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I unbiased saw a special engagement of this latest 70th Anniversary version of Pinnochio at Disney’s El Capitan Theatre in Hollywood in near of the DVD re-release. Though I am satisfied to eye the movie be given public exposure on a spacious theatrical mask, over the years I have seen many theatrical screenings of the movie on at least 12 different occasions including an novel 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 jumpy to search for that this latest restored version has digitally tampered with the film’s unique color palette for no justifiable reason.
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Some of the chosen character hues are current day, common color hues, but behold out of station in this early provocative classic including distinct 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 intelligent and garish where it should intentionally be darker and muted.
The fresh 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, inspect color-wise like they were electronically tampered with, then reinserted in front of the current 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 recent color hues for the purpose of improving the artwork or making it more fresh day acceptable. Either two things, perhaps no one at Disney was knowledgeable enough to peek what the outside restoration company was planning to do with the film in early test segments or maybe they figured that recent day DVD audiences would not know the contrast or care, but this is the first “DIGITALLY RESTORED” classic Disney film that I have ever taken remark with. What a let down since it is my very approved Disney film of all!!!
P.S. I was the founder of the extinct, long time Disney employees’ Racy 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 modern Disney animators, screenings of rare Disney footage and more.
The one-two whammy of audience and famous 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 honorable was his motto. This may be one of the greatest tragedies to beset accepted American culture in the 20th century; despite the depths of pretension and kitch in “Fantasia,” it was at least evidence of a gripping mind in pursuit of the unattained — but “Pinocchio” must have broken primitive 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 moving musical scores in the history of the movies (I can’t hear Cliff Edwards’ high, pure falsetto holding that final tag 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 detached staggering after 65 years. But it may be too black a movie to do the popularity of more tickled 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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