-английски Foulfellow — «товарищ») — бесчестный, лживый, неграмотный, жадный, хитрый и разговорчивый аферист. Это манерный и долговязый щёголь, похожим на проигравшегося в пух и прах бывшего аристократа, привыкшего к красивой жизни, но в итоге ставшего бродягой и промышляющего теперь мелким мошенничеством.
• Антропоморфный Кот — Гидеон aka Гидди («Легкомысленный»), молчаливый (он только гримасничает и трижды икает — немой?), тупой и неуклюжий недотёпа напарник Джона. На его фоне которого лис выглядит решительно умнее и статнее, а потому играет роль лидера). Внешне и по поведению очень напоминает гнома Простачка. 
  • Это первые антагонисты — нищие, но коварные преступники, которые дважды обдурили Пиноккио, но и сами были обмануты «деловыми партнёрами». Точнее, обдурил Джон, а Гидеон служил для разрядки смехом. Они оба неграмотны и наглядно демонстрируют, до чего можно скатиться, если не получить образования.
• Стромболи — жестокий хозяин кукольного театра. К тому же он невероятно скуп — в качестве награды дал Пиноккио гнутую шайбу, найденную среди денег, а Лис и Кот получили весьма скромную плату за деревянного человечка.
  • Это второй антагонист и единственный персонаж, входящий в официальный список Диснеевских злодеев. В оригинале он говорит с итальянским акцентом и ругается по-итальянски, когда злится: «Кретино, дубино, идиотто!!!…Ми-и-иленький мальчик.», хотя Джон считает его цыганом. Но критики полагают, что общий облик Стромболи, как и повозки его передвижного шоу — карикатура на классического цыгана, а выражение лица и одержимость богатством — карикатура на еврея. В итальянском переводе ему всё-таки придали черты цыгана и к тому же вернули имя Mangiafuoco, «Пожиратель Огня» (у Коллоди — устаревшее Mangiafoco).
• Кучер — таинственный, зловещий, жестокий и злой человек (а может, даже и не человек), владелец и управляющий Острова Удовольствий (Pleasure Island), которого боятся все сотрудники. Он использует боевой кнут.
  • Это третий антагонист. В оригинале он говорит с акцентом кокни, а выглядит как персонаж Чарльза Лоутона в фильме Альфреда Хичкока «Таверна „Ямайка“» (1939).
• Морское чудовище Монстро — жуткий чёрный гигантский кашалот в финале фильма, четвертый и последний антагонист.
• Остров Удовольствий (Pleasure Island), где можно делать всё, что душе угодно, и никто тебе не запретит. Почему-то душам прибывших туда мальчиков угодно играть в азартные игры (точнее, бильярд), курить сигары (и сигареты), пить спиртное, а после этого — драться и крушить что под руку попадётся.
  • В литературном первоисточнике это была Страна Развлечений, и там играли в разные подвижные игры, шумели всеми доступными способами и ходили на представления в балаганы.

Но кое-кто смог сохранить сущность:

• Пиноккио — изначально деревянная марионетка. Его озвучил Дикки Джонс, 12-летнего мальчик, который пел под гавайскую гитару под псевдонимом «Ковбой-путешественник» на радиостанции Далласа — он придал персонажу свой «голос хорошего мальчика».
• Джеппетто — пожилой добрый бездетный деревянных дел мастер («И отец у меня плотник!..» ©), который создал Пиноккио.
• Голубая Фея — прекрасная волшебница, которая оживила марионетку Пиноккио, помогает ему во время его приключений и воскрешает его настоящим ребёнком в конце фильма. Если в книге у неё были лазурные волосы, то в фильме она блондинка, а голубым стало платье.
  • Образ героини содержит отсылки к «Белоснежке и семи гномам», а лицо очень похоже — потому что для рисования использовалась та же модель-актриса. Правда, по сравнению с книгой её роль уменьшилась.
• Фитиль (Lampwick; при переводе книги Коллоди на английский также использовалось Candlewick), непослушный и избалованный, грубый и крайне невоспитанный, сметливый, недисциплинированный мальчик, хулиган и прогульщиком, любящий разрушения и перебивающий собеседников.

Сюжет[править]

История начинается с того, что Джимини открывает книгу о Пиноккио и перед страницей, которая отказывается оставаться неподвижной, обращается к зрителям: «Однажды ночью, давным-давно…». Его окружают старые книги (включая «Питер Пэн» и «Алиса в Стране чудес», по которым «Дисней» позже снимет фильмы), музыкальные шкатулки и старинные игрушки. Сверчок начинает рассказ о мечтах, которые сбываются.

Однажды во время путешествия Джимини попал в итальянский городок у подножия гор над морем. Он замёрз и, чтобы согреться, забрался в мастерскую Джеппетто. Сверчок стал свидетелем того, как мастер закончил работу над деревянной куклой-марионеткой, которую назвал «Пиноккио». Перед тем, как лечь спать, Джеппетто заметил в окне «звезду желаний» и попросил, чтобы Пиноккио стал живым мальчиком.

А ночью звезда спустилась на землю в облике Голубой Феи. Она выполнила желание Джеппетто, но только частично: оживила Пиноккио, но оставила его в теле марионетки. Она сказала герою, что если он хочет стать настоящим мальчиком из плоти и крови, ему придётся доказать, что он достоин быть человеком: «хорошим — храбрым, самоотверженным, добрым, правдивым и бескорыстным». Вдобавок он должен понимать, где добро, а где зло, при помощи своей совести.

Пиноккио спросил Фею, что такое совесть, и Сверчок рассказал об этом. Тогда Фея попросила Джимини стать совестью Пиноккио^[1], а Пиноккио — всегда слушать голос своей совести. Позже Пиноккио по неосторожности устроил беспорядок, Джеппетто проснулся от шума и пришёл в неописуемый восторг, обнаружив, что его желание сбылось.

Наутро Пиноккио пошёл в школу, но по пути встретил Честного Джона и Гидеона. Они уговорили его пойти стать актёром в кукольном театре Стромболи, рассказав о славе и лёгком пути к успеху. Джимини безуспешно пытался отговорить деревянного человечка. В тот же вечер Пиноккио — марионетка, танцующая и поющая без помощи ниток — стал звездой представления на одной из улиц города и любимцем публики. Джимини решил, что актёру не нужна совесть, и ушёл.

После шоу Пиноккио хотел вернуться домой к Джеппетто, но Стромболи запер его в клетке для птиц и рассказал о плане обогащения: они будут гастролировать, и Пиноккио своими выступлениями принесёт кукольнику очень много денег. А когда Пиноккио станет «слишком старым», его пустят на дрова.

Стромболи отправился в дорогу в фургоне, а Джеппетто начинает беспокоиться, почему Пиноккио так долго не возвращается домой, и отправился на поиски под дождём. Бедный Пиноккио плакал. Джимини решил повидать Пиноккио на прощание, и деревянный человечек рассказал о произошедшем. Сверчок утешал его и попытался открыть замок, но тот оказался ржавым, и у сверчка не хватило сил.

Потом появилась Голубая Фея и спросила Пиноккио, почему он не пошёл в школу и почему он здесь. Заглавный герой начал врать — и его нос вырастал все длиннее, пока не стал похож на ветку дерева. Пиноккио раскаялся, и Фея освободила его, сделала нос нормальным и предупредила, что больше не сможет ему помочь. Деревянный мальчик и Джимини отправились домой.

Тем временем в портовом районе, в таверне «Красный Лобстер», Честный Джон и Гидеон отмечали удачную сделку — продажу Пинокки в театр Стромболи. Они похвастались своим успехом перед Кучером и обнаружили, что сделка была не очень выгодной — тот предложил лису и коту на порядок более крупную сумму. За это они должны приводить к нему глупых, безвольных, непослушных, плохих и невоспитанных мальчишек, которых он отправит на Остров Удовольствия. Лис отнёсся к этому заманчивому предложению с опаской, потому что остров печально известен место, а доступ к которому был объявлен властями незаконным. Но кучер сначала успокоил его, говоря, что ни один мальчик никогда не возвращался «человеком» из этого места, а затем вынудил их выполнить задание.

И, не успев вернуться домой, Пиноккио снова встретил Джона и Гидеона. Лис внушил доверчивому мальчику, что тот находится в стрессе, и единственное средство поправить здоровье — отдохнуть на Острове Удовольствия, который «счастливая страна беззаботности». По дороге на Остров Пиноккио подружился с Фитилём, который рассказал, что много слышал про это место.

Сверчок прибыл на Остров вместе с Пиноккио и Фитилём и решил расстаться с деревянным человечком из-за поведения его друга. Но уже на причале Джимини узнал страшную тайну: Кучер превращает мальчиков, которых привезли на Остров Удовольствия, в ослов, а потом с удовольствием продаёт их в соляные шахты и цирки или заставляет их работать на него. Такое наказание они получают за то, что не слушались родителей и не ходили в школу.

Сверчок в ужасе начинает искать Пиноккио, в то время как мальчишки начинают предаваться запретным для них развлечениям. Когда он находит приятелей, то становится свидетелем ужасающего превращения Фитиля в осла. У Пиноккио выросли ослиные уши и хвост, но Джимини спасает его, заставляя бежать с острова, а так как ворота закрыты, им приходится прыгнуть в море и плыть под водой.

Наконец-то Пиноккио и Джимини вернулись домой! Но там пусто. К счастью, голубь сбросил письмо от Голубой Феи. Там написано, что Джеппетто отправился искать Пиноккио, но был проглочен гигантским китом Монстро. Наутро товарищи спустились на дно океана, чтобы спасти Джеппетто.

Кита они нашли, и Монстро проглотил также Джимини и Пиноккио, которые обнаружили в желудке зверя Джеппетто, Фигаро и Клео и помирились с ними. Хотя Джеппетто удивился, увидев ослиные детали облика Пиноккио, он был счастлив, что рядом с ним находится его «маленький человек». Пиноккио зажёг внутри кита костёр и таким образом заставил его чихнуть, изгнав обитателей желудка.

Китовым узникам удалось вырваться в океан, но разъярённый кит отправился за ними в погоню и разбил плот. Пиноккио удалось спасти Джеппетто и других друзей, затащив их в пещеру под обрывом и заставив кита врезаться в скалу — ценой своей жизни.

Вернувшись домой, Джеппетто, Джимини, Фигаро и Клео оплакивали Пиноккио. Но Голубая Фея решила, что он проявил истинную храбрость и совершил настоящий героический поступок, а потому заслуживает воскрешения. И не только — она отменила проклятие Острове Удовольствия, и мёртвая марионетка стала обычным живым мальчиком. Джеппетто, Пиноккио, Фигаро, Клио и Джимини бурно радовались этому.

А потом наш рассказчик, сверчок, вышел, чтобы поблагодарить Фею и получил 18-каратную золотую медаль «Официальная совесть». Именно это он пожелал в начале повествования.

Тропы и штампы[править]

• Асимметричная метаморфоза — очень неприятная и поучительная сцена, где Пиноккио и Фитиль на Острове Удовольствий сидят в бильярдной^[2], пьют и курят; причем до этого они еще успели нахулиганить вдоволь. Из-за всего этого что Фитиль, что Пиноккио начинают по частям натурально превращаться в ослов. Если Пиноккио вовремя соображает, что пиво и табак лучше убрать подальше, то Фитиль веселится до конца, и начинает что-то подозревать уже после того, как отрастил хвост, а голова у него уже стала ослиной. Едва он замечает это в зеркале, вся его наигранная крутость спадает, и он уже начинает молить о помощи… но что-то менять уже поздно: его силуэт превращается в ослиный, и отупевший осёл все в той же панике начинает громить заведение.
  • Тут уж хорошо, что Дисней сделал адаптацию очень вольной: в оригинале и Пиноккио превращается в осла, после чего был куплен в цирк, где дрессировался кнутом без пряника, а когда охромел, его купили, чтобы снять шкуру. Здесь же после Фитилева превращения Пиноккио лишь обзаводится хвостом и ушами и вовремя соображает свалить куда подальше.
• Антиреклама курения — зигзаг.
  • Уже в начале фильма видим, как добрый мастер Джеппетто курит трубку в постели — но ему можно, он взрослый.
  • А вот на что напирал как автор первоисточника Коллоди, так и вслед за ним Дисней — антиреклама курения среди детей. Как только Пиноккио вместе с прочими непослушными мальчишками привозят на Остров Удовольствий, им тут же разрешают бесплатно и сколько угодно курить (а также пить алкоголь, драться и вообще хулиганить на все лады); в ту же ночь практически все мальчики самым натуральным образом превращаются в неразумных ослов.
  • В одной сцене Пиноккио по совету нового друга Фитиля скуривает за раз целую огромную сигару, в результате чего обкуривается до соплей и некоторое время вообще ничего не соображает. Очень возможно, этой сценой и была навеяна аналогичная сцена из «Ну, погоди!».
  • Чуть позже Фитиль на глазах у Пиноккио и сам начинает превращаться в осла. По частям. Завидев это зрелище, Пиноккио сначала убирает кружку пива, а потом и сигару отбрасывает.
  • Хорошее курение, плохое курение — на Острове Удовольствий курят все, включая Пиноккио и его друга Фитиля, и только сигары. А вот добрый мастер Джеппетто курит длинную трубку.
• И часовню тоже он! — на Остров Пиноккио заманили тоже Лис и Кот, хотя в оригинале он справился сам.
• Кармический Гудини — Кот Гидеон и Лис Честный Джон остались безнаказанными, да и где-то на далёком острове Кучер до сих пор превращает детей в ослов.
• Клюква — куклы, пляшущие «Казачка».
• Невинные голубые глаза — Пиноккио и Джеппетто.
• Полное чудовище — Кучер (в книге — Господинчик), заманивающий детей на Остров Удовольствий, где те превращаются в ослов. Потом он продаёт их в соляные шахты или заставляет работать на него. Лучше не думать о том, что он делает с теми ослами, которые сохранили способность говорить. И нет, он не получил по заслугам.
• Птичку жалко: когда Фитиль начинает превращаться в осла, его становится очень жалко — бедняга зовёт маму и отчаянно молит Пиноккио о помощи.
• Сюжетный буревестник — Кучер.
• Толстый злодей — Стромболи (владелец кукольного театра) и Кучер (с педалью в пол). Озвучил обоих, кстати, один актёр.
• Улыбашка — перевозчик, который переправляет мальчиков на Остров Удовольствий.
• Плохой хороший конец — Пиноккио стал настоящим мальчиком, Джеппетто счастлив, Джимини получил медаль.
  • Но Джон и Гидеон остались безнаказанными, да и на Кучер по-прежнему превращает детей в ослов.
  • Но даже и такой конец надо было заслужить — единожды свернув не туда, Пиноккио вынужден пройти через множество испытаний и самопожертвование, чтобы снова стать на верный путь.

Тропы вокруг мультфильма[править]

• Героизм в адаптации. Книжный Пиноккио — изначально шабутной и несносный мальчишка, по чьей милости в первые же главы отец оказывается под арестом, а Сверчок погибает от его удара молотком. Пиноккио у Диснея — милый малыш без малейшего намёка на трикстерство или порочность. По сути, он получает только жизненные уроки, а не полную трансформацию характера.
• Идеология в адаптации — пополам с противотропом. В исходной книге Коллоди мораль Страны Развлечений была: «Если в детстве ты будешь развлекаться вместо того, чтобы учиться грамоте или овладевать ремеслом, то когда вырастешь, будешь пригоден лишь для примитивного и тяжёлого физического труда, как осёл». В мультфильме мораль Острова Удовольствий стала: «Если ты будешь пить алкоголь, курить, драться и играть в азартные игры, то станешь глупым, как осёл».
• Концентратор ненависти — Кучер. Дополнительные баллы за безнаказанность.
• Получилось страшно — конечно, по сравнению с оригинальной сказкой экранизация намно-о-ого светлее и мягче. И всё-таки:
  • Сцена превращения мальчика Фитиля в осла, наполненная воистину ужасающими криками, внушает детям неподдельный ужас. Впрочем, получилась хорошая наглядная (пускай и чересчур жёсткая) иллюстрация, что случается с теми детьми, кто ведёт себя как осёл (то есть как малолетний идиот, считающий, что пить, курить и нецензурно выражаться — это всё, что нужно, чтобы выглядеть взрослым).
  • Сцена, где жуткие приспешники Кучера грузят бывших детей для продажи в виде ослов (считай, в рабство) в цирки и соляные карьеры и проверяют, не утратили ли они дар речи (некоторые ещё не утратили).
  • Когда Кучер убеждает Джона и Гидеона доставлять ему «плохих мальчишек», он на мгновение показывает своё истинное лицо, чтобы припугнуть собеседников. Сцена получилась весьма криповая.
• Фанон — трудно поверить, но эта теория появилась ещё в год выхода мультика. Согласно ей, Кучер это не кто-нибудь, а сам дьявол!
  • Фанатская теория о том, что Говорящий Осёл из «Шрека» — это один из мальчишек, превратившихся в ослов на Острове Удовольствий, пока что держится довольно крепко, хотя и не абсолютно правдоподобна: этот персонаж был и в оригинальной книге о Шреке.
• Эффект «Реквиема по мечте» — Уолт Дисней не снимал «Пиноккио» (как и «Бэмби», «Белоснежку», «Дамбо»). Он был только продюсером.

Адаптации[править]

Кино[править]

• «Пиноккио» (Pinocchio) — предстоящий музыкальный фильм Роберта Земекиса, киноадаптация мультфильма.
• Телефильм «Джеппетто» (2000, Disney) — история рассказана с точки зрения Джеппетто. Есть отличия от оригинального мультика — например, отсутствуют Лис и Кот.

Видеоигры[править]

• Pinocchio для Sega Megadrive и Super Nintendo.
  • Убить в адаптации — Пиноккио побеждает Кучера, лично сбросив его с высокой скалы в море.
  • Уровень-утроба — субверсия. Кит был настолько гигантским, что в нём легко поместился целый корабль. Именно по нему протагонист и путешествует в поисках дров для розжига костра, а сама утроба кита видна лишь на фоне.

Отсылки[править]

У Диснея[править]

• Фигаро стал главным героем трёх короткометражек (1943, 1946 и 1947; в первом также была Клео).
  • И появился в трёх короткометражках из цикла про Плуто.
• Джимини стал одним из главных персонажей 9-й классической полнометражки Диснея «Весёлые и беззабтные» («Весёлые фантазии», Fun and Fancy Free, 1947). Клео появилась и в нём.
• «Аладдин» (мультфильм 1992) — в одной сцене лицо Джинна меняется на лицо Пиноккио, когда Аладдин говорит, что освободит Джинна, и он думает, что Аладдин лжёт. А когда он превращается в Пиноккио, у него появляется очень длинный нос.
  • Мультсериал «Аладдин» — Джинн изображает Джеппетто с Фигаро в ките.
  • «Возвращение Джафара» — Джинн пытается убедить Яго следовать своей совести, как это делал Джимини.
• «Рапунцель»: Пиноккио — эпизодический персонаж в сцене в трактире.
• Сцена с рыбами из «Пиноккио» была повторно использована в «Алисе в стране чудес».

У других[править]

• «Мстители: Эра Альтрона» — Альтрон поет ту же песню, которую исполнял Пиноккио на шоу.
• «Кто подставил кролика Роджера» — появляются некоторые персонажи (в т. ч. Пиноккио и Джимини).
• «В поисках Немо» — Марлин и Дори цитируют Джимини: «Ты … ты моя совесть?» и «Да, я твоя совесть».
• Разные персонажи появились в нескольких видеоиграх из цикла Kingdom Hearts.

Примечания[править]

[изменить] Мультфильмы (отдельные и в циклах)
СССР и СНГ	Белка и Стрелка. Звёздные собаки • Большое путешествие • Большой Тылль • Братья Пилоты • Бременские музыканты • Бюро находок • Вовка в Тридевятом царстве • Возвращение блудного попугая • В синем море, в белой пене… • Голубой щенок • День рождения Алисы • Двенадцать месяцев • Доктор Бартек и Смерть • Домовёнок Кузя • Дракон • Ёжик в тумане • Жил-был пёс • цикл Иван Царевич и Серый волк • Ивашка из Дворца пионеров • Карлик Нос • Конёк-горбунок • Кот Леопольд • Крокодил Гена • Легенды перуанских индейцев • Летучий корабль • Лоскутик и Облако • Мама для мамонтёнка • Маугли • На задней парте • Незнайка и Баррабасс • Ну, погоди! • Огонёк-Огниво • Остров сокровищ • Падал прошлогодний снег • Пёс в сапогах • Пиф-паф, ой-ой-ой • Пластилиновая ворона • По дороге с облаками • Приключения капитана Врунгеля • Приключения поросёнка Фунтика • Простоквашино • Разлучённые • Садко • трилогия о Смешариках (Начало • Легенда о Золотом Драконе • Дежавю) • тетралогия о Снежной Королеве (Снежная Королева • Снежная Королева 2: Перезаморозка • Снежная Королева 3: Огонь и Лёд • Снежная Королева 4: Зазеркалье) • Тайна страны земляники • Тайна третьей планеты • Товарищъ со звёздъ • Три богатыря (Алёша Попович, Добрыня Никитич, Илья Муромец, Шамаханская царица, На дальних берегах, Ход конём, Морской царь, Принцесса Египта, Наследница престола, Конь Юлий) • Ух ты, говорящая рыба! • Фильм, фильм, фильм • Чудовище • Чудо-Юдо • Шкатулка с секретом
США	Атлантида: Затерянный мир • Братец медвежонок • Бэмби • ВАЛЛ-И • Великий мышиный сыщик • Вор и сапожник • Вперёд • В поисках Немо/В поисках Дори • Все псы попадают в рай • Геркулес • Головоломка • Горбун из Нотр-Дама • Город героев • Динозавр • Дом-монстр • Зверополис • Земля до начала времён • Золушка • История игрушек • Камешек и пингвин (совместно с Ирландией) • Король-Лев • Корпорация монстров • Кошмар перед Рождеством • Кун-фу Панда • Лего. Фильм 2 (совместно с Австралией) • Ледниковый период • Мадагаскар • Мегамозг • Медведь Барни • Меч в камне • Моана • Мой маленький пони: Новое поколение • Мой маленький пони в кино • Мулан • Оливер и компания • Отель Трансильвания • Пиноккио • Планета сокровищ • Полёт драконов (совместно с Великобританией и Японией) • Последний единорог (совместно с Великобританией, ФРГ и Японией) • Принц Египта • Принцесса и лягушка • Принцесса-лебедь • Ральф • Рапунцель • Рататуй • Робин Гуд • Русалочка • Секрет крыс • Скуби-Ду • Снупи и мелочь пузатая • Суперсемейка • Тайна Коко • Тачки • Том и Джерри • Труп невесты • Франкенвини • Холодное сердце • Холодное сердце 2 • Храбрая сердцем • Хранители снов • Человек-паук: Через вселенные • Шрек • Энканто Про Бетти Буп Афроамериканские мультфильмы • Оленёнок Рудольф
Канада	Я, Домашний Козёл 2
Латиноамериканские мультфильмы	Ноев ковчег
Западная Европа	Британские мультфильмы (Побег из курятника • Жёлтая подводная лодка) • Мультфильмы Германии (Мультфильмы ГДР • Мультфильмы Третьего рейха) • Ирландские мультфильмы (Тайна Келлс • Песнь моря (совместно с Францией, Бельгией, Данией и Люксембургом)) • Испанские мультфильмы (Клаус (совместно с Великобританией)) • Итальянские мультфильмы • Скандинавские мультфильмы • Французские мультфильмы (Дети дождя • Ренессанс, сочетание с игровым • Страх[и] темноты)
Восточная Европа	Албанские мультфильмы • Болгарские мультфильмы • Венгерские мультфильмы (Ловушка для кошек • Ловушка для кошек 2: Кот Апокалипсиса) • Польские мультфильмы • Румынские мультфильмы • Чешские и чехословацкие мультфильмы • Югославские мультфильмы (Сербские мультфильмы • Хорватские мультфильмы) …
Восточная Азия	Вьетнамские мультфильмы • Китайские мультфильмы (Нэчжа (2019)) • Корейские мультфильмы (Мультфильмы КНДР • Мультфильмы Южной Кореи) • Филиппинские мультфильмы • …
Студии	Disney (Все мультфильмы снял Дисней) • DreamWorks • Pixar • Киевнаучфильм • Мельница • Пилот • Союзмультфильм • ТО «Экран» • Таллинфильм
Режиссёры	Гарри Бардин • Иван Иванов-Вано • Натан Лернер • Сёстры Брумберг
←	Основы • Мультсериалы • Аниме

[изменить] Walt Disney pictures
Микки Маус и ко.	Микки Маус • Минни Маус • Дональд Дак • Дейзи Дак • Гуфи • Плуто • Пит
Мультфильмы про принцесс	Белоснежка и семь гномов (1) • Золушка (12) • Спящая красавица (16) • Русалочка (28) • Красавица и Чудовище (30) • Аладдин (31) • Покахонтас (33) • Мулан (36) • Принцесса и лягушка (49) • Рапунцель: Запутаная история (50) • Моана (56)
Другие мультфильмы	Пиноккио (2) • Фантазия (3) • Дамбо (4) • Бэмби (5) • Алиса в стране чудес (13) • Питер Пэн (14) • Леди и Бродяга (15) • 101 далматинец (17) • Меч в камне (18) • Книга джунглей (19) • Робин Гуд (21) • Приключения Винни (22)/Медвежонок Винни и его друзья (51) • Лис и пёс (24) • Великий мышиный сыщик (26) • Оливер и компания (27) • Король-Лев (32) • Горбун из Нотр-Дама (34) • Геркулес (35) • Тарзан (37) • Атлантида: Затерянный мир (41) • Лило и Стич (42) • Планета сокровищ (43) • Ральф (52)/Ральф против интернета (Ralph Breaks the Internet, 57) • Райя и последний дракон (59) • Холодное сердце (53)/Холодное сердце 2 (58) • Зверополис (55) • Энканто (60)
Мультфильмы Pixar	История игрушек • Приключения Флика • Корпорация монстров • В поисках Немо • Суперсемейка • Тачки • Рататуй • ВАЛЛ-И • Вверх • Головоломка • Тайна Коко • Лука
Выкупленные франшизы	Marvel • Star Wars
Мультсериалы	См. здесь

1. Прототипом диснеевского Пиноккио стал книжный персонаж

Герой родим из книжки.

«Приключения Пиноккио» — детская книга итальянского автора Карло Коллоди, первоначально опубликованная в 1883 году. Если кому-либо кажется, что версия Диснея довольно мрачная, ему стоит прочитать оригинал, где Пиноккио хотели зарезать убийцы, а в середине книги его повесили (однако, Пиноккио был спасен).

2. Аниматоры никак не могли решить, как рисовать Пиноккио

Аниматор Милт Каль.

Аниматоры колебались, наделить ли персонажа человеческими движениями или сделать так, чтобы он двигался как марионетка. Это продолжалось в течение 18 месяцев, пока режиссер-аниматор Милт Каль не решил смешать эти две идеи, придав Пиноккио человекоподобные движения, но при этом добавив ему кукольные элементы.

3. Вид марионетки менялся несколько раз

Эдгар Берген и кукла Чарли Маккарти.

В какой -то момент Уолт Дисней даже хотел, чтобы Пиноккио выглядел, как кукла Чарли Маккарти, с которой выступал Эдгар Берген. Но этот вариант был признан слишком комичным.

4. Уорд Кимбалл остался на работе из-за Пиноккио

Уорд Кимбалл — легенда Диснея.

Аниматор Уорд Кимбалл был настолько расстроен тем, что две его сцены вырезали из «Белоснежки», что подал заявление об увольнении. Вместо того, чтобы принять заявление, Дисней уговорил Кимбалла остаться, выделив ему «персонального персонажа» — Сверчка Джимини из «Пиноккио», который вскоре стал любимым детищем Уорда.

5. Сверчок Джимини — коллективное творчество

Сверчок Джимини.

Когда Уолт объяснил Кимбаллу то, каким нужно сделать персонажа, он упомянул, что Сверчок Джимини напомнил ему его «любимого дядю Эда». Услышав это, Кимбалл первоначально разработал персонажа, который был больше похож на настоящего сверчка — с усиками, выпученными глазами и продолговатым телом. Уолту не понравился этот рисунок, поэтому Джимини превратился в маленького человека с большой головой. Пальто сверчка Кимбалл срисовал с мужчины на бутылке скотча Johnnie Walker.

6. Котенок Фигаро — любимый персонаж Уолта Диснея

Котенок Фигаро — любимый персонаж Уолта Диснея

Хотя Фигаро является сравнительно второстепенным персонажем в фильме, он так понравился Уолту, что после «Пиноккио» он использовал его в другом мультфильме — в качестве домашнего животного Минни Мауса.

7. Переписанный сценарий

Пиноккио и сверчок

В оригинальной истории сверчок умирает, когда Пиноккио бросает в него молотком. Уолт Дисней решил раскрыть персонаж более подробно, но это случилось уже после того, как сценарий был закончен. В итоге сценарий пришлось переписывать.

8. Пиноккио получил два Оскара

Пиноккио получил два Оскара

Оба были даны за великолепную музыку мультфильма. Пол Смит, Ли Харлайн и Нед Вашингтон получили Оскар за лучший оригинальный саундтрек, а Хайрлайн и Вашингтон еще и за лучшую песню «В час, когда взойдёт звезда».

9. Песня под названием «Честный Джон» была вырезана из фильма

Актер Турл Равенскрофт (известный неоднократными озвучками мультипликационных персонажей) и группа Mellomen записали песню «Честный Джон» для фильма. Однако, она была вырезана из окончательной версии.

10. Мультфильм провалился в прокате

Популярность у зрителей и провал в прокате.

Критики в один голос заявляли, что это «идеальный мультфильм, который стал совершенством, Однако, при этом кассовые сборы были, мягко говоря, неутешительными. «Пиноккио» принес менее десятой части от того, что было выручено за «Белоснежку». Уолт считал, что это случилось из-за того, что незадолго до премьеры «Пиноккио» на экраны вышел фильм «Унесенные ветром».

11. Мел Бланк озвучил кота

Уолт нанял актера Мела Бланка, чтобы тот озвучил персонажа кота Гидеона. Бланк записал все свои диалоги за 16 дней и получил по $ 50 за день.

12. Дисней оплатил надгробие Клиффа Эдвардса

Ветеран водевиля актер Клифф Эдвардс озвучил Сверчка Джимини. К сожалению, наркомания и алкоголизм Эдвардса сильно повлияли на его работу. Его карьера пошла на спад, а в 1969 году Клиффа уволили из Walt Disney Company. Однако, компания продолжала оплачивать его медицинские счета. В начале 80-х кто-то в компании проинформировал руководство, что Эдвардсу не поставили надлежащего надгробия после его смерти в 1971 году. Компания позаботилась и об этом.

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Содержание

• 11 персонажей сказки о Пиноккио
• 1- Пиноккио
• 2- Джеппетто
• 3- Джимини Крикет или Джимини Крикет
• 4- Фигаро
• 5- Клео
• 6- Голубая фея
• 7- Досточтимые Иоанн и Гедеон
• 8- Стромболи
• 9- Водитель
• 10- Мотылек
• 11- Синий кит
• Ссылки

В персонажи из сказки о Пиноккио Это Пиноккио, Гепетто, Сверчок Джимини, Фигаро, Клео, голубая фея, Гидеон и достопочтенный Джон, Стромболи, кучер, Мотылек и синий кит. Они воплощают в жизнь эту историю, полную приключений и морали.

История Приключения ПиноккиоКарло Коллоди — детская пьеса, рассказывающая о том, как кукла учится вести настоящую жизнь и вести себя как хороший ребенок, который не лжет, преодолевая сложные ситуации благодаря некоторым персонажам с плохими намерениями.

1- Пиноккио

Он главный герой спектакля. Это деревянная марионетка в виде ребенка, который оживает благодаря голубой фее и погружается в различные приключения, где он проверяет свою честность и отвагу, чтобы спасти своего создателя Джеппетто.

Известно, что у Буратино растёт нос каждый раз, когда он лжет. Благодаря этому сотрудники узнают ценность правды во время рассказа и умудряются стать настоящим ребенком.

2- Джеппетто

Он пожилой скульптор, у которого никогда не будет детей. По этой причине он строит Пиноккио в виде ребенка и просит звезду подарить ему настоящего сына.

Джеппетто становится папой Пиноккио и отправляется на его поиски, когда тот заблудился.

3- Джимини Крикет или Джимини Крикет

Очень хитрый сверчок становится совестью Пиноккио. Пепе помогает Пиноккио в его решениях, потому что он сделан из дерева и не знает, что правильно, а что нет.

4- Фигаро

Это питомец Джеппетто: черная кошка, которая всегда сопровождает своего хозяина. Поначалу Фигаро завидует вниманию Джепетто к Пиноккио, но позже он сопровождает его в поисках.

5- Клео

Это самка красной рыбы, которая живет в аквариуме в доме Джеппетто. Она вместе с Фигаро сопровождает своего хозяина, когда он уезжает на поиски своего сына Пиноккио.

6- Голубая фея

Более известная как «Звезда желаний», она спускается с неба и дает жизнь марионетке Пиноккио. Эта фея появляется в разных частях истории, когда персонажи просят ее о помощи.

7- Досточтимые Иоанн и Гедеон

Гидеон — злой кот. Он и его товарищ лис, Достопочтенный Джон, похищают Пиноккио.

8- Стромболи

Он кукловод, который запирает главного героя в клетке с целью продать его кучеру.

9- Водитель

Это человек, который покупает детей, чтобы отвезти их на «остров», где он превращает их в ослов. Он платит Гедеону и достопочтенному Иоанну золотыми монетами, чтобы вернуть Пиноккио.

10- Мотылек

Это человек, который подает плохой пример Пиноккио, когда они встречаются на острове.

11- Синий кит

Это гигантское «чудовище», живущее под водой. Этот кит проглатывает корабль Джеппетто, а затем Пиноккио и Джимини Крикет.

Ссылки

1. Коллоди К. (1988). Пиноккио. Мексика DF. Редакция Promotora S.A
2. Гэннон С. Пиноккио: Первые сто лет. Получено 6 октября 2017 г. из Project Muse: muse.jhu.edu
3. Леопарди Дж. (1983) Приключения Пиноккио (Le Avventure Di Pinocchio). Критическая редакция.
4. Бетелла П. Пиноккио и детская литература. Получено 6 октября 2017 г. с сайта Aws: s3.amazonaws.com.
5. Серрабона Я. (2008) Опытные истории: воображение и движение. Получено 6 октября 2017 г. из Scientific Information Systems: redalyc.org