Stromboli is a villain featured in Pinocchio. A pupetteer and showman, his primary concern is making money. As such he is delighted to buy Pinocchio from J. Worthington Foulfellow. He locks Pinocchio in a cage to ensure that his star attraction doesn't return home. He was voiced by Charles Judels and animated by Vladimir Tytla. His name literally means 'fire-eater' (an equivalent character with this name appears in Collodi's original story). Though eccentric and entertaining, Stromboli is also a threatening and imposing villain - for this reason, he is often cited as one of Disney's greatest villains.
Pinocchio
An Actor's Life for Me
Stromboli is first referred to in the film by J. Worthington Foulfellow, who notices a poster advertising that "that old rascal's back in town". Foulfellow fondly recalls trying to sell Gideon, with strings tied to his arms and feet, to the puppet master. When the two crooks see Pinoccho on his way to school, the fox realises that Stromboli would pay handsomely for a moving pupet without strings. They befriend the little wooden boy and, convincing him that the theatre is "the easy road to success", take him to Stromboli's Caravan, singing Hi-Diddle-Dee-Dee (An Actor's Life For Me) as they go, with Jiminy Cricket in persuit.
I've Got No Strings
That evening, Stromboli is first seen, announcing his show to a large crowd that has gathered around the caravan. The puppet master advertises Pinocchio as "the only puppet who can sing and dance without the aid of strings". He conducts the band (unseen, below the stage) while Pinocchio and the puppets perform I've Got No Strings. Pinocchio trips and falls, nose first, onto the stage; Stromboli is initially furious at the puppet's clumsiness but lets him continue after realising that the audience is delighted. After the completion of the show, Stromboli walks onto the stage and accepts both the audience's applause and their money.
Stromboli's True Nature
Later that night, Stromboli is counting the day's substantial earnings while enjoying a meal. He gives Pinocchio a worthless metal ring for his efforts, but, when the puppet tries to return to Gepetto's Workshop, Stromboli locks him in a cage. The puppet master entuses that they will tour the great capitals of the world, and that Pinocchio will make him lots of money. When the puppet is too old to perform, Stromboli will use him for firewood. Laughing, he leaves Pinocchio alone with the lifeless puppts in the carriage, and the wooden boy hears the caravan start to move. Jiminy comes to Pinocchio's aid but is unable to free him; it is the Blue Fairy, giving him a second chance, who opens the cage, allowing the puppet and his conscience to escape. Stromboli is not seen again in the film (though it can perhaps be assumed that he reacted to Pinocchio's absence in a typical emotiotional outburst).
| Tytla's innate sense of force is revealed in all its magnitude in the creation of the character of Stromboli. —Pierre Lambert[2] |
Critical Response
Despite his limited screen time, Stromboli is one of Disney's most infamous and acclaimed villains. He was one of six Disney villains to be nominated for a position in AFI's 'AFI’s 50 Greatest Villains list' (though did not appear on the final list) and was ranked twenty-second in fan site Ultimate Disney's countdown of the most popular Disney Villains. The character has been praised by critics for possessing the ability to instill both laughter (when he shakes his rear-end at the words "Con-stan-tino-polee") and fear (threatening to turn Pinocchio into firewood) in audiences.[3]
| It is not too difficult to regard Stromboli as burlesque of a Hollywood studio boss, complete with foreign accent. Disney's own relationship to the Hollywood power structure was always a difficult one, and his distrust of the moguls was well justified by his earliest experiences in the industry. —William Paul[4] |
During the premiere of Pinocchio, Frank Thomas sat in front of W. C. Fields, who, upon Stromboli's entrance, muttered to whoever was with him that the puppet master "moves too much". Thomas felt the reason for this was that Stromboli as too big and powerful. Michael Barrier agrees with Fields' criticism, considering Stromboli a "poorly conceived character" whose "passion has no roots... there is nothing in Stromboli of what could have made him truly terrifying."[5] Leonard Maltin disagrees, considering Pinocchio's encounter with the showman to be the wooden boy's "first taste of the seamy side of life... (Stromboli) tosses his hatchet into the remnants of another ragged marionette, now a pile of splinters and sawdust, a meekly smiling face the only reminder of its former 'life'."[6] Though the character's traits are mostly Italian, characteristics such as Stromboli's facial expressions, obsession with wealth and long black 'goat's beard' have led to associations with Jewish stereotypes (particularly Hollywood moguls) and accusations of anti-Semitism.[4]
References
- ↑ Ultimate Disney's Villain Countdown
- ↑ Pierre Lambert, Pinocchio (Hyperion, Spain, 1995) ISBN 0-7868-6247-5
- ↑ Frank Thomas and Ollie Johnston, "The Disney Villain" (Hyperion, United States, 1993) ISBN 1-56282-792-8
- ↑ 4.0 4.1 Robin Allan, "Walt Disney and Europe" (Indiana University Press, Indiana, 1999) ISBN 0-253-21353-3
- ↑ Michael Barrier, Hollywood Cartoons: American Animation in its Golden Age (Oxford University Press, New York, 1999) ISBN 13-978-0-19-516729-0
- ↑ Leonard Maltin, The Disney Films (Disney Editions, New York, 2000) ISBN 078688527-0
