Fun versus duty, autonomy and submission, innocence and experience: Carlo Collodi’s tale, first published in Italian in serial form in 1881, suggests many enduring themes and interpretations.In the schmaltzy Disney take, when Pinocchio goes to Pleasure Island, supposedly a carefree paradise, it looks a lot like Disney World―an odd sort of marketing, given all the visitors are turned into donkeys.As Geppetto, the puppet’s old man, Mr Hanks sets sail in a small boat, a sequence that could be an out-take from “Cast Away”, a desert-island movie he made with the same director, Robert Zemeckis.Geppetto brings the goldfish along in a bowl.You half-fear he might eat it.Mr del Toro’s spin is deeper and darker.Strange as it is to say of an animated film narrated by a cricket (voiced by Ewan McGregor), there is little magic here.In a revamp set in Mussolini’s Italy, Geppetto fashions the puppet in a drunken fit of grief for a child he lost in the first world war.Instead of cavorting on Pleasure Island, Pinocchio is conscripted into a Fascist boot-camp; in his mistreated purity he is likened to Jesus Christ.The distinguishing feature of a real boy, in this telling, is that he can die.If that sounds bleak, try Collodi’s original text.Even by the standards of children’s classics, it is macabre.
寻欢作乐还是担起责任、独立自主还是俯首听命、天真无邪还是久经考验：卡洛・科洛迪的故事于1881年首次以意大利语连载出版，呈现了许多经久不衰的主题和理解。而在迪士尼的矫情版本中，当皮诺曹去欢乐岛时，这个设定为如天堂一般无忧无虑的地方看起来和迪士尼世界没什么两样。这种营销方式真的很怪，因为所有的游客都变成了驴。汉克斯饰演的老木匠杰佩托驾着一艘小船启航时，不知道的还以为这一幕是从他与该片导演罗伯特・泽米吉斯合作的荒岛电影《荒岛余生》中剪下来的。杰佩托是把金鱼装在碗里带着的。让人有点担心他会把这条鱼吃掉。德尔・托罗的诠释更加深刻，也更黑暗。说来奇怪，在他这版由蟋蟀(伊万・麦格雷戈配音)进行讲述的动画电影中，几乎没有提到魔法。该片将故事背景改为墨索里尼统治下的意大利，杰佩托在第一次世界大战中失去了一个孩子，之后于借酒浇愁之际造出了匹诺曹。匹诺曹没有像以往的版本一样在欢乐岛上尽情玩乐，而是被征召到了法西斯新兵营；他就好比耶稣基督，他的纯洁受到了折磨。在这个版本中，“真正的男孩”的显著特征就是他会死。如果这听起来很悲观，不妨试试科洛迪的原著。即使以儿童经典作品的标准来看，它也令人毛骨悚然。
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