Mille canzoni per un burattino che canzonava

Abstract

The article examines some of the many songs inspired by Collodi’s book, in particular those that are part of film soundtracks. The author distinguishes between the songs about Pinocchio and those song by Pinocchio. Pinocchio does not sing much in the novel, he mainly likes mocking and is easy-go- ing, interested in plays and loves partying. He furthermore pollutes the soundscape with his wooden feet and is altogether a noisy and naughty child. Italian films generally respect Pinocchio’s sponta- neous childish musicality, whereas foreign musical films, such as those produced by Disney and Del Toro have used the episode of Mangiafuoco’s theater to underline Pinocchio’s identity as a showman, who is actually a puppet. Moreover, also the authors of the songs about Pinocchio interpreted and celebrated him in many ways (e.g.the inauguration of the park in Collodi) highlighting the ambiguity and richness of the character and his adventures. Even the music (melodies, arrangements, sounds) are influenced by the bittersweet complexity of the elusive puppet.