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Del Toro's latest is a brutal, astonishing masterpiece
This Place of Fantasy:
Pan's Labyrinth
12-29-06 "Knight Thoughts" web exclusive
By Richard Knight, Jr.
Pan's Labyrinth
12-29-06 "Knight Thoughts" web exclusive
By Richard Knight, Jr.
Mexican writer-director Guillermo del Toro’s film resume wouldn’t lead one to expect that his newest film, the alternately bloody and
beautiful Pan’s Labyrinth, would be such a vivid, breathtaking masterpiece. His previous credits have included Blade II, Mimic and
Hellboy – not the usual basis for something as assured as Pan’s. But really the achievement isn’t so extraordinary – there have
been hints in these films of del Toro’s odd ability to mix graphic brutality and delightful fantasy (and isn’t that a weird mix of
talents?) – and many, many other directors have a film or two at the outset of their careers that suggest the genius waiting to take
wing. Coppola and Dementia 13 is just one example.
The story, an original one by del Toro, follows the emotional journey of the 12 year-old Ofelia (Ivana Baquero) who travels with her
widowed mother Carmen (Ariadna Gil) to live with her brutish new step father, Capitan Vidal (Sergi Lopez) in the woods of northern
Spain. World War II is coming to an end and after Franco’s victory fascism is the order of the day in the country. A group of
insurrectionists is holding out in the deep woods surrounding the enclave where Vidal and his men are headquartered. Ofelia’s
mother is at the end of her pregnancy and for her sake, the Capitan tolerates his daydreaming stepdaughter – barely.
Within moments of arriving, it seems, Ofelia is drawn into the mysterious labyrinth by a giant praying mantis that turns into a fairy,
guiding her to the seductive but scary Pan (Doug Jones). Pan reveals that Ofelia is a long lost princess who was drawn to the world
above and that before she can reclaim her throne, she must perform certain tasks. As the film progresses Ofelia’s quest is
alternated with the sadistic acts of her stepfather as he tries to snuff out the freedom fighters hidden in the woods. Mercedes, a
comely housekeeper and a physician are part of the underground plot to overthrow Vidal and his men.
Del Toro’s richly layered script mixes the horrors of bloody sadism and violence with the odd brutality that permeates many familiar
fairy tales (the script would make for a good addition to Bruno Bettelheim’s famous book, “The Uses of Enchantment” that analyzes
fairy tales). Some of the acts – both real and imagined – are tough to stomach – especially as the conclusion approached – but the
power of Ofelia’s imagination in the face of such terrible psychological and physical dangers is very compelling. The film is
gorgeously shot and acted and has the same “fairy tale for adults” quality of The Company of Wolves and Sleepy Hollow. Ofelia’s
protective instincts – so powerful once she enters the labyrinth and her imagined world – have some of the same potency of Rules of
the Game. Pan's Labyrinth vividly details the dark power of the imagination in an unsure world -- and its ability to diminish reality.
beautiful Pan’s Labyrinth, would be such a vivid, breathtaking masterpiece. His previous credits have included Blade II, Mimic and
Hellboy – not the usual basis for something as assured as Pan’s. But really the achievement isn’t so extraordinary – there have
been hints in these films of del Toro’s odd ability to mix graphic brutality and delightful fantasy (and isn’t that a weird mix of
talents?) – and many, many other directors have a film or two at the outset of their careers that suggest the genius waiting to take
wing. Coppola and Dementia 13 is just one example.
The story, an original one by del Toro, follows the emotional journey of the 12 year-old Ofelia (Ivana Baquero) who travels with her
widowed mother Carmen (Ariadna Gil) to live with her brutish new step father, Capitan Vidal (Sergi Lopez) in the woods of northern
Spain. World War II is coming to an end and after Franco’s victory fascism is the order of the day in the country. A group of
insurrectionists is holding out in the deep woods surrounding the enclave where Vidal and his men are headquartered. Ofelia’s
mother is at the end of her pregnancy and for her sake, the Capitan tolerates his daydreaming stepdaughter – barely.
Within moments of arriving, it seems, Ofelia is drawn into the mysterious labyrinth by a giant praying mantis that turns into a fairy,
guiding her to the seductive but scary Pan (Doug Jones). Pan reveals that Ofelia is a long lost princess who was drawn to the world
above and that before she can reclaim her throne, she must perform certain tasks. As the film progresses Ofelia’s quest is
alternated with the sadistic acts of her stepfather as he tries to snuff out the freedom fighters hidden in the woods. Mercedes, a
comely housekeeper and a physician are part of the underground plot to overthrow Vidal and his men.
Del Toro’s richly layered script mixes the horrors of bloody sadism and violence with the odd brutality that permeates many familiar
fairy tales (the script would make for a good addition to Bruno Bettelheim’s famous book, “The Uses of Enchantment” that analyzes
fairy tales). Some of the acts – both real and imagined – are tough to stomach – especially as the conclusion approached – but the
power of Ofelia’s imagination in the face of such terrible psychological and physical dangers is very compelling. The film is
gorgeously shot and acted and has the same “fairy tale for adults” quality of The Company of Wolves and Sleepy Hollow. Ofelia’s
protective instincts – so powerful once she enters the labyrinth and her imagined world – have some of the same potency of Rules of
the Game. Pan's Labyrinth vividly details the dark power of the imagination in an unsure world -- and its ability to diminish reality.
