XII), even though they are not handicapped (161, Ch. When they are first introduced, the Fox and the Cat present themselves as “lame” and “blind” (157, Ch. In a longitudinal study of the Cat and the Fox, these characters epitomize the karmic fate of Pinocchio had he not been reformed by his donkey metamorphosis. Karma also manifests outside the context of the eponymous character, offering secondary support to this theme. These scenes culminate to the novel’s ultimate example of karma: Pinocchio sends the bedridden Blue Fairy his cooper pennies, and he awakens to find gold coins in addition to a transformed cottage and self (455-461, Ch. Since the Tuna gains freedom from the shark’s stomach by following Pinocchio’s escape route, the Tuna shuttles the two back to shore when Pinocchio can no longer swim (441, Ch. For example, after Pinocchio saves Aldorno the dog from drowning, Aldorno rescues the puppet from the fisherman (327-329, Ch. steals grapes, captured as makeshift watchdog deviates from path, hanged by assassins, etc.), there are also instances where this theme manifests itself in the opposite respect, which brightens the dark tale. While the entire rising action of The Adventures of Pinocchio is a cyclical bombardment of bad karmic justice for Pinocchio (i.e. He struck a compromise: Pinocchio’s life would be spared, but in return his punishments would become ever more baroque and gruesome.The American notion of karma – bad things will happen to bad people and good things will happen to good people – is evident in many character interactions and the dynamic – rather than static – nature of the Fox and the Cat’s characterization. Collodi also altered the genre, rewriting his tragedy as black comedy. His publishers forced him to extend the story, bringing Pinocchio back to life through the intervention of a beautiful child with blue hair (the character that later morphs into the Blue Fairy). But when Pinocchio was hanged after the 15 th installment, Collodi’s young readers were horrified. Pinocchio was originally published serially in the weekly Giornale dei bambini, the “newspaper for kids,” where it gained a large following. In fact the final two-thirds of the book were an afterthought. There is some business at the end about becoming a “real boy,” but it seems an afterthought. Try and do better in the future and you will be happy. Collodi’s moral is that you if you behave badly and do not obey adults, you will be bound, tortured, and killed.īoys who minister tenderly to their parents and assist them in their misery and infirmities, are deserving of great praise and affection, even if they cannot be cited as examples of obedience and good behaviour. The moral of the film is that if you are brave and truthful, and you listen to your conscience, you will find salvation. (In the book, when the cricket scolds Pinocchio for rebelling against his father, Pinocchio bashes the insect’s brains out with a hammer.) And Disney turned a single scene-in which Pinocchio’s nose grows when he tells a lie-into a central motif. Similarly the “Talking-Cricket,” a minor nameless character, became Jiminy Cricket, a tiny bald-headed man who serves as the puppet’s voice of conscience. He would not be depicted as a puppet after all but as a real boy, and a gentle, winsome one at that. Pinocchio’s wish would be fulfilled from the start. It was unsuitable for children, Disney concluded: Pinocchio was too cocky, too much of a wiseguy, and too puppetlike to be sympathetic. It’s hard to blame Disney-Pinocchio is a rotten kid.Įarly in the project, in fact, Disney became so frustrated with Collodi’s story that he halted production. That is the Pinocchio depicted in Walt Disney’s adaptation, which whitewashed Collodi’s tale when it was released in 1940. I always imagined him as a cheerful little puppet who desires nothing more than to be transformed into a real live boy. Is that not how you remember Pinocchio? Me neither.
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