Carlo Collodi's Le Avventure Di Pinocchio

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Carlo Lorenzini (1826-1890), better known under his pen-name Carlo Collodi, wrote La storia di un burattino (1881) at a time when Italy was in the process of reunification . His compilation of writings supports a vast enterprise of language unification in Italy. Carlo Collodi had imagined a tale for children in which he taunted certain human behaviour using animals, representing their negative traits like those of the cat and the fox or the monkey judge. His story, published for the first time in 1881, was first written as a weekly publication for “Il Giornale per I Bambini”. Collodi wrote Le avventure di Pinocchio (1883) wanting it to be representative of the Italian society of the XIXth , searching for its national identity. It is interesting…show more content…
His representation, however insists on showing poverty and the severe authority of the social and educational system XXth century Italy. “Le Avventure di Pinocchio” was filmed to be shown on Italian and French television in the mid 70’. The series consisted of 6 episodes of about 55 minutes each. The film is a model adaptation and respects the ‘chef d’œuvre’ of Italian children's literature while offering its unique message. His adaptation distances itself from Collodi’s tale and offers a new interpretation of Pinocchio and his adventures. Geppetto, played by Nino Manfredi, is a woodworker who lives way below the poverty threshold and Pinocchio is every parent’s nightmare. Comencini did not have much difficulty in finding a suitable boy for Pinocchio’s role as Andre Balestri, playing the role of Pinocchio, was difficult to manage in real life. Gina Lollobrigida, playing the role of the Blue Fairy, had even asked that another child was found to take his place as she could not deal with his impertinent manners. Her difficulty with Andrea Balestri convinced Comencini of his choice. Andrea Balestri was perfect for the…show more content…
Pinocchio learns and evolves following a series of adventures which will bring him to keep only one aspect of the Fairy’s plan for him: “essere il bastone della vecchiaia” of Geppetto, however without the yoke of abidance to unachievable expectations. A position that differs from Carlo Collodi’s original tale where Pinocchio is, in the end, institutionalised. One can feel close to Luigi Comencini’s anarchist Pinocchio, who does not want to be enclosed in the societal exclusive
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