Craving

Uneven blend of live action and CGI lacks heart

By Derrick Bang Enterprise film critic

Filmmakers are reading each other’s mail again.

The memory of Italian director Matteo Garrone’s live-action 2019 version of “Pinocchio” remains fresh — in part because it didn’t reach our shores until spring 2021 — and now we have Disney’s sorta-kinda live-action reboot of its 1940 animated classic.

And, come Dec. 9, it’ll be joined by director Guillermo del Toro’s handling of the same story, which is guaranteed to be much darker and scarier (and, therefore, much closer to the spirit of Carlo Collodi’s 1883 novel).

But back to the present…

Of late, the current Disney regime has been hell-bent on putting a live-action spin on all of Uncle Walt’s animated classics, along with many of the studio’s more recent hits. The results have been mixed, to say the least; for every successful “Alice in Wonderland” (2010) and “Jungle Book” (2016), we’ve suffered through misfires such as the bloated “Beauty and the Beast” (2017), the excessively distressing “Dumbo” (2019) and the blinkand-you-missed it — trust me, not a bad thing — “Lady and the Tramp,” a streaming debut that same year.

The obvious question arises: Why bother?

Inclusion and political correctness can be a factor, and — in theory — there’s nothing wrong with reviving a beloved chestnut. After all, how many local theater productions of (as just a couple of examples) “The Music Man” and “My Fair Lady” get mounted every year, to the delight of packed audiences?

Uncle Walt’s “Pinocchio” is eight decades old, which certainly seems far enough back to justify a fresh take. And, in fairness, director Robert Zemeckis’ new film has much to offer: Doug Chiang and Stefan Dechant’s sumptuously colorful production design is amazing — gotta love all the cuckoo clocks in Geppetto’s workshop — and Don Burgess’ equally lush cinematography gives the saga a lovely fairy tale glow.

But the film fails on the most crucial level. Despite the CGI trickery with which this version’s title character is brought to life, and even despite young Benjamin Evan Ainsworth’s earnest voice performance, this Pinocchio doesn’t have anywhere near the warmth, vulnerability, poignant curiosity, chastened regret or beingness of his hand-drawn predecessor.

In short, 1940’s Pinocchio felt like a real boy, even while still a marionette. This CGI Pinocchio is a cartoon character.

And everything crumbles from that misstep.

Tom Hanks’ Geppetto is an exercise in mumbled absentmindedness, as if he’s constantly on the verge of forgetting his lines, or where to stand. He’s also much too calm when initially confronted with the miracle of his wooden puppet come to life, as if this is somehow a routine occurrence.

Indeed, Pinocchio’s very existence similarly is taken for granted by all the villagers and schoolchildren; the schoolmaster banishes Pinocchio from the classroom because he’s “just a puppet,” but seems unfazed by the fact that he is a puppet brought to life.

Perhaps this results from the fact that the village also is home to con artists J. Worthington Foulfellow — better know as “Honest John” — and his mute, bumbling sidekick Gideon. If you share the street with an anthropomorphic, nattily dressed fox and his feline companion, perhaps a walking, talking puppet isn’t that big a deal.

Even so, this still points to a serious shortcoming in the script, by Zemeckis, Chris Weitz and Simon Farnaby: It lacks magic. Not enough sense of wonder. The story hits all of the 1940 film’s major plot points — including abbreviated versions of the key songs, “I’ve Got No Strings” and “When You Wish Upon a Star” — but the execution is … well … rather blasé.

Emotion is absent.

When Pinocchio and Geppetto have their climactic encounter with Monstro, in the 1940 film — after everything else they’ve already endured — the impact is traumatic and emotionally wrenching.

Here, it’s just another action sequence.

Even Pinocchio’s prevaricatory “tell” — his lengthening nose, when caught in a lie — is little more than a hasty sight gag, which (worse yet!) has a positive result.

That rather blunts the significance of the Blue Fairy’s initial admonishment that Pinocchio must learn to be “brave, honest and unselfish.”

So, OK, other good stuff: Giuseppe Battiston is excellent as a odious and loathsome Stromboli, owner of the Marionette Traveling Theatre, where Pinocchio is briefly seduced by the lure of fame and fortune. Kyanne Lamaya is sweetly endearing as Fabiana, a new character: a young puppeteer apprenticed to Stromboli, who — because of an injured leg — vicariously dances through her marionette, Sabina.

Lewin Lloyd, well remembered as Roger Parslow in the ongoing HBO adaptation of Philip Pullman’s “His Dark Materials,” is equally memorable as the fasttalking Lampwick: the “naughty boy” who encourages Pinocchio to follow a gaggle of delighted children who frolic in Pleasure Island, little realizing the fate that awaits them all.

Keegan-Michael Key is noteperfect as the voice of the cunningly fraudulent Honest John.

Geppetto’s two beloved pets — the black-and-white cat Figaro, and goldfish-in-a-bowl Cleo — are CGI-adorable, without ever saying a word.

Which brings us to the story’s other key character: Jiminy Cricket, the leaping insect who serves as “Pinoke’s” chaperone and moral compass. Joseph Gordon-Levitt’s scratchily solemn vocal performance cannot be

Rating: PG, for dramatic intensity and mild rude material Starring: Tom Hanks, Joseph Gordon-Levitt, Benjamin Evan Ainsworth, Giuseppe Battiston, Kyanne Lamaya, Lewin Lloyd, Keegan-Michael Key Available via: Disney+

Geppetto (Tom Hanks) has no idea that the wooden puppet, which he so lovingly crafted, is about to be brought to life by a magical blue fairy.

faulted — he also serves as this saga’s narrator — but the character’s CGI presentation is a bit odd; it looks like his actual face is covered by a whole-head cricket mask.

This may be anatomically correct, cricket-wise, in terms of how the head attaches to the thorax … but, given that Jiminy stands on two legs, it’s rather distracting.

I’ve no doubt young viewers will enjoy this film; it’s wellpaced, with plenty of adventure and mischief, and the essential moral remains present (if muted).

As also was the case with the recent release of “Luck,” though, adults and older viewers will respond with a shrug. (Frankly, I fully expect a lot of parents to haul out their DVD of the 1940 version, with words along the lines of “Wait until you see this one!”) — Be sure to join Derrick when he hosts 1963’s “Charade” at 7:01 Sunday, as the second in a series of light-hearted heist films, presented at the Davis Odd Fellows Hall, 415 Second St. Read more of his film criticism at http:// derrickbang.blogspot.com. Comment on this review at www. davisenterprise.com.

PENCE: Gallery gears up for sale

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opportunity to exhibit last year, as well as teach classes and workshops to the public.

We are especially appreciative of the local and regional artists who continue to donate their work to the Pence Auction and are honored to share their work with the community. Participating artists who donate all or a portion of the proceeds help the Pence continue its mission of serving the community through art. Come check out the display before it ends on the 24th, and snatch up some intriguing works of art for some really great prices.

The Auction is sponsored by Jennifer Wu/ Davis CPA, Coldwell Banker Select Real Estate, Bill & Nancy Roe, Pam

Courtesy photo

“Origami Object #1298” by Mark Goudy is a ceramic vessel that looks like it’s made out of paper.

Marrone & Mick Rogers, F Street Dispensary, Clyde & Ruth Bowman, Carbahal & Company, Yvonne Clinton Piano Studio, Scott Motley/Merrill Lynch, Fidelity Insurance Service, Brooks Painting Inc., and The Artery. — Natalie Nelson is the executive director and curator of the Pence Gallery; her column is published monthly.

Soroptimists present Lunafest on Sept. 25

Special to The Enterprise

Tickets are still available for Lunafest, a series of short films by and about women that will run on Sunday, Sept. 25, at Davis Odd Fellows Hall, or online that weekend. The event is a fundraiser for Soroptimist International of Davis.

The event includes eight short films, told from perspectives that champion women and gender-nonconforming individuals, highlighting their aspirations, accomplishments, resilience, strength and connection. Though the films are unrated, they are most appropriate for ages 13 and up.

The in-person event will be Sunday, Sept. 25, at Davis Odd Fellows Hall, 415 Second St. Doors open at 3 p.m. and the screening begins at 3:30. Food and drink will be available for purchase, including alcoholic and nonalcoholic beverages.

Those unable to join in person can still support Soroptimist programs by watching the films virtually from their smart TV or device. Beginning at 7 p.m. on Friday, Sept. 23, those purchasing virtual tickets will have 48 hours to begin watching the films, and 48 hours to finish viewing once they’ve started. The total running time for the eight short films is 80 minutes. Before the films, there’s a brief video from Soroptimist International of Davis, outlining how its programs improve the lives of women and girls in Yolo County.

SI Davis is working with its Ruby Award winner Dzokerayi Minya of the Tese Foundation. Attendees who bring a new package of girls’ or ladies’ panties to the screening are eligible to receive a free item from the snack bar. These donations will support rural girls in Zimbabwe who need the panties to attend school.

For Lunafest tickets, visit https://sidavis.org.

The Firefly Folk Duo — Cedar Cady, left, and Tom Phillips — will perform Sept. 27 at Village Homes.

Firefly Folk Duo go into the circle

Special to The Enterprise

Firefly Folk Duo is the featured act at the Village Homes Performers’ Circle on Tuesday, Sept. 27, in Davis.

Davis-based fiddler Cedar Cady joins Tom Phillips on banjo to make an oldtime mountain sound. According to Cady, “The Firefly Folk will play early American fiddle tunes and songs to bring your mind and soul to a cozy destination of comfort.”

The event begins with an open mic and concludes with the featured performance. Signup begins at 7 p.m., with signup performances (each act of less than five minutes) from 7:15 to 8:15 p.m. The featured act performs from 8:30 to 9 p.m. The emcee this month will be Laura Sandage.

Village Homes Performers’ Circle is held in or outside the Village Homes Community Center, 2661 Portage Bay East in Davis. For information, visit https://www.facebook.com/villagehomes performers.

Vacaville brings back annual jazz festival

Special to The Enterprise

The Vacaville Jazz Festival is back from Sept. 16 through 18, after being absent for a few years from the COVID pandemic. Its bands and musicians are ready to perform live again at the Vacaville Jazz Festival downtown and Nut Tree locations.

“It is time to heal and unite this year with the love and excitement of live music in our community,” a news release said.

The Vaca Jazz Society, a 501(c)3 nonprofit, promotes and supports “Unify with Music” programs through initiating free clinics, demonstration concerts, and the pursuit of safe family entertainment in the community will celebrate its 21st anniversary at the event.

Vacaville’s original three-day Jazz festival has included since 1999 various groups performing live blues, Gospel, swing, big band, be-bop, Latin, funk, rock and pop music during the third weekend of September each year. All of the bands and musicians are donating their time and energy to make the Vacaville Jazz Festival a success.

For information, go to www.vacajazzsociety.com or www.vacavillemusic festival.com for the schedule and times for all of the VJF performances.