Jorgen Klubien is a rockstar of Danish animation fame, having made a name for himself in the animation industry throughout numerous Disney and Pixar projects, as well as miscellaneous content produced in Europe. One notable work of his, The Little Wooden Boy, is a satirical take on the tale of Pinocchio albeit through an autobiographical look at Klubien's life as an artist. Distributed by the Danish Film Institute and co-produced by A. Film Production in Copenhagen, the film can best be described as a cartoony cautionary tale of the distinction between dreaming big and having to face reality.
As said before, the film is a comical take on the tale of Pinocchio with the little boy in question recapping the story of how he wanted to showcase his artistic talents to the world. As narrated by Klubien himself, the short truly is somewhat of an autobiographical twist on the source material by establishing the gullibility artists might think the entertainment industry is about before realizing how much of an assembly line they'll get themselves into. In depicting the animation production within the studio pipeline as a literal factory where actual anthropomorphic donkeys tirelessly draw multiple pictures again and again, the film's commentary is a bit questionable and could lend itself to more confusion to those unfamiliar with the animation circle. That being said, the depiction of studio executives slyly insisting that contractual obligation matters the most feels remarkably timeless. At the end of the day, The Little Wooden Boy is meant to speak about maturing in one's journey of artistic expression, which aligns well with what the original Pinocchio story intended in the first place.
Speaking of artistic expression, the crew of A. Film Production executed this story with luscious artwork in just under 10 minutes. On top of the character designs feeling expressively cartoonish and stylized, the character animation is boldly acted and briskly paced, allowing for a lot of strong comic timing. The backgrounds also blend in well with a decent emphasis on crudely painted colors throughout the environments, complimenting the monotone look of an older children's book. Although inked and painted digitally, the film does give off the impression of a world composed in a sketchbook brought to life. The score by Anders P. Jensen also accompanies the tone in a lighthearted manner, alongside picking up the slack once the momentum rises during an intense sequence. Perhaps the one weak spot is the voice acting, as many of the performers don't really come to life much beyond some seemingly flat line reads that are thankfully lifted by the broad animation. Being an artist in search of attention and glory, the little wooden boy found himself in a world composed of pure artistry.
As a satirical take on the story of Pinocchio, The Little Wooden Boy is modestly funny as long as it's not compared too much to the Carlo Collodi story. That being said, it stands better as somewhat of an introspective reflection on the life a man lived in a different country far overseas from the one he grew up in. As the art and animation industry of one country may differ greatly from that of another country, one must keep in mind the significance of seeking creative freedom in a world that might not offer it as much as you would think. Even nearly 25 years later, this film surprisingly holds up for all the right reasons.
As said before, the film is a comical take on the tale of Pinocchio with the little boy in question recapping the story of how he wanted to showcase his artistic talents to the world. As narrated by Klubien himself, the short truly is somewhat of an autobiographical twist on the source material by establishing the gullibility artists might think the entertainment industry is about before realizing how much of an assembly line they'll get themselves into. In depicting the animation production within the studio pipeline as a literal factory where actual anthropomorphic donkeys tirelessly draw multiple pictures again and again, the film's commentary is a bit questionable and could lend itself to more confusion to those unfamiliar with the animation circle. That being said, the depiction of studio executives slyly insisting that contractual obligation matters the most feels remarkably timeless. At the end of the day, The Little Wooden Boy is meant to speak about maturing in one's journey of artistic expression, which aligns well with what the original Pinocchio story intended in the first place.
Speaking of artistic expression, the crew of A. Film Production executed this story with luscious artwork in just under 10 minutes. On top of the character designs feeling expressively cartoonish and stylized, the character animation is boldly acted and briskly paced, allowing for a lot of strong comic timing. The backgrounds also blend in well with a decent emphasis on crudely painted colors throughout the environments, complimenting the monotone look of an older children's book. Although inked and painted digitally, the film does give off the impression of a world composed in a sketchbook brought to life. The score by Anders P. Jensen also accompanies the tone in a lighthearted manner, alongside picking up the slack once the momentum rises during an intense sequence. Perhaps the one weak spot is the voice acting, as many of the performers don't really come to life much beyond some seemingly flat line reads that are thankfully lifted by the broad animation. Being an artist in search of attention and glory, the little wooden boy found himself in a world composed of pure artistry.
As a satirical take on the story of Pinocchio, The Little Wooden Boy is modestly funny as long as it's not compared too much to the Carlo Collodi story. That being said, it stands better as somewhat of an introspective reflection on the life a man lived in a different country far overseas from the one he grew up in. As the art and animation industry of one country may differ greatly from that of another country, one must keep in mind the significance of seeking creative freedom in a world that might not offer it as much as you would think. Even nearly 25 years later, this film surprisingly holds up for all the right reasons.