Yet it is hard to read Collodi’s original story as a cautionary tale about the evils and consequences of lying. The emoji for a lie is a face with an absurdly long nose, and when the Washington Post’s fact-checkers scrutinize politicians’ assertions, they rate them on a scale from no Pinocchios to four. The result was to forge a link between Pinocchio and lying that has since become indissoluble.
REAL PINOCCHIO NOSE MOVIE
Disney, with a sharp eye for a visually arresting novelty, honed in on the puppet’s extending nose, making it central to his movie in a way that it is not in the book. And on a couple of occasions the author punishes him for his lies by making his nose grow. But until then, he is lazy, mischievous, irresponsible, profoundly egotistical and easily led astray: a late 19th-century prototype for the likes of Bart Simpson.ĭisney honed in on the puppet’s extending nose the result was to forge a link between Pinocchio and lying that has since become indissoluble.Ĭollodi’s Pinocchio is also intermittently mendacious.
And toward the end of the Adventures he starts to mature. The original Pinocchio has a good-even, at times, noble-heart. Collodi’s puppet, by contrast, is a brat. They distorted the personality of the central character, replaced the message at the heart of the fable and changed the setting.ĭisney’s Pinocchio is about a cute little boy who tells the odd fib. But Disney and his animators did more than just tweak Collodi’s original tale.
It introduced an extraordinary degree of realism with effects so far ahead of their time that, even today, 80 years later, they do not look particularly outdated. One reason for this is that Disney’s movie was a landmark in the history of animation.
REAL PINOCCHIO NOSE TV
The Adventures has since gone on to be one of the world’s two most translated works of fiction it has been reincarnated in TV series, plays, video games and other movies the puppet’s name has been given to an asteroid and used to denote a philosophical conundrum―all largely because of the global fame conferred on him by Hollywood. But it was Disney’s motion picture that transformed Collodi’s puppet into a universally recognizable figure. It was published in an English translation in 1891, just eight years after it appeared in Italian, and soon became popular in the English-speaking world and beyond. The Adventures was not unknown outside Italy before Disney’s animators got to work on it. Seldom has a work of literature been so overshadowed by its celluloid adaptation. Many English speakers, by contrast, are more likely to have had their perceptions of the story colored by Walt Disney’s 1940 cartoon movie version, Pinocchio. Italian scholars have written extensive treatises on the layers of cultural, social, political and even religious significance to be found in it. In Italy, critics regard it as a masterpiece: one of the greatest works in the literary canon a book that has played a significant role in the development of the Italian language one rich in subtle allusions and artful contrivances, comparable to Alice’s Adventures in Wonderland or Gulliver’s Travels. The gap between the way Carlo Collodi’s The Adventures of Pinocchio is perceived in the land of its origin and the view taken of it by speakers of English is vast.
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