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I fair saw a special engagement of this latest 70th Anniversary version of Pinnochio at Disney’s El Capitan Theatre in Hollywood in near of the DVD re-release. Though I am satisfied to study the movie be given public exposure on a titanic theatrical mask, over the years I have seen many theatrical screenings of the movie on at least 12 different occasions including an modern nitrate 3-strip Technicolor studio vault print in the early 1980’s (before the studio dismantled its last nitrate screening room) and non-digital film restorations and was petrified to look that this latest restored version has digitally tampered with the film’s novel color palette for no justifiable reason.

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Some of the chosen character hues are current day, current color hues, but gape out of space in this early consuming classic including clear pinks, reds and blues which are reused so often in identical shades that to classic animation buffs it becomes distractingly noticeable. For those animation buffs who know about Pinnochio, Walt intentionally muted colors in some of the scarier or sadder scenes. In the restored version, for example, when Pinnochio gets locked in Geppetto’s “birdcage” the nighttime scene is shimmering and garish where it should intentionally be darker and muted.

The current movie had hand inked character outlines in colors that matched the interior ink colors, none of that is apparent in this restoration. The characters, though admittedly sharper and clearer, contemplate color-wise like they were electronically tampered with, then reinserted in front of the new backgrounds.

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At this point, the hurt is done and obviously this restoration was “stylistic.” But in any case, it might be compared with someone redoing the Mona Lisa with more recent color hues for the purpose of improving the artwork or making it more unique day acceptable. Either two things, perhaps no one at Disney was knowledgeable enough to watch what the outside restoration company was planning to do with the film in early test segments or maybe they figured that novel day DVD audiences would not know the dissimilarity or care, but this is the first “DIGITALLY RESTORED” classic Disney film that I have ever taken negate with. What a let down since it is my very current Disney film of all!!!

P.S. I was the founder of the old-fashioned, long time Disney employees’ Titillating Film Club (later referred to as the Disney Film Club) which included Disneyland and Walt Disney Studio employees. It was founded in 1976 and continued on and off for many years afterward with visits from surviving novel Disney animators, screenings of rare Disney footage and more.

The one-two whammy of audience and valuable indifference to “Pinocchio” and “Fantasia” killed Walt Disney’s desire to experiment with the limits of animation in the 1940s. From then on, play it profitable was his motto. This may be one of the greatest tragedies to beset approved American culture in the 20th century; despite the depths of pretension and kitch in “Fantasia,” it was at least evidence of a captivating mind in pursuit of the unattained — but “Pinocchio” must have broken worn Walt’s heart. There are visual effects in this movie that remained unchallenged until the digital age, and it’s worth recalling that every single one of them was drawn by hand. It has one of the most sparkling and interesting musical scores in the history of the movies (I can’t hear Cliff Edwards’ high, pure falsetto holding that final heed of “When You Wish Upon a Star” without chills), a deeply plangent sense of emotion that never tips over into bathos, and a wealth of detail that is quiet staggering after 65 years. But it may be too shadowy a movie to execute the popularity of more tickled Disney cartoons like “Snow White” — although even that one can frighten the tots. Now: where is the double-disc Special Platinum Edition???
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