This time Matteo Garrone made a half flop. The Roman director, after some resounding successes including Gomorra and Dogman, the umpteenth version of Pinocchio doesn't seem to get it right: at least this is the opinion of the film critic Patrizio Rossano, who on FIRST Art, the FIRSTonline magazine dedicated to the universe of culture, rejected the film in part, emphasizing how even Roberto Benigni in the role of Mastro Geppetto is not exactly at his maximum potential.
According to Rossano, the result is a film without poetry, without imagination and without magic. A film that does not arouse great emotions, and which above all is incomparable with some masterpieces of the past, including the same film directed and interpreted (this time however in the role of Pinocchio) in 2002 by Roberto Benigni, or the great work of Luigi Comencini, aired on Rai television screens in six episodes in 1972 (repeated ten years later) with actors of the caliber of Nino Manfredi (Geppetto), Gina Lollobrigida (the fairy), Franco Franchi and Ciccio Ingrassia (the cat and the fox) .
This Pinocchio is fragile in the human story, in the metaphor of the existence of individuals on this earth, even if they are "made of wood", the boundary between good and evil, beautiful and ugly, good and bad is not highlighted and In the end, they all look a bit alike. Collodi, the author of the real Pinocchio, told us another story that Garrone, also attentive to the slums of feelings (just remember Gomorrah and Dogman), in this case he didn't seem able to do it with equal skill.
