Welcome to the year 2024, where no beloved childhood character is safe. In the ever-expanding world of horror, I present Pinocchio: Unstrung. After the bizarre success of Winnie the Pooh: Blood and Honey, Director Rhys Frake-Waterfield is back, this time turning the story of the little wooden boy who wanted to be real into something straight out of your nightmares.
With this new entry, it’s clear that we’ve entered a crazy playground where public domain icons are being reinterpreted in ways that would probably make their creators turn in their graves. Although it’s worth noting that Pinocchio’s original creator, Italian author, humorist and political satirist Carlo Collodi, is said to have turned to children’s literature after becoming disillusioned with Italian politics in the late 19th century.
Like many fairy tales with dark origins, Pinocchio was renamed a PG story by Disney in 1940, so it’s almost fitting that this upcoming film, set to begin shooting in October, takes the story back to its darker roots.
If the teaser images are to be believed, this is no ordinary bedtime story. Imagine a love child between Chucky And Cocaine Bear, with an energy like that of the Brothers Grimm. This version of Pinocchio is full of tension and madness and is brought to life with the help of animatronics and puppetry by Todd Masters, the genius behind Child’s play (2019).
With a larger budget than Winnie the Pooh: Blood and Honey, Frake-Waterfield has boldly claimed that this will be his “best film yet” – a statement that would make even Jiminy Cricket sweat.
The appeal of twisted nostalgia
What is it about these twisted versions of children’s classics that captivates audiences so much? As a child, I could barely watch a horror movie without peeking out from between my fingers. And don’t even get me started on my father’s influence! Never trust a baby boomer dad when he says, “It’s safe to watch now.”
As an adult, however, I have developed a certain penchant for absurd horror – and I am not alone.
Scott A. Boom, PhD, explains:
“What explains the appeal of ruthless criminals like Jeffrey Dahmer… or Ted Bundy? While their appeal is complex, I believe much of the fascination can be explained by our empathy. We are driven by an innate tendency to have compassion for everything around us, even dangerous things.”
The Public Domain: A Wild West for Storytellers
Maybe it’s the thrill of seeing something innocent transformed into something terrifying. Or maybe it’s the ultimate act of creative freedom – a middle finger to the restrictions that copyright law once imposed. Love it or hate it, the public domain is a true Wild West for storytellers – a place where anything is possible and where Pooh, Peter Pan and now Pinocchio can roam free.
In Pinocchio: Unstrung, We’re promised a spectacle of special effects, with Frake-Waterfield’s aim being to make this the ultimate Pinocchio horror film. But beyond the bloodshed and the scares, there’s a fascinating commentary on the nature of these adaptations. Have we become so jaded as a culture that we can only relive these stories through the lens of horror? Or is this simply the next evolution of storytelling in a world where everything old is eventually new – and terrifying – again?
As we prepare for the twisted tale of the wooden boy gone astray, it’s worth reflecting on what these films say about our collective psyche. Whether you’re a fan of this new genre or a purist who prefers to keep things simple, one thing is clear: the public domain is a playground, and in the hands of filmmakers like Frake-Waterfield, it’s a playground with no rules and no mercy.
PS: I don’t mean to point fingers, but maybe Geppetto, the dollmaker/life giver, should have taken some parenting classes after he decided to sacrifice his little doll life at will. As Dr. Louise Hart wisely puts it, “If we don’t mold our children, they will be molded by outside forces that don’t care what condition our children are in.”
Angela is an avid reader and proud library card holder. She is new to the world of e-readers. She has a background in education, emergency response and fitness, loves being outdoors, traveling and exploring. Angela has an Honours degree in Anthropology and also studied writing after graduating. She has contributed to The London Free Press, The Gazette, The Londoner, Best Version Media, Lifeliner and Citymedia.ca.
