When Matteo Garrone was six his mother told him the story of Pinocchio. Like children across Italy and the rest of the world, Garrone learned universal life lessons along with the mischievous marionette: respect family, tell the truth, try to avoid making an ass of yourself. He was spellbound and inspired, drawing a comic strip of scenes from the tale.
Now 51, Garrone is Italy’s leading auteur. Two of his films, Tale of Tales and Dogman, competed for the Palme d’Or, another, Reality, won the Grand Prix at Cannes but it was 2008’s Gomorrah for which he’s best known internationally. His adaptation of Pinocchio fulfils a lifelong ambition. Speaking over Zoom from his home office, he holds up the drawing he made as a child, now framed, that sits on his desk.

“I started to have sympathy for this puppet very early,” he says. “When I was younger – and also today now I’m not younger – I feel like Pinocchio because he is a character that is against rules, looking for pleasure and very weak when it comes to the temptations of life.”
He admits to having a growing understanding of Geppetto too. “I have a son of 11 years old that is completely Pinocchio… I’m always running after him trying to convince him to go to school.”
Pinocchio was a box office smash over Christmas in Italy. A dubbed version of the film is now experiencing a wider-than-expected release in the UK as cinemas fill the void left by the delay of major Hollywood movies. Garrone was a painter before becoming a director, and the cinematography is breathtaking, an argument for the importance of watching films on a big screen.
Most spectacular is Pinocchio himself. Makeup maestro (and Lancashire lad) Mark Coulier, a veteran of the Harry Potter films and two-time Oscar-winner, created a completely convincing walking, talking carving, as well as a supporting cast of colourful characters. The puppet looks solid, like you’d get a splinter if you slapped him (which you often want to do), and his face collects scratches and marks as the film goes on. Nine-year-old Federico Ielapi endured three hours in the makeup chair daily to transform from a real boy to a puppet who wants to become a real boy. And wooden acting in this case is the highest possible praise, his naive Pinocchio simultaneously self-centred yet vulnerable.