Skip to main content

Empire Magazine (2008) Greatest Movies List - #132: Pan's Labyrinth

Some directors try to excel in all genres while others feel very much at home in a particular genre, which is fine especially if that director is Guillermo del Toro. The Mexican writer and director has made action movies, moody dramas, and horror films, yet all of these films could be classified in a way as works of fantasy. His masterpiece, so far, is Pan’s Labyrinth (2006) in which a young girl’s imagination and embrace of the fantastic triumphs over the rigidity of fascism. It is a dark and bloody tale for sure, but also one filled with beautiful images and a commanding performance from its young lead.

The movie was released in the fall of 2006 when I was studying at the University of Sherbrooke and unfortunately this was another case when the movie was only available dubbed in French. I always prefer watching movies in their original language, otherwise I feel like I have only paid for half the performances, and I could have perfectly understood the original Spanish track having spent several years in South America. However having seen Blade II a few years prior I was already on my way to becoming a del Toro fan and there was no way I was going to miss his newest film, especially since it was deservedly being touted for awards season.   

Pan’s Labyrinth ended up winning Oscars for art direction, cinematography, and makeup, and long-time del Toro collaborator Doug Jones wears many layers of that makeup. Jones plays two characters in the film, the child-eating Pale Man who wears his eyes on his hands, and the Faun, a giant horned creature who acts as a guide for ten-year-old Ofelia (Ivana Baquero). Ofelia’s pregnant mother Carmen (Ariadna Gil) is married to cruel Captain Vidal (Sergi Lopez) who is hunting down rebels in 1941 Spain under the regime of Francisco Franco. This Vidal is quite the monster, a firm believer in fascism, in the use of torture on prisoners, and in executing farmers by cracking their skulls with a bottle.

Ofelia, her mother, and her evil stepfather are living in a large farmhouse in the woods, and inside these woods there is an ancient labyrinth. An insect that turns into a fairy leads Ofelia to the centre of the labyrinth where she meets the Faun who bows to her telling her she is in fact a princess of the underworld and must complete three tasks in order to return to her father the king. These are very dangerous tasks, and in addition to facing the Pale Man she must also crawl through the inside of a tree to retrieve a key from a giant frog.

The film hints Ofelia might be crazy or just be imagining all this. When the adults see her covered in filth they just see a misbehaving girl, and when Ofelia tells her mother about magic, Carmen angrily tells her there is no such thing as magic. What does exist in this world is a lot of cruelty, and the monsters in this world are not covered in horns, but wear a uniform. Vidal claims all of his violent actions are for the good of the country and claims to care for Carmen, but when she falls ill he is more worried about losing his male heir than his wife. As for Ofelia, he sees her as nothing more than a nuisance. If Ofelia is in fact imagining this fantasy world, then perhaps she is better off living there than in the real world.

The movie is so filled with symbolism I had enough material to write an essay about it for a Cultural Studies class in university. The number three, an important number in many fairy tales, is repeatedly used throughout the story. Ofelia must complete three tasks, there are three keys she must use in one of the tasks, three fairies guide her in her journey, and there three captains at the farmhouse including Vidal. The colour scheme is also significant, with the soldiers all dressed in dull grey, while the fantasy world is filled with bright colours.

I love it when a movie helps me with work, but watching Pan’s Labyrinth definitely does not feel like work. It also does not feel like any children’s movie, with its uncensored violence and mature themes. This is no Disney movie, but by now it should be considered a classic of the genre. Also, Doug Jones deserves some sort of award for being one of the greatest physical performers of our times.  



Popular posts from this blog

Empire Magazine (2008) Greatest Movies List - #70: Stand by Me

Another clear influence on Stranger Things, Rob Reiner’s Stand by Me (1986) portrays American kids from a lost era in which they could go on an adventure away from home. Nowadays if children go missing for more than an hour parents try to locate them using cell phone apps, but in the story written by Stephen King four boys in 1959 Oregon go walking in the woods during a long weekend to look for, of all things, a dead body. Their lives are sometimes at risk, they have no way of communicating with their parents, but they will definitely have a story to remember for the rest of their lives.
For many North Americans adults this movie fondly reminded them of a time in their childhood despite the inherent danger. Not so for me since, first of all, there was no time in my childhood when I could possibly go out of the house for more than three hours without my mom getting in her car to go look for me. The there is the fact that I spent a good chunk of my childhood living in Chile and Peru, an…

Empire Magazine (2008) Greatest Movies List - #77: Spartacus

Spartacus (1960) is an interesting movie in Stanley Kubrick's filmography because it doesn’t really feel like a Stanley Kubrick movie. I don’t exactly know why, but his signature style doesn’t seem to be present unlike in classics such as The Shining, A Clockwork Orange, or Dr. Strangelove. It does however feel like one of those big sword-and-sandals epics in which you have British thespians acting as Roman politicians with the occasional big battle sequence. In that respect it is spectacular and features Kirk Douglas at his best as the titular hero.
The story of the rebel slave Spartacus has inspired a bloody and sexy TV series (so far unseen by me, but I hear it’s great) and the story behind how it was made is one of those cases of life imitating art. The Bryan Cranston film Trumbo tells how screenwriter Dalton Trumbo was blacklisted in Hollywood during the 1950s for his communist beliefs and had to rebel against the system by writing screenplays for cheap movies under a fake nam…

Empire Magazine (2008) Greatest Movies List - #79: The Thin Red Line

I once saw an interview in which Christopher Plummer said that what Terrence Malick needs is a writer. He was referring to his experience shooting The New World, which saw his role considerably reduced. The same happened to a much greater extent with Malick’s war movie The Thin Red Line (1998), which saw the screen time of many movie stars reduced to mere minutes amid a 170-minute running time. However you have to hand it to the guy: he knows how to make anything look beautiful, including the carnage of war.
Malick’s movie came out the same year as Saving Private Ryan, so I think that year I had my fill of ultra violent war films and was no too interested in seeing it. Sixteen years later I finally caught up to it on Netflix, but in hindsight the big screen might have been a better option since this is a very visual story. The plot is pretty loose, following one American soldier and sometimes some of his brothers in arms as they make their way through World War II in the Pacific theat…