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商品の説明

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ディズニー映画の傑作。1940年の公開からずっと、その輝きが色あせることはない。ストーリーに流れるテーマは、人間の最も基本的な感情を呼び起こす。コッローディの原作を元にした『ピノキオ』は、人間の男の子になることを夢見る、木で出来た人形の物語。この物語の持つ神秘的で、少し怖いようなドキドキする魅力は、長い歴史を持つディズニー映画といえども、ほかの映画にはなかなか見つからないかのスティーヴン・スピルバーグ監督が『未知との遭遇』の中で何度もこの物語を引用していることからも分かるようにｍ、子ども時代にこの映画から得た印象は、大人になってもずっと残るものなのだろう。そして、何と言っても主題歌「星に願いを」の美しさに心打たれることは間違いない。（Tom Keogh, Amazon.com）

レビュー

監督: ベン・シャープスティーン/ハミルトン・ラスク原作: カルロ・コロディ脚本: テッド・シアーズ/オットー・イングランダーアニメーター: フレッド・ムーア/フランク・トーマス/ミルト・カール/ウォード・キンボール/ウラジミール・タイトラ/エリック・ラーソン音楽: リー・ハーリーン/ネッド・ワシントン/ポール・J.スミス声の出演: ディック・ジョーンズ/クリスチャン・ラヴ/クリフ・エドワーズ/イブリン・ベナブル/ウォルター・キャトレット/フランク・ダロ/チャールズ・ジューデルス/辻治樹/熊倉一雄/肝付兼太/一城みゆ希/大塚周夫/山田康雄/内田崇吉/辻村真人
-- 内容（「CDジャーナル」データベースより）

登録情報

メーカーにより製造中止になりました ‏ : ‎ いいえ
言語 ‏ : ‎ 英語, 日本語
梱包サイズ ‏ : ‎ 18.03 x 13.76 x 1.48 cm; 83.16 g
EAN ‏ : ‎ 4959241948588
監督 ‏ : ‎ ハミルトン・ラスケ
メディア形式 ‏ : ‎ 色, ドルビー
時間 ‏ : ‎ 1 時間 28 分
発売日 ‏ : ‎ 2004/9/3
出演 ‏ : ‎ ディッキー・ジョーンズ, クリフ・エドワーズ
字幕: ‏ : ‎ 日本語, 英語
言語 ‏ : ‎ 日本語 (Dolby Digital 5.1), 英語 (Dolby Digital 5.1)
販売元 ‏ : ‎ ブエナビスタホームエンターテイメント
生産者 ‏ : ‎ ウォルト・ディズニー
ASIN ‏ : ‎ B0002L48U0
ディスク枚数 ‏ : ‎ 1

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5つのうち4.3つ

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レビューのソート基準

上位レビュー、対象国：日本

レビューのフィルタリング中に問題が発生しました。後でもう一度試してください。

星野仁孝

不朽の名作

2024年5月22日に日本でレビュー済み

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自分の子どもにも産まれてくるかもしれない孫にも観せたい

2023年1月14日に日本でレビュー済み

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エンディングソングを矢沢永吉さんが歌っているので購入しました。ピノキオの物語も子供に見せたかったのもあります。子供は意外と真面目に見ていました。嘘をついたりするとこうなるんだよってことで、話に引き込まれていたようです。エンディングソングが物語に合っていて素敵でした！

2013年11月1日に日本でレビュー済み

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英語に慣れてもらう子供のために買いました。
最初はガン見してますw
ガチャガチャと時計の音やコオロギさんの声が好きなのか聞いてます。
しかし、途中きつねさんが出てきて話し出すあたりから見なくなりますね〜σ(^_^;)
もう少し成長したら見てくれるかなぁ~と期待したいです。

1人のお客様がこれが役に立ったと考えています

役に立った

ぴぃちゃん

娘に

2024年1月1日に日本でレビュー済み

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娘の幼稚園のお遊戯会の演目になったので、一緒に観ようと思って購入。
映像は古い感じだけど、問題なく観れて良かったです。

2022年11月24日に日本でレビュー済み

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子供が気に入っている

2022年11月21日に日本でレビュー済み

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早く見たいなー。

2022年3月30日に日本でレビュー済み

Amazonで購入

中古とは思えないほど、ケースは綺麗でDVDは傷ひとつ無く新品かと思う物でした。
綺麗な映像で久しぶりに懐かしく観ました。
配送も早く、また機会があれば利用したいと思います。

2009年5月20日に日本でレビュー済み

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【画質】
映像はかなり綺麗です。
ただただ驚かされる映像美。
約70年前の作品とは到底思えない、素晴らしい出来に仕上がっております。
フィルムグレインはなく綺麗ですっきりとした映像。
シャープさはよくしっかりとした輪郭が綺麗に出ています。
描き込まれた美しい背景、そこで滑らかに動き回るキャラクター。
キャラと背景が分離され、ディズニークラシックらしい映像美を堪能できる。
暗部の諧調表現もよいもので、色が丁寧に出て細かい作り込みを見事に再現しています。
とにかく滑らかに動く映像も全く破綻する事がない。
ラスト付近の水中や水しぶきのシーンなどは圧巻の一言。
どのシーンを取っても動く絵画を見ているような気分にしてくれる。
このアニメーションをこれだけ綺麗に楽しむ事ができるのは素晴らしい事です。
発色も良く、色彩豊かな映像を丁寧に映し出しています。
そして圧巻の小傷やゴミの一切ないクリアな映像美。
約70年前の作品が何故この美しさになるのでしょう。
マスターの良好状態だけでなく、とても丁寧な修正を加えた事が伺い知れます。
作品を大事にするディズニーの凄さが分かる仕上がりに。
とにかく素晴らしい出来となっています。
他のBD作品と比べるとかなり綺麗な部類に入ります。
約70年前の映像という事を考慮しなくても素晴らしい画質。
「眠れる森の美女」でも十分に驚かさせてくれましたが、それを上回るような衝撃を受ける。
【音質】
音も中々のもの。
映像とは違い、どうしても作り自体の古さをダイレクトに感じてしまう。
それ故に相対的な音質という面では、最新のものと比べると当然劣ってしまいます。
しかし、ロスレス7.1chで再現された音は今までのピノキオとは明らかに違う。
重低音は厚みのある音となっております。
高音も大変綺麗な音が出ている。
ただ、どうしても音自体がこもってしまうような感があるのは仕方ないか。
サラウンド感は驚く事ができます。
音の位置が正確でいてバランスがとてもよい。
しっかりと分かりやすい位置でなるので臨場感が抜群。
そして何より印象深いサウンドや効果音が包み込むような音を再現してくれる。
古さを感じる音ながら、音自体がしっかりとクリアなのです。
この音で聞く「星に願いを」を始めとしたサウンドは素直に感激できる。
日本語音声、英語音声、どちらのセリフ部分もクリアで聞き取り安い。
どうしても古さを感じてはしまいますが、とてもよい音が再現できていると思います。
【特典】
特典は豪華という言葉がピッタリ当てはまる。
まず、本編DISCの再生時に選べるディズニー・ビュー・モードが素晴らしい。
スタンダートサイズの作品ですので、再生すると左右に黒帯が出る訳なのですが、この黒帯の箇所にそれぞれのシーンにあった絵が表示されるようになる仕組み。
この出来が秀逸で、しっかりシーンに応じた仕上がりを見せてくれ、全く違和感なく見る事ができる。
さらに本編DISCには音声解説の他、PinPに近い形でポップアップトリビアといった本編を見ながらトリビアを楽しむ事ができるものや、ピノキオゲームといったミニゲーム。
本編DISC内の映像特典は、HD画質でミュージッククリップや「星に願いを」を始めとした劇中に使われた曲の再生機能が収録されています。
特典DISCにはパズルやロバになるまえにといったミニゲーム。
HD画質で誕生秘話、ストーリーボードを使った未公開シーン、スウェットボックス、動きの研究などの製作舞台裏、アートギャラリー、劇場予告編、未発表曲オネスト・ジョン、おもちゃ職人の昔と今、と盛り沢山。
ピノキオを楽しんでもらおうという気持ちが伝わってくる素晴らしい特典の数々、そして質と量に大満足。
【総評】
画質/音質は素晴らしいの一言。
とても約70年前の作品だとは思えません。
特典も素晴らしい質と量でたまらない。
作品やディズニーファンなら必携の一本です。
そうでない方にも一度観てもらいたいと素直にお薦めできる一本。
このピノキオのようなディズニーのプラチナ・エディションは今後も続いていくようなので嬉しい限り。
どれだけ古い作品でもここまでの仕上がりを見せられたら買わずにはいれません。

▼個人的評価
・画:★★★★★
・音:★★★★☆
・話:★★★★☆
・特:★★★★★
・総:★★★★★

54人のお客様がこれが役に立ったと考えています

役に立った

他の国からのトップレビュー

すべてのレビューを日本語に翻訳

Guillot

Bon produit

2024年6月1日にフランスでレビュー済み

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Au top

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el sebach_90

Che bellezza

2024年5月7日にイタリアでレビュー済み

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Questo classico come tanti prima fi oggi ti insegnava tantissimo e oltretutto rende omaggio al grandissimo Collodi autore della fiaba, la fisney fi una volta era qualcosa di incredibile

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The Dread Pirate Pastor Muppets

My longest review yet

2012年7月5日にアメリカ合衆国でレビュー済み

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When it was first released in 1940, Walt Disney's Pinocchio failed at the box office. And it is quite a strange circumstance, as it was the studio's follow-up to the groundbreaking smash hit Snow White and the Seven Dwarfs, released only two years previously. Some critical reviews of the film called it even better than its predecessor, and that is mostly the consensus opinion of today: that Pinocchio is indeed a better film than Snow White in almost every way. Its contributions to the art and cinematic form of animation are undeniably enormous, and only a very small number of animated cartoons have come anywhere close to equaling its breathtaking artistry.

It is quite strange that Disney did not follow the success of Snow White with another fairy tale. Many were considered, including Sleeping Beauty, The Little Mermaid, and Beauty and the Beast. But these stories proved to be a challenge to not only the team of artists, but also to Walt himself. It was one of the studio's great animators, Norm Ferguson, who brought the attention of Carlo Collodi's The Adventures of Pinocchio to Disney's attention. For story problems and other issues, the studio halted work on Bambi (released in 1942) and production began on Pinocchio.

Carlo Collodi's original story is one of the darkest children's stories ever written, and so Disney was obviously dealing with some very difficult subject matter. In the original story, Pinocchio is a bad kid from the very beginning. He does many bad deeds throughout the course of the first few chapters, and of course it's highly unappealing for a children's cartoon; so major changes were made to the title character that simply worked for the best: he is bright-eyed, curious, easily manipulated, and unbelievably forgetful; most young children should be able to relate to him, and so should adults who remember what it was like to be Pinocchio's age.

It has often been said that Pinocchio is one of the darkest of all Disney animated features. And it is true in ways that are both obvious and subtle; a mixture of both works quite well. Take the scene for example, when Pinocchio is running home and stumbles into Honest John and Gideon for a second time: the Fox and the Cat, pretending to be his friends, see an "illness" in the puppet that ultimately leads to the conclusion that he needs a vacation on Pleasure Island, "where every day is a holiday." Now we know from the scene before that Honest John and Gideon are just in it for the money, but since they are corrupt and greedy, they help out the Coachman anyway, providing him with slaves in the forms of small boys.

The arguments that show the unsubtle darkness of the film come most prominently in two points of the film: after Pinocchio's first performance in Stromboli's puppet show where he makes plenty of money for the puppet master, he says that he is going home and will be back in the morning. At this, Stromboli becomes furious, and locks the puppet in a cage. He says that when Pinocchio grows too old, he will be chopped into firewood. But until then, Stromboli plans to make the puppet his "little wooden goldmine."

The other point at which the animation shows obvious gloom is in the Pleasure Island sequence. And in fact, there is also some subtlety to it as well: when Pinocchio and his new friend Lampwick are having a good time and destroying everything in sight, the latter turns and asks if the puppet likes the place. Pinocchio then turns and says "Yeah! Being bad is a lot of fun, ain't it?" In some instances, that line recalls the original Collodi tale in which the puppet is a bad boy. But then of course comes the infamous transformation sequence, when Lampwick becomes an actual jackass. There is a marvelous shot where the transformation itself is propped up like a silhouette and all the while Lampwick is screaming for his mother. It is an amount of fear and terror that is often unequaled by most of today's horror films.

As an example of the art form of animation, Pinocchio is unsurpassed. It is visually the most impressive and the most gorgeous animated film of all time. It was made at a time before the computer, when animated cels, frames, and backgrounds were all drawn by hand but with such enthusiasm and creativity. The change from the watercolors used in Snow White and the Seven Dwarfs to the gouache and oil paintings used in Pinocchio make for a much richer experience, especially when exploited to the nth degree. The only animated films that could quite honestly compete visually with it are the same year's Fantasia (which had some very similar artistry, particularly during "The Sorcerer's Apprentice" sequence) and 1959's Sleeping Beauty (the perfect example of a moving tapestry).

To make animated films of similar feeling and quality today, most animators prominently use computers, which do give a rich quality yes, but the effect is not the same. As technically marvelous as something 1992's Aladdin is, one could easily tell that a good amount of the animation was done with a computer (I say you need look no further than a look at the Cave of Wonders). To be short, the only animated films after 1959 that could compete with Pinocchio and Sleeping Beauty are 1994's The Lion King (which does have a lot of computer work on it, but the level of artistry brought to the African savannah is absolutely breathtaking) and perhaps Miyazaki's 1997 Princess Mononoke (in fact, perhaps even much of the Ghibli work, almost all of which is hand-drawn with very little computer work).

Some of the most marvelous animation set pieces in Pinocchio come quite early in the film, specifically on the shots where Geppetto is putting the final features on his little wooden puppet. Taking a look at the scene, the result feels very oily but also quite warm. I could point out many of the other scenes in the picture, but to sum it up: many people have said that the film represents "technically perfect animation." I would most certainly agree.

Snow White and the Seven Dwarfs had been nominated for an Oscar for its score, and earned Walt Disney an Honorary Academy Award. But Pinocchio went a step further, and became the first animated feature to not just win a competitive award, but multiple awards: it won Best Original Score and Best Original Song for the ballad "When You Wish Upon a Star." In many cases, Academy distinctions and other such honors are superfluous and do not mean anything; but in the case of Pinocchio, the music was simply that good. These days however, the soundtrack does not receive nearly the attention it should.

The songs in Pinocchio represent just about the strongest musical in Disney's film canon (only Mary Poppins and Beauty and the Beast have songs as good as the ones by Leigh Harline and Ned Washington). "When You Wish Upon a Star" of course is the main anthem of The Walt Disney Company; but the other compositions, such as "Give A Little Whistle", "I've Got No Strings", "Little Wooden Head", and "Hi-Diddle-Dee-Dee" are arguably just as good, if not better. And the score by Paul J. Smith (some parts written by Harline) is an extraordinarily well-written and very underappreciated score. In the score for Pinocchio, the two men cover a range of styles from honky-tonk to romantic and from blues to Broadway.

At the heart of the film however, is the cast of characters. Some of them have very little screen time, but they make such an impression on the audience and such a stake on the plot that it's quite difficult to imagine Pinocchio without them. Take Stromboli, for example: despite appearing in only two scenes, he carves himself a special place among Disney's most evil and threatening villains. He locks Pinocchio in a cage, tells him that he's going to be helpful in making a lot of money, and then as he gets too old, Stromboli plans to turn the puppet into firewood. His last audible line in the film is "Good night, my little wooden goldmine." The filmmakers bring us a reverse Geppetto-type figure, one that exists only to threaten or bring further harm and humiliation to Pinocchio.

Stromboli however, isn't the only great character in the film. Almost every main character in the film is a brilliant little masterpiece, showcasing some of the very best work done by some of Disney's greatest animators. For many of them, it was their first big assignment: Pinocchio himself was done mostly by Milt Kahl, with some contributions done by Frank Thomas and Ollie Johnston; Jiminy Cricket was handled by Ward Kimball, and this assignment was the only thing that kept him at the Disney Studios after two of his scenes originally planned for Snow White were discarded; Art Babbitt, in one of his last Disney projects, animated Geppetto, whom the animator thought to be his greatest accomplishment; Figaro the Cat and Cleo the Goldfish were both done by Eric Larson, one animator you don't hear a lot about; Honest John and Gideon were both done by Norm Ferguson, another precursor to the Nine Old Men; Stromboli himself was animated by Bill Tytla, who is widely considered to be the greatest animator in the history of Disney animation (Chernabog from Fantasia is more than enough to ensure that); the Coachman was the only character for a feature-length Disney film to be animated by Charles August Nichols, another unsung animator; Lampwick the delinquent is considered to be Fred Moore's finest achievement; the Blue Fairy, one of the film's greatest achievements, was animated by Jack Campbell; and Monstro the Whale (my personal pick for the greatest achievement of character animation in the whole film) was done by Wolfgang Reitherman, who would become a major director later in his career.

These mentions and credits would be pointless though, if the animators did not put forth their greatest efforts. In Pinocchio, the works of these animators remains at least one of their three best (in Reitherman's case, I'd call Monstro his all-time best work). Only a tiny number of characters made after their time (or even after this film) have come anywhere close to equaling the marvelous achievements of the cast of characters, animated and ACTED (which is what character animation is, essentially) with such fussy detail.

The effects animation in Pinocchio is an entirely different matter, but it might well just be the greatest achievement of the whole film: from the fire that Pinocchio cooks up to make Monstro sneeze to the glow whenever the Blue Fairy appears, and from the shadows of Lampwick and Pinocchio to the water splashes made by Monstro himself (the water ripples are perhaps the most beautiful thing drawn by anyone in the Golden Age of Animation), the effects animation by itself represent a level of artistry that cannot be matched by today's computers.

I have yet to speak of the everlasting quality of the story: the durability of the tale of a little puppet's ambition to become a real boy is perhaps the key to everything that makes the film work. In Pinocchio's innocence and naivety, the stage is set for nearly everything else to come to prominence, from Jiminy's efforts to keep the puppet under control to Honest John's scheme to use that same puppet as a cash reward. Pinocchio's promises are always broken by the slightest temptation to slack off or have a good time, and this of course gets him into real trouble. Since this is a fantasy of the highest order, I am able to forgive the film of some its questions (such as how the Blue Fairy delivers the letter explaining where Geppetto, Figaro, and Cleo are).

As much as Pinocchio is about avoiding temptations and doing the right thing, it is also about second chances: time and time again, Pinocchio does wrong and is chastised for it. The Blue Fairy shows up to forgive him of his lies, and Jiminy risks his neck several times to save the puppet from the greatest perils (being made into a slave of either Stromboli's or the Coachman's). But these second chances would be pointless if Pinocchio didn't learn a lesson. He has a line late in the film that is simply marvelous: "I'd rather be smart than be an actor!" He has learned his lesson on the consequences of becoming a star, but when Pleasure Island rolls around, he has yet another lesson to learn: while all work and no play makes Jack a dull boy, all play and no work is more than enough for a boy to make a jackass of himself. The combination of second chances, ambition, and learning from mistakes makes Pinocchio one of the most important parables in not just the history of Disney, but also in the history of film literature.

The success of Snow White and the Seven Dwarfs poured money into the studio's vaults like nobody's business (Sergei Eisenstein himself called it the greatest film ever made). But it is still strange to this day that Pinocchio, such a thing of beauty and a major step up from its predecessor, was an initial failure. These days however, it has literally enshrined itself a place in cinematic history as one of the major achievements in animation as well as the 1940s in general. If Snow White was a sign that animation could make a significant mark on the history of film, Pinocchio broke through and made that claim. It is considered to be Disney's greatest film for many different reasons, and rightly so. It is a thing of visual and poetic beauty that is also an uncontested masterpiece, and certainly one of the greatest films ever made.

20人のお客様がこれが役に立ったと考えています

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Picard

Disney's Finest Achievement

2009年8月11日に英国でレビュー済み

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To this day, animations can still be overlooked when critics judge some of the greatest films of all time. It's a pity, because such stories as Pinocchio are up there with the best, if not challenging the more conventional 'movies' with real actors. Don't get me started on Mister Wooden Keanu Reeves....

How fitting then a fictional wooden character in the name of Pinocchio can act better than a full grown man?

Their is no denying that this is Walt DIsney's masterpiece. His second full length feature film, Pinocchio is as appropriate today as it was 70 years ago (I know.. It beggars belief even saying the number), and will remain a timeless piece forever, now thankfully preserved on DVD (this product) and Blu-Ray. Why? Quite simply, it captures some of our rawest emotions in the most beautiful of imagery. Although it was the animators that grafted each cel out day by day, it was Disney himself who had the final word on every shot, to make an experience that was so engaging it brings a tear to your eyes, whether it a couple of bars from "Wish Upon A Star", or seeing Pinocchio himself cry inside his cage, locked up.

The story itself encounters a wooden Puppet (Pinocchio), whom is wished by his creator to come alive and be a real boy. Granted by the stars, a fairy brings Pinocchio to life, but is told he can only become a 'real' boy if performs acts worthy enough to help others.

Perhaps the single greatest theme throughout this movie is the idea of trusting ones conscience. For Pinocchio, this is beautifully symbolized by the cute little character Jimminy Cricket, who is assigned the task of helping Pinocchio learn what is right and wrong. Though he appears to be just a secondary character, he actually has the most important role in the film; directing his thoughts to the audience, and addressing morals that we all learn from, no matter what age we are. The whole scene and ideas surrounding 'Pleasure Island' are absolute genius, when taking into account the idea of rebellious natures without a reason. For Pinocchio, he has the choice of whether to be led along by the 'bad boy' gangs, or to stick with his conscience.

Lets not forget about the animation either. Although Disney almost went bankrupt after his first three films (Snow White, Pinocchio, and Fantasia), they are not just coincidentally his best either. The extra man power, attention to detail, and sheer research that went into animating these three films is quite mind boggling in a day and age were computers do most of the work now. This is perhaps the reason why Pinocchio looks so friendly and comforting - you know that someone, somewhere put their heart and soul into making this the best looking feature Disney could afford, and despite it's immense Digitial clarity, looks no more like a computer rendered it than slice of cake being an apple. It just has that special touch.

I guess for some, it is easy to forget these days why the term 'Disney' is a household name, what with such garbage as 'Hannah Montana'. As a reminder, watching Pinocchio reveals Walt's greatest achievement. He admitted he wasn't the best free-hand drawer, but he did have was a gift to capture our hearts. As many who knew him said, "No-body reeally knew him". Perhaps it was best that way.

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John D. S. Camfield

Maybe the first film I saw .

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I saw this in the 1940's along with "Song of the South" and have held a love for them ever since. It's miraculous to be able to own such marvellous films.

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