N S Ford

Tag: Guillermo del Toro

  • Film of the book: ‘Pinocchio’ (2022)

    Guillermo del Toro transforms Carlo Collodi’s 1883 morality tale into something completely different. It’s not really an adaptation, more of an original story sparked off by the tale of Pinocchio. A very dark fairytale which explores the traumatic effect of war, this film has some similarities with Pan’s Labyrinth.

    I don’t think there’s any point in reeling off a list of differences, because there are just too many. If you’re looking for faithfulness to the book (which is admittedly not a pleasant read anyhow) or a sanitised Disney-ish version (after all, there are songs in it) you’ll be disappointed either way. Although the craftsmanship is wonderful and the appearance is visually interesting, I feel there is not enough magic in the film. And if that’s how I feel, how is a child expecting magic going to feel? Guillermo del Toro said that he wanted more realism in this film. Fair enough, it’s his project. However, I think that this film is intended more for adults, demonstrated by the religious and political content.

    The most significant change in this version – out of many drastic alterations – is the essential nature of Pinocchio’s character and how that gives meaning to the story. Collodi’s book, which I’ve recently read, is basically a warning to boys that they must obey their fathers and study hard. Pinocchio repeatedly disobeys Geppetto and is constantly led into temptation – disregarding the ghost of the cricket he killed, who tries to make him see sense – only towards the end learning his lesson and being willing to provide for his father, becomes a real boy. Del Toro’s Pinocchio character, by contrast, is not very naughty at all and when he disobeys the authorities, he does so with good intentions (such as earning money for Geppetto) or in the interests of democracy (sabotaging the puppet master’s show for Mussolini). He’s kinder to the cricket, too, keeping the wise creature in a hole in his wooden chest where a heart would be. So he’s certainly a likeable character. The message of the story then becomes one of standing up to evil, that you should question everything and that it’s good to disobey the authorities, as they’re not always right just because they’re more powerful.

    As an adaptation of the book, it’s poor. As an inventive reimagining, very accomplished.

    Film poster for Guillermo del Toro's Pinocchio.

    Low-resolution image sourced from Wikipedia.

  • Review of ‘Pan’s Labyrinth’ by Guillermo del Toro and Cornelia Funke

    Are you a fan of the 2006 film El laberinto del fauno? Then you’ll love this book. Not seen the film? Then there’s a good chance you’ll enjoy this book anyway.

    Based on the film, this novelisation is a dark and heartbreaking fantasy set in Spain, 1944. A young girl called Ofelia arrives with her pregnant mother Carmen at a military post in an ancient forest. Ofelia’s new father, the evil Captain Vidal, is focused on only two things: hunting down the rebels and passing on his cruel vision of the world to his baby son. Ofelia is sought out by fairies, who lead her to the Faun (also known as Pan). He tells her that she’s actually a princess, Moanna, who found her way out of the Underworld a long time ago and whose spirit can return there on the completion of three tasks.

    This is one of those stories where you can have your own interpretation. It can mean different things to different people, although clearly there are messages about the evils of fascism, oppression of women and how we can learn from children’s belief in magic. Although the writing style is simple, the meanings are complex. The story is unforgettable. I think it’s skilfully written and structured. The style can feel strange at first, because of the fairytale tone and yet it’s a book for adults. It’s a tragic and violent with hints of Alice in Wonderland, Narnia and the Brothers Grimm. As a book of the film, it’s perfect. As a book in its own right, it’s something very special.

    The book includes illustrations by Allen Williams but I can’t comment on these, as my advance copy did not include most of them.

    Thank you to the publisher Bloomsbury for the advance copy via Netgalley. This book will be published on July 2nd.