After publishing his book on Snow White in 2012, it was natural for Kaufman to tackle the Disney Studio's next feature film.
The challenge of examining the production of Pinocchio is, to put it lightly, tremendous. It had far more special effects than Snow White and it was far more ambitious. While Kaufman does provide a sense of the pains it took to execute each special effect shot, such as the famous "Going to School" Multiplane scene, he shirks a lot of detail, such as each shots ultimate cost. Pinocchio was an expensive film and it’s worth knowing that it’s cost and that of Fantasia was enough to nearly sink the studio.
Ultimately, Pinocchio is an animated film. It makes sense that we should know more about the animators' involvement than its cost. Here Kaufman shines. He gave a masterful play-by-play of the development of the film in his Snow White book, and does so here as well. However, a lot of the animators' involvement is relegated to the footnotes. Certainly, Kaufman mentions Kimball's star turn as the animator behind Jiminy Cricket. But his mentioning of Kahl as the creative force behind the character of Pinocchio is deceptive. Frank Thomas did a lot of animation of the puppet, as did his friend Ollie Johnston. In fact, an unusually large number of animators had their hands in either one or two characters. Woolie Reitherman, now known for his animation of Monstro, had his hand on a few sequences. All of this is relegated to the Appendix in the back of the book, which seems unfair to the animators who worked on the film.
Flaws aside, Kaufman still includes a lot of fascinating details, including the additions and subtractions of characters and sequences. You will still come away with a lot of new information on the production. It’s just not a work at the same level as his history on Snow White.