Lowest Price on Pinocchio
Vendredi, juin 18th, 2010
I fair saw a special engagement of this latest 70th Anniversary version of Pinnochio at Disney’s El Capitan Theatre in Hollywood in reach of the DVD re-release. Though I am gratified to look the movie be given public exposure on a spacious theatrical shroud, over the years I have seen many theatrical screenings of the movie on at least 12 different occasions including an new nitrate 3-strip Technicolor studio vault print in the early 1980’s (before the studio dismantled its last nitrate screening room) and non-digital film restorations and was troubled to glimpse that this latest restored version has digitally tampered with the film’s recent color palette for no justifiable reason.
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Some of the chosen character hues are recent day, common color hues, but see out of set in this early though-provoking classic including definite pinks, reds and blues which are reused so often in identical shades that to classic animation buffs it becomes distractingly noticeable. For those animation buffs who know about Pinnochio, Walt intentionally muted colors in some of the scarier or sadder scenes. In the restored version, for example, when Pinnochio gets locked in Geppetto’s “birdcage” the nighttime scene is sparkling and garish where it should intentionally be darker and muted.
The unusual movie had hand inked character outlines in colors that matched the interior ink colors, none of that is apparent in this restoration. The characters, though admittedly sharper and clearer, peer color-wise like they were electronically tampered with, then reinserted in front of the modern backgrounds.
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At this point, the distress is done and obviously this restoration was “stylistic.” But in any case, it might be compared with someone redoing the Mona Lisa with more fresh color hues for the purpose of improving the artwork or making it more new day acceptable. Either two things, perhaps no one at Disney was knowledgeable enough to leer what the outside restoration company was planning to do with the film in early test segments or maybe they figured that new day DVD audiences would not know the disagreement or care, but this is the first “DIGITALLY RESTORED” classic Disney film that I have ever taken bellow with. What a let down since it is my very current Disney film of all!!!
P.S. I was the founder of the stale, long time Disney employees’ Inviting Film Club (later referred to as the Disney Film Club) which included Disneyland and Walt Disney Studio employees. It was founded in 1976 and continued on and off for many years afterward with visits from surviving recent Disney animators, screenings of rare Disney footage and more.
The one-two whammy of audience and significant indifference to “Pinocchio” and “Fantasia” killed Walt Disney’s desire to experiment with the limits of animation in the 1940s. From then on, play it first-rate was his motto. This may be one of the greatest tragedies to beset common American culture in the 20th century; despite the depths of pretension and kitch in “Fantasia,” it was at least evidence of a intelligent mind in pursuit of the unattained — but “Pinocchio” must have broken stale Walt’s heart. There are visual effects in this movie that remained unchallenged until the digital age, and it’s worth recalling that every single one of them was drawn by hand. It has one of the most attractive and bewitching musical scores in the history of the movies (I can’t hear Cliff Edwards’ high, pure falsetto holding that final effect of “When You Wish Upon a Star” without chills), a deeply plangent sense of emotion that never tips over into bathos, and a wealth of detail that is mild staggering after 65 years. But it may be too shaded a movie to do the popularity of more contented Disney cartoons like “Snow White” — although even that one can frighten the tots. Now: where is the double-disc Special Platinum Edition???
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