Pan's Labyrinth
Innocence Has A Power Evil Cannot Imagine.
I can’t say that Pan’s Labyrinth is the most original film – its fantasy segments draw on instantly recognisable fairy, folk tale and myth motifs (“You are a long lost princess”, “You most compete 3 quests”, “Whatever you do, don’t eat anything from the feast”) .
Not that drawing on these classic tropes is a failing of course (they can clue you to where events are leading though), but Pan’s Labyrinth’s real strength lies in the fact that it truly makes the audience care about characters, and their fates. And that is no doubt helped by natural, unaffected performances across the board.
Pan’s Labyrinth focuses on a young girl, Ofelia (Ivana Baqueroc) who, in post-Civil War Spain, moves with her heavily pregnant mother Carmen (Ariadna Gil) from the city to a remote country region to live with Carmen’s new husband, the rigid, chauvinistic Captain Vidal (Sergi Lopez). Vidal has taken with relish to his task of rooting out Communist rebels hiding in the nearby woods – beating, torturing and executing locals suspected of aiding the rebels - he's probably the best "love to hate" onscreen villain in a long time.
With her mother confined to bed, Ofelia is left largely to her own devices. In an overgrown garden labyrinth she encounters a mysterious faun (Doug Jones), who insists that Ofelia is the reincarnation of a lost princess, and that to return to her kingdom, and escape the brutal Vidal, she must complete three increasingly difficult tasks.
I have to say at this point that the fantasy character design in Pan’s Labyrinth is superb. The faun, fairies, and Mandrake “baby” in particular, have a wonderful organic look without sacrificing any of their dark ambiguity.
And speaking of darkness, Pan’s Labyrinth is bloody and violent. Quite disturbingly so. Writer-director Guillermo del Toro does not flinch from graphic depictions of violence and assorted medical matters. Blood flows quite freely in Pan’s Labyrinth. In one particularly haunting sequence, Ofelia consults a book given to her by the faun for guidance. Red spreads out across the pages, and a horrified Ofelia turns to find her mother screaming and haemorrhaging.
Powerful, memory-scorching visuals (and a lingering lullaby score) are definitely in Pan’s Labyrinth’s favour. Ofelia’s encounter with an eyeless child-devouring ogre is especially visceral. And with an hourglass counting down the time she has to complete her task, the viewer grows as tense as Ofelia to escape the nightmare creature.
Of all the themes and issues dealt with, Pan’s Labyrinth has an especially strong feminist streak running through it. Although Vidal dismisses women, and continually discounts feminine qualities like nurturing and emotionalism, it is Ofelia and very likeable house maid, Mercedes (Maribel Verdu) who are most courageous – and successful – in their defiance of him.
Pan’s Labyrinth is a gratifying fairy tale for adults – sprinkling dark magic and fantasy into a mix of harsh reality. And I have my suspicions that it’s one of those rare films that actually improves with multiple viewings. I’m looking forward to seeing it again.
I can’t say that Pan’s Labyrinth is the most original film – its fantasy segments draw on instantly recognisable fairy, folk tale and myth motifs (“You are a long lost princess”, “You most compete 3 quests”, “Whatever you do, don’t eat anything from the feast”) .
Not that drawing on these classic tropes is a failing of course (they can clue you to where events are leading though), but Pan’s Labyrinth’s real strength lies in the fact that it truly makes the audience care about characters, and their fates. And that is no doubt helped by natural, unaffected performances across the board.
Pan’s Labyrinth focuses on a young girl, Ofelia (Ivana Baqueroc) who, in post-Civil War Spain, moves with her heavily pregnant mother Carmen (Ariadna Gil) from the city to a remote country region to live with Carmen’s new husband, the rigid, chauvinistic Captain Vidal (Sergi Lopez). Vidal has taken with relish to his task of rooting out Communist rebels hiding in the nearby woods – beating, torturing and executing locals suspected of aiding the rebels - he's probably the best "love to hate" onscreen villain in a long time.
With her mother confined to bed, Ofelia is left largely to her own devices. In an overgrown garden labyrinth she encounters a mysterious faun (Doug Jones), who insists that Ofelia is the reincarnation of a lost princess, and that to return to her kingdom, and escape the brutal Vidal, she must complete three increasingly difficult tasks.
I have to say at this point that the fantasy character design in Pan’s Labyrinth is superb. The faun, fairies, and Mandrake “baby” in particular, have a wonderful organic look without sacrificing any of their dark ambiguity.
And speaking of darkness, Pan’s Labyrinth is bloody and violent. Quite disturbingly so. Writer-director Guillermo del Toro does not flinch from graphic depictions of violence and assorted medical matters. Blood flows quite freely in Pan’s Labyrinth. In one particularly haunting sequence, Ofelia consults a book given to her by the faun for guidance. Red spreads out across the pages, and a horrified Ofelia turns to find her mother screaming and haemorrhaging.
Powerful, memory-scorching visuals (and a lingering lullaby score) are definitely in Pan’s Labyrinth’s favour. Ofelia’s encounter with an eyeless child-devouring ogre is especially visceral. And with an hourglass counting down the time she has to complete her task, the viewer grows as tense as Ofelia to escape the nightmare creature.
Of all the themes and issues dealt with, Pan’s Labyrinth has an especially strong feminist streak running through it. Although Vidal dismisses women, and continually discounts feminine qualities like nurturing and emotionalism, it is Ofelia and very likeable house maid, Mercedes (Maribel Verdu) who are most courageous – and successful – in their defiance of him.
Pan’s Labyrinth is a gratifying fairy tale for adults – sprinkling dark magic and fantasy into a mix of harsh reality. And I have my suspicions that it’s one of those rare films that actually improves with multiple viewings. I’m looking forward to seeing it again.
Comments
there were some parts that were so violent it sort of grossed me out...but hence the films style.
i certainly enjoyed it as you have.