PINOCCHIO

BEST COSTUME DESIGN
BEST MAKEUP AND HAIRSTYLING

Geppetto, an old woodcarver who longs for a son, creates a puppet and names him Pinocchio. The wooden boy, full of mischief and the desire to be a real boy, is easily led astray by ne’er-do-wells as he embarks on adventures that carry him far from home.

Massimo Cantini Parrini

Easily the biggest surprise of the awards season was the out-of-nowhere love for Matteo Garrone’s Italian “Pinocchio.” Seeing the film start making the Oscar shortlists, I immediately scoffed. No one had been talking about this film and, out of nowhere, here it was.

In this live-action version of the 1883 Italian story by Carlo Collodi, the woodcarver Geppetto creates a wooden marionette and names him Pinocchio. The puppet comes to life, walking and talking without strings, driven by his curiosity and naivety. He skips school and ends up captured by a traveling puppet show. Once he escapes, he must find his way back to Geppetto while facing many unsavory characters, as well as a fairy that holds power to turn him into a real boy.

There’s an adult nature to this endeavor. With a rating of PG-13, this is not your kid’s “Pinocchio.” At one point, the villains hang Pinocchio by the neck from a tree with a noose.

Most of the costumes in “Pinocchio” come and go without much attention drawn to them. The people of Gepetto’s village dress in dirty clothes, dog-faced soldiers wear uniforms, and the fairy wears different dresses in the shade of off-white. Pinocchio’s red costume, which Geppetto makes from his bed linen, becomes the center of attention. The costumes of the puppets in the traveling show are also visually attractive.

But when you compare the Costume Design of “Pinocchio” to that of “Emma” or “Mulan,” there’s hardly a comparison. The entire film of “Emma” relies on the costumes, and many of those worn by the lead Anya Taylor-Joy are highlights of the film. Same with “Mulan.” Bringing the animated movie to life becomes even more entertaining when getting some of her looks to the big screen. Whether it be her red robe attire shown in much of the promotional material for the film or the soldier uniform she wears during battle, it’s all memorable and well done. I think the surprise attention for “Pinocchio” might end up being its only reward.

— 1st time Nominees —

Mark Coulier, Dalia Colli and Francesco Pegoretti

After all the films I’ve seen throughout my life, I am still amazed at anything that can surprise me. The prosthetic makeup in “Pinocchio” is mind-boggling. Watch the film and tell me where makeup ends and visual effects begin because I had an impossible time figuring it out. Making Federico Ielapi look like a wooden boy is the definition of movie magic. The talking fish, talking dogs, and beautiful fairies are all so believable. It helps give this version of “Pinocchio” something the others do not. There’s wonder and mystery to the entire makeup process. Not even Walt Disney Pictures could have delivered something better.

Experts put “Pinocchio” at the bottom of the barrel of nominees. After seeing the film, however, I am not so sure it is. Placing this film next to the likes of “Hillbilly Elegy” or “Ma Rainey’s Black Bottom,” it’s hard to argue that the magic worked in “Pinocchio” is not more impressive than those of the films mentioned. Adding makeup to an actress to set them apart or help them get into character seems quite different from bringing life to an entirely new one. I might be alone thinking this, but I believe there might be an upset in this category, and it might see “Pinocchio” sneaking in a win. Want more evidence? Mark Coulier, the man behind the prosthetics and unique makeup for the film, has won the Oscar for Best Makeup both times he was nominated. What’s stopping him from winning a third time?

Mark Coulier

2011 (84th)	Best Makeup	“The Iron Lady”	WON
2014 (87th)	Best Makeup & Hairstyling	“The Grand Budapest Hotel”	WON

Dalia Colli | Francesco Pegoretti

— 1st time Nominees —