Faerie Tale Theatre Reviews: Pinocchio

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a real boy, adaptation, Blue Fairy, boy, carl reiner, Carlo Collodi, Disney, donkey, donkey scene, donkey transformation, donkeys, Faerie Tale Theatre, faerie tale theatre reviews, fairy, fairy tale, fairy tale adaptation, fairy tale history, fairy tales, fairytale, Gepetto, giant whale, italian fairytale, italian village, italy, james coburn, jim belushi, lainie kazan, marionette, michael richards, origin story, paul reubens, Pinocchio, priest, puppet, puppets, real boy, review, review series, screen adaptation, series review, sofia, swallowed by a whale, television review, tv review, whale, woodcarver

“Gepetto has wished for a brand new boy,
so you have been chosen to bring him joy…I hope.”
– The spell bringing Pinocchio to life, albeit with some shaky confidence

Hi boys and girls and everyone else! Today’s secret word is strings! So anytime someone says that word, scream real loud!

To say Pinocchio is just another fairytale character would be a gross understatement. Whether you’re familiar with the mischievous marionette through Disney’s animated movie, his appearances in the Shrek films, or some other third thing, everyone knows the living lie-detector puppet who wants to be a real boy. So where did he come from? Gepetto may be Pinocchio’s father in-story, but it was Italian author Carlo Collodi who gave him life on the page in 1881. Collodi wasn’t a stranger to fairy tales, having previously translated several French ones to his native tongue. When he was invited to try writing his own stories, he wound up making history.

Released in a serial format in one of the earliest known children’s magazines, Le avventure di Pinocchio highlighted the titular puppet’s trials and tribulations as he navigated the world around him. Pinocchio was meant to serve as an example of behavior for kids, and was punished or rewarded for his actions accordingly – but mostly punished. Those of you who’ve grown up knowing only Disney’s version might be surprised at how much the film deviates from Collodi’s writings, and the numerous bleak tangents that were omitted (though considering the frightening scenes that remain, I wouldn’t say the feature we got was all that saccharine). The original story ended on a rather grim note with Pinocchio left hanging from a noose after the Fox and Cat swindle him out of his money (I should mention at this point that Collodi was somewhat inspired by The Brothers Grimm, which certainly accounts for some of the darker elements). Popular demand rescued Pinocchio from his cruel fate, however, and his story continued for many months afterward. His complete adventures were compiled into a single book in 1883, and the puppet’s popularity hasn’t waned since. He’s a cultural icon in Italy, nearly at the same level that Mickey Mouse is in America. Some analyses even place him on the same epic heroes pedestal as Odysseus, Dante, and Gilgamesh, claiming his journey is just as rich an exploration of the human condition as their ancient myths.

As for me personally, I’ve made my adoration for the Disney film clear in the past (or rather the original, seeing as we’re getting a live-action remake of it next month). Walt and his team knew how to weave the separate tales into one cohesive narrative and made our hero a much more likable but still flawed and interesting character. That, combined with music and iconography that is rarely matched these days, cements it as one of the best animated features in the history of the medium – and nearly every version of Pinocchio that came after has tried and failed to be just like it. That’s not my love for Disney talking either. Most every iteration I’ve seen borrows or outright steals the same exact characters, designs and beats (in the same order) as the Disney one when not awkwardly incorporating details from the Collodi stories. So how does Faerie Tale Theatre’s take on the puppet’s odyssey fare?

By The Cover: 30 Years of Simply Mad About The Mouse

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1990's, 1991, 30th anniversary, 90s, animated, animated special, animation, animators, anniversary, billy joel, bobby mcferrin, By The Cover, cgi animation, Cinderella, classic disney, classic Disney animation, computer animation, cov, cover, Disney, disney animation, disney music, disney review, disney song cover, disney vault, gipsy kings, hand drawn animation, harry connick jr., jazz cover, Kiss The Girl, LL Cool J, michael bolton, music, music video, music videos, Peter Pan, Pinocchio, ric ocasek, rock cover, rotoscope, Simply Mad About The Mouse, Snow White, song cover, song covers, soul2soul, the bare necessities, The Jungle Book, the little mermaid, the siamese cat song, top 40, traditional animation, When You Wish Upon a Star, Zip A Dee Doo Dah

Hi. It’s been a while since I’ve done one of these, hasn’t it? I’ll level with you, on top of the usual burnout, every time I’ve done a By The Cover post, I’m always struck by some kind of bad luck immediately, or something bad happens in the world that affects me personally. Don’t believe me? The last time I did this was in February 2020; do I need to remind you how things went after? Still, I couldn’t resist dragging this series out of mothballs to honor the 30th anniversary of something that’s very much the reason why By The Cover exists at all.

On September 27th 1991, Disney released Simply Mad About The Mouse, a 35-minute collection of music videos featuring some of the most popular artists of the time covering, what else, Disney songs. It’s not the first time a well-known musician has taken Disney classics and made it their own, but none of them ever made a high-profile music video to go with it. These videos were exclusive to the Disney Channel and I remember occasionally hearing the songs on Radio Disney (yeah, remember when Radio Disney was a thing?) The CD version comes with two more songs; En Vogue’s “One Song/Someday My Prince Will Come”, which I already discussed in the first By The Cover, and an instrumental jazz version of “Who’s Afraid of the Big Bad Wolf” titled “Mad About The Wolf” by Kirk Whalum – but we’re not here to talk about the CD. I had the VHS tape when I was a kid, and it had me spellbound. Without realizing it, I was introduced to singers who would go on to be some of my all-time favorites. As great as these covers are on their own, each video is a unique experience perfectly tailored to its artists’ genre and style. That tape I had disappeared ages ago, but an acquaintance gifted me a brand-new one after hearing me rave about it, and another friend even ripped me a higher-quality laserdisc copy for my birthday.

As of writing this, the individual songs are available for purchase on most online music stores, but the videos, either as a whole or individually, haven’t been re-released since 1991; it’s not even on Disney Plus. Thankfully, fellow Disney enthusiasts have kept the memory of Simply Mad About The Mouse alive through the magic of YouTube. So come with me as I explore this unearthed musical corner of Disney history and see what makes it worth going mad over.

An Introduction to Faerie Tale Theatre Reviews

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1980's, 80's fantasy, 80s, actors, Aladdin, anthology, anthology series, beauty and the beast, Big Bad Wolf, brothers grimm, celebrity, celebrity casting, Cinderella, dwarfs, Faerie Tale Theatre, fairies, fairy, fairy tale, fairy tales, folk tale, folk tales, frog prince, goldilocks, goldilocks and the three bears, gretel, grimm, hamelin, hans christian andersen, hansel, hansel and gretel, introduction, Jack and the beanstalk, little mermaid, little red riding hood, magic mirror, mirror, nightingale, pied piper, Pinocchio, puss in boots, Rapunzel, red riding hood, review series, rip van winkle, rumpelstiltskin, series, seven dwarfs, shelley duvall, sleeping beauty, snow queen, Snow White, snow white and the seven dwarfs, television review, television series, the boy who left home to find out about the shivers, the dancing princesses, the emperor's new clothes, the emperor's nightingale, the little mermaid, the pied piper, the pied piper of hamelin, the princess and the pea, the princess who had never laughed, the snow queen, the twelve dancing princesses, three little pigs, thumbelina, tv review, tv series, witch, witches, wolf

“Hello, I’m Shelley Duvall. Welcome to Faerie Tale Theatre.”

Once upon a time in the faraway land of Malta, an actress named Shelley Duvall starred in a little movie called Popeye. A blithe innocent spirit, Ms. Duvall kept herself entertained with a charming book of fairy tales in between shooting. Duvall recounted the story of The Frog Prince to her costar, Robin Williams, who found the tale humorous enough to his liking. From there, an idea sprung that would stay with many a child of the 80s and 90s.

From 1982 to 1987, Duvall produced and hosted Faerie Tale Theatre, a 27-episode long anthology series on Showtime. She convinced many of the biggest stars of the time to play the roles and even a few well-known auteurs to direct using her clout and gregarious charm. Duvall herself would star in seven of the episodes as well. This show, along with HBO’s Fraggle Rock, proved to be one of the first successful examples of cable programming and cemented itself as a cult classic. My own experience with Faerie Tale Theatre stems from renting episodes on VHS from my library at a very young age. Back in the day, if you really wanted to know what you were in for, then you could turn to the VHS cover. Yes, we’re all familiar with the old adage about not judging a book et cetera, but there’s an art to home media releases that’s tragically all but lost. The VHS tapes of Faerie Tale Theatre had a specifically crafted painting made for each episode done in a famous art style that the episode itself replicated in its set and costume design. Apart from giving you an idea about the content on the tape, it was just pretty to look at. Tell me, which is the more inviting, this –

or THESE?

After a lengthy time gap, I rediscovered the entire series on Youtube and watched with fascination. While many of the effects and the over-reliance on green screen certainly dates it, there’s a nostalgic charm that’s far from a deal-breaker. This was well before Disney began building upon and later deconstructing classic fairy tales with the Renaissance and Revival periods of animation, meaning the stories are told completely straight with just the bare amount of changes needed to fill an hour runtime. Seeing a score of well-known actors in fantasy costumes playing to the cheap seats can make you feel like you’re watching a pantomime, but there’s hardly a moment where it seems like they’re doing it just for the paycheck. Everyone involved looks like they’re in on the idea of putting on an entertaining show. Some performances remind us how excellent some of the actors are at their craft, others show sides to their talent that were rarely seen – though for the most part, there’s plenty of ham to go around, ham smothered in heaps of delicious cheese.

So I’ll be going through every episode in order, providing a ranking, a little bit of the stories’ history, why they were changed, and how they hold up compared to other versions. I won’t be classifying the reviews season by season as the amount of episodes in each one is erratic, with some having as many as six or as few as two. Despite their being only twenty-six of them (plus one reunion episode), there’s going to be a lot to unpack.

See you tomorrow when I review the first entry in this series, The Tale of the Frog Prince.

By The Cover: Pinocchio

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80th anniversary, academy awards, anniversary, bibbidi bobbidi bach, bill frisell, billy joel, By The Cover, Christmas star, classic disney, close encounters of the third kind, desolation theme, Disney, disney animated, disney animated feature, disney animated movie, disney animation, disney golden age, disney muppets, disney song, foulfellow, gene simmons, Gepetto, gideon, gipsy kings, Give A Little Whistle, gypsy kings, herb alpert, hi diddle dee dee, honest john, i got no strings, I've Got No Strings, jazz cover, jazz loves disney, jiminy cricket, john williams, julietta novis, ken nordine, Little Wooden Head, mannheim steamroller, michael crawford, Muppets, music, Neverland Orchestra, oscars, Pinocchio, pleasure island, pokemon, ringo starr, sega genesis, Simply Mad About The Mouse, snes, song, song cover, song covers, songs of the stage and screen, Stay Awake, Stay Awake Various Interpretations of Music From Vintage Disney Films, stromboli, the king's men, the muppet show, Walt Disney, wayne horvitz, When You Wish Upon a Star

Yes folks, after a lengthy absence on this blog, we’re returning to the semi-popular recurring series By The Cover, wherein I discuss my favorite covers of songs entirely from movies. This is a particularly special entry as we’re marking the 80th anniversary of the timeless Disney animated feature, Pinocchio!

When people hear the words “animated musical”, movies like Beauty and the Beast or Snow White come to mind quicker than Pinocchio does. It’s a movie where the characters and story come first and the music comes a close second. That’s not a knock on the soundtrack, far from it. The music is the icing on what’s already a perfectly baked dark and delectable dessert. Leigh Harline and Ned Washington gave us some iconic songs ranging from the fun to the inspirational, and artists have stepped up to the overwhelming task of interpreting them time and again for the past fourscore. Let’s pay them some homage.

August Review: Shrek (2001)

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2000's, 2001, academy awards, Action-Adventure, adventure, all star, animated, animated feature, animated franchise, animated movie, animated movie review, animation, anthropomorphic animal, Cameron Diaz, cgi animation, children’s book, computer animation, donkey, dragon, Dreamworks, Duloc, Eddie Murphy, fairies, fairy, fairy tale, Fantasy, Farquaad, Fiona, franchise, Gingerbread Man, Gingy, hallelujah, Hollywood, I'm a Believer, jeffrey katzenberg, John Lithgow, knight, Lord Farquaad, magic mirror, meme, memes, Michael Eisner, Mike Myers, movie review, ogre, ogres are like onions, ogress, onion, oscar winning, oscars, Pinocchio, pop culture reference, princess, Princess Fiona, quest, review, Robin Hood, Shrek, shrek is love, shrek is love shrek is life, shrek meme, shrek memes, smash mouth, spell, swamp, three little pigs, Vincent Cassel, william steig

Oh, Shrek. Where to begin with this guy?

That’s a rhetorical question, I know exactly where to start. It all comes back to one man, a man with a vision: to stick it to his former boss.

We meet again, Katzenberg.

There’s a lot of history and tangled truths behind the birth of Shrek, and Jeffrey Katzenberg is at the dead center of it. I was sorely tempted to make this another two-parter like the Black Cauldron review to go into more detail, but I was already running behind schedule with March of the Wooden Soldiers so here’s a slightly condensed version:

Between the disaster that was the making of The Black Cauldron and the glorious premiere of The Lion King, Katzenberg picked up a few tricks when it came to making acclaimed animated features. Then in 1994, Disney CEO Frank Wells was killed in a helicopter accident, and the Magic Kingdom was torn asunder as Michael Eisner took the reins and began his descent into madness. Katzenberg hoped that he would inherit Eisner’s former position of Vice President, but here’s where things get tricky. Katzenberg claims that Eisner fired him when he made his ambitions known; but the way Eisner tells it, Katzenberg was impatient, ungrateful, took way too much credit for the studio’s successes, and left of his own accord. Either way, it was a notoriously bitter separation with deep ramifications for the animation industry. Apparently Disney didn’t learn their lesson with Don Bluth because once again they wound up creating their biggest competitor – and this time, they were here to stay.

Katzenberg teamed up with David Geffen and the one and only Steven Spielberg to create Dreamworks SKG, the first major studio to truly rival Disney when it came to making animated motion pictures. The most important thing to them was to not be like every other feature on the market. For the first few years they flipped between making some great traditionally animated films that have been swept under the rug (Spirit, Sinbad and The Road to El Dorado are enjoying a comfortable cult status online and The Prince of Egypt only just got upgraded to blu-ray last year. Still waiting on that Broadway version, though), and openly trying to one-up their direct competition (when not teaming up Aardman to produce the same but with effort and a soul). Pixar announces their next movie is about ants? Dreamworks comes out the following week and says they’re doing a CGI movie about ants. Pixar says they’re making a film about fish? Dreamworks makes one about fish the following year. They make movies for children of all ages but with A-list actors, no Alan Menken musical numbers, and attituuuuude, dude. And nowhere is that jealousy and vitriol towards Disney more obvious than in what we’re reviewing today.

Shortly after Dreamworks was founded, co-head of the motion pictures division Laurie MacDonald gave Katzenberg a book by esteemed children’s author/illustrator William Steig simply called “Shrek!”; a fractured fairytale where a fire-breathing ogre was the hero, a donkey was his noble steed, and his happily ever after is defeating a valiant knight and marrying a princess even uglier than he is. He took one look at it, saw how it turned the traditional Disney-style fantasy he helped re-popularize in the 90’s on its head, the potential for even more slams at Disney fairytales and celebrity voice casting that worked gangbusters with Aladdin and had this to say:

Shrek evolved far beyond its humble literary origins into a green middle finger pointed at Katzenberg’s former workplace, and audiences and critics ate it up because nobody had dared to do such a thing before. And I’m not gonna lie, I loved this movie when I was a kid. But over time, mostly thanks to Katzenberg’s penchant for quantity over quality, Shrek became the very thing it was parodying: a shallow, over-hyped, over-marketed fairytale cash grab, and it’s affected my view of the original installment somewhat.

Well, it’s time for this non-star to get my game on and hopefully get paid. Let’s look at Dreamworks’ watershed studio-defining blockbuster…Shrek.

January Review: Pinocchio (1940)

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1940's, a real boy, adaptation, animated, animated feature, animated movie, animated movie review, animation, anthropomorphic, anthropomorphic animal, anthropomorphic animals, Bill Tytla, Blue Fairy, Carlo Collodi, children's story, children’s book, Christian Rub, classic, classic disney, classic Hollywood, cleo, Cliff Edwards, coachman, conscience, cricket, Dick Jones, Dickie Jones, Disney, disney animated, disney animated feature, disney animated movie, disney animation, disney golden age, disney review, donkey, donkey scene, donkey transformation, donkeys, figaro, foulfellow, fox and cat, Frank Churchill, Frank Thomas, Fred Moore, Gepetto, giant whale, gideon, Give A Little Whistle, golden age of Hollywood, hand drawn animation, Hi Fiddle Dee Dee, honest john, I've Got No Strings, italy, j. worthington foulfellow, jiminy cricket, Joe Grant, John Lounsbury, lampwick, Little Wooden Head, marionette, Mel Blanc, Milt Kahl, monstro, nine old men, Pinocchio, pleasure island, puppet, puppet show, puppeteers, puppets, real boy, star, stromboli, swallowed by a whale, traditional animation, transformation, Turn On The Old Music Box, Ukelele Ike, Vladimir Tytla, Walt Disney, Walter Catlett, whale, whale chase, When You Wish Upon a Star, wishing star, Wolfgang Reitherman, woodcarver, Woolie Reitherman

“When You Wish Upon A Star
Makes No Difference Who You Are
Anything Your Heart Desires
Will Come To You…”

In my last review, I compared Snow White and the Seven Dwarfs to Star Wars; a blockbuster that captivated audiences, revolutionized filmmaking, and was an all-around fun adventure with a likable cast. Well if Snow White is Disney’s Star Wars – before Disney owned Lucasfilm, I mean – then Pinocchio is undoubtedly Disney’s Empire Strikes Back: refined visuals, more complex storytelling and characters, and much, MUCH darker.

The success of Snow White marked the beginning of big things for Disney animation. The sizable influx of cash meant Walt could build a bigger studio, hire more staff, and give his projects a noticeably larger budget. The question is, where to go from here? What movie could possibly follow the fairest one of all? Investors were clamoring for a sequel and the idea was toyed with for a time, but Walt was not a one-trick pony. Then animator Norm Ferguson brought a copy of Carlo Collodi’s Le avventuri di Pinocchio to Walt’s attention. Walt and a few of his key guys had attended a performance of Yasha Frank’s successful staging of Pinocchio prior to Snow White’s release and noted the story had possibilities for adaptation – plenty of spectacle, cute comic relief critters, etc. Seeing that book sparked Walt’s memory; after reading it, he intended to make Pinocchio his third animated venture behind the upcoming Bambi. But when that movie ran into production troubles, Pinocchio was bumped up to its place. Does it measure up to Snow White, though? Let’s find out.