Geppetto

I have to say that I really enjoyed this movie, and thought it was much better than the Jonathan Taylor Thomas version. While the JTT one had better special FX, this one had much better direction and script-writing. Also the fact that it was a musical made it all that much more enjoyable. Brent Spiner (Star Trek TNG's Data) was wonderful as Stromboli. And Rene Auberjonois (Star Trek DS9's Odo) was magnificent as Buonragazzo. I highly recommend this film, and will probably buy it on video.

I watched this because on Whose Line is it Anyway they always brought it up to mock it. Before I finally sat down to see it, I read the reviews here on IMDb and was surprised to find that virtually everyone seemed to love it so much. I had no idea what to expect going in.

The story is essentially the plot of the 1940 Pinocchio except told from the point of view of his father, Geppetto. It's a parable about the hardships of parenting, which isn't as easy as the toymaker had hoped it would be once he gets a son of his own. Believing Pinocchio is somehow defective since he doesn't listen to the rules or wish to be exactly like him, he tries to get the Blue Fairy to correct her "mistake", causing the puppet to run away. The rest of the plot concerns Geppetto's quest to find him and make things right, learning about parental love along the way.

It's not a bad premise; actually, it's quite interesting, however, I just didn't care for the execution. If the 1940 animated film was a watered down version of Collodi's original book, then Geppetto is a watered down version of the 1940 animated film. It felt rather cloying to me.. I didn't find the musical numbers that memorable save for a scene where Geppetto and the Blue Fairy seem to be channeling Fred Astaire and Ginger Rogers, though I will admit Drew Carey has a pretty good voice. It's not technically perfect, but he lends the right amount of emotion. Most of the acting was quite good too, though I did find Julia Louis-Dreyfus as the Blue Fairy to be grating. The production values are wanting, but I didn't expect anything too elaborate as this is a television movie after all.

Geppetto is not a terrible movie; it's a cute little musical that's not too elaborate, and judging from everyone else's reactions, they really enjoyed it. I'm just probably missing something.

The Disney folks must be applauded for reviving the live-action movie musical (albeit on television); it wasn't hard to improve on John Huston's gruesome film of ANNIE, but the Disney version actually seemed an improvement on the overrated Broadway show. And it's always fun to see stars not primarily known their for singing and dancing kick up their heels (if you haven't seen Kathy Bates' spectacular turn in ANNIE, rent it now.) So it's disheartening to report that GEPPETTO isn't even in the ballpark. Ostensibly a retelling of the Pinocchio story from his father's point of view, it will probably bore kids and puzzle most adults.

Admirably, Drew Carey as Geppetto displays none of his sitcom or stand-up personae, but hasn't found any persuasive replacement. It doesn't help that the character as written is pretty much a simpering wimp or that his wig appears to be the one originally worn by Patty Duke as the American twin on her old TV series; Carey could be auditioning for a biopic about The Turtles. In fact, the whole production has the look and sound of the kind of expensively cheesy sixties musicals that helped bury the genre: technically slick and impressive without being attractive or appealing. The tone, however, is pure nineties: guilty parents can only find happiness by learning to obey their children.

Hearing just a few bars each of "When You Wish Upon a Star" and "I've Got No Strings" here is enough to illustrate how uninspired Stephen Schwartz's score is. Schwartz seems at fault too for pushing Carey, who has a more than adequate singing voice, beyond his range; he could and should have sounded a lot more comfortable. As a hazily-conceived Blue Fairy, Julia Louis-Dreyfus attempts an unsuccessful homage to Billie Burke in THE WIZARD OF OZ, but also reveals a very pretty soprano behind the affected diction. Poor Usher Raymond gets stuck with the worst song, and though he looks like he could dance up a storm he's barely given the chance. Brent Spiner, with vocal chops to spare, comes off best, but then again he is playing the villain (and gets the best hair, too.)

It would be churlish to complain about Seth Adkins' whiny performance as Pinocchio; nearly all of the child actors have been directed to whine and sulk brattily, the better to manipulate their supplicatory parents. But the sheer awfulness of his costume and makeup is indicative of the production's creative clumsiness. With a grotesquely streaked face and awkward, artificial "puppet" joints, Pinocchio looks less like a little wooden boy than the unfortunate victim of some horrible real-life disease.

'Geppetto' was cute, but did we really need a new Pinocchio? NO. Is this age the age of remakes? YES. Julia Louis-Dreyfus was radiant as the Blue Fairy (the female less-than-equal to Jiminy Cricket) and her voice is beautiful, which goes well with the dress. That was the only thing that was great about the movie. The graphics are cheap. The added storyline and new songs, however, were a new treat. I liked it, but it wasn't the greatest ever. Want a good movie? Rent the original.

The Disney Company has rediscovered the magic of the live action musical (a magic that seemingly vanished toward the end of the 60s); although, it might have considered the wide screen a better source for the release of "Geppetto."

In simple terms, this is a motion picture-sized musical extravaganza for the small screen that depicts the tale of "Pinocchio" from the eyes of his "father" Geppetto. Starting with his "son's" creation, Geppetto quickly learns that children are not perfect; what he fails to understand is that such imperfections may be derived from the parent. Subsequently, when Pinocchio runs away with the evil gold-loving Stromboli and then to Pleasure Island, Geppetto requires lessons in parenthood and of the heart and inner soul. In hilarious fashion, the Blue Fairy assists Geppetto on his journey to eventually find both understanding and Pinocchio.

Drew Carey is surprisingly strong in a title role that relies more on emotion than one-liners. Brent Spiner's Stromboli is evil personified, although in a comical light that should not leave the kiddies afraid to go to sleep in the dark. Julia Louis-Dreyfus initially appears over-animated as the Blue Fairy. We discover later how this plays into her role when she displays her magic powers to Carey in a series of hilarious dance sequences. Usher is ever-so-sly as the singing Ring Leader in Pleasure Island. Seth Adkins is the penultimate Pinocchio, reminiscent of the 1940s animated version. His extensive makeup leads one to believe that this talented boy is genuinely made of wood.

The rest of the cast play their roles with abundant energy and warm-hearted feeling that transmits beyond the screen and directly into the hearts and minds of the audience. These feelings are intensified by Stephen Schwartz's highly enjoyable musical score and songs, with no less than two showstoppers: in "Toys" three tracks sung by the parents, children and Geppetto run simultaneously yet we clearly understand each one. "Satisfaction Guaranteed" sung by Rene Auberjonois and a chorus of golden-voiced youngsters adds exuberant, vibrant energy to an active and complex choreographed sequence; the townspeople and their "perfect" children create a visual delight with their routine.

Equally incredible is the scenery in the Pleasure Island sequence, a colorful, attractive yet eerie amusement park of sorts where Pinocchio connects with the "bad" children of the world. Particularly funny are the run-ins that Stromboli has with the Pleasure Island children as he races against Geppetto to find and catch Pinocchio before he can suffer the fate of all Pleasure Island kids.

Monstro fans, take heart. The giant whale makes a cameo appearance. Kids especially will laugh at Pinocchio's idea to hopefully save Geppetto and himself from that mighty stomach.

Finally, the live action musical extravaganza has come back to the screen, albeit a smaller screen than for major musicals of the past. Before viewing "Geppetto," one may wish to watch the original Disney animated version of "Pinocchio" to become familiar with the story and characters. Consider that an optional homework assignment, not a necessity as this film can and will stand on its own for future generations of families.