The Twisted World of ‘Pan’s Labyrinth’ — Review & Analysis

With a backdrop similar to the black paintings of Fransisco Goya, like ’The Third of May 1808’ or ‘Saturn Devouring his Son’, Del Toro’s ‘Pan’s Labyrinth’ both enchants and frightens.

Watching through Spanish director Guillermo Del Toro’s Pan’s Labyrinth, it’s easy to pick it up as a surrealist war piece. Yet to pick it apart in all its themes and glory is to delve deeper into the wonder and twisted nature of the production. The set focus on fascism and womanhood does not relate, yet appears both in the war-torn atmosphere that Del Toro sets up. How much can we analyse a piece of cinema? Like an English teacher breaking down how every move in classic literature has a meaning, the many facets of Del Toro’s work make it the most wondrous. The wild imagination is conveyed in the greatest sense, as visuals and communicative metaphorical devices take centrefold with Pan’s Labyrinth. The overdone, cutting violence can be an interruption, yet is however necessary when contrasting with the softness of one girl’s journey. Mind and heart, if there ever was a saying, that is how we are impacted.

With a backdrop similar to the black paintings of Fransisco Goya, like ’The Third of May 1808’ or ‘Saturn Devouring his Son’, Del Toro’s Pan’s Labyrinth both enchants and frightens. Set against the backdrop of 1944 Spain, the Allies have invaded and are led by the sadistic Capitan Vidal. With him are his pregnant wife and her 11-year-old daughter. Fascinated with fairy tales, the young character, Ofelia, played by Ivana Baquero, encounters creatures that, to put it lightly, are not what you’d find in a classic children’s book. The mix of hideous realism and the stark nature of warfare contrasted with the surreal escapism are elements that make Del Toro’s story wildly original. Drawing on folklore and fantasy traditions, Ivana Baquero plays ‘Ofelia’, a character who, to quote Del Toro, ‘saves so many things…her presence and decisions change the real world’. The grandeur and versatile components like costuming, set design, fantasy elements, effects, score, mystery, good vs evil, and expert cinematography all make up the adventure tale, and with their quality, take it to new heights. Del Toro’s work stands out superbly, with Pan’s Labyrinth being one of his most notable projects, as it sticks out like a colourful and sore thumb. For something that is wired in the soul, the focus on childhood, innocence, and change, all alongside somewhat familiar, yet darkly twisted fairytale creatures make the picture.

The setting plays a great part in Ofelia’s world, as in the midst of one of the most violent wars in history, Del Toro absolutely does not stray away from this. The merciless and horrifically gory scenes can be seen as somewhat unnecessary, but all add to the visceral, cutting experience that the film provides in each element. The scars and bleeding at the start set the tone of the wickedly confronting piece. The roundedness in it and its two realities, both literally in the sense that it is set in a gratifying, naturalistic wood, as well as the fact that the plot line is eerily reminiscent of abusive wartime experiences. There is an escape in warfare for Ofelia, but is it really one when it can be seen as just as dangerous as war itself?

On a first watch, you may not see it, but Pan’s Labyrinth makes a remarkable point of creating striking themes that touch on moral obedience, femininity, and choices; even discussing fascism. Del Toro’s focus on these in other realms and forms of mythical creatures not only makes it all the more wildly intriguing but is equally effective in its ingenuity. The trials young Ofelia is put through to reach emotional and physical maturity when facing frightening creatures give her the opportunity to grow, and in that, contrasts the childhood of the supposed fairytales that are presented. The wondrous fantasy woodland world acts as a moral ground for Ofelia, having her make life-defying choices that eventuate in the reflection of the result of the Spanish war. This utilisation of setting is a gorgeous element of Del Toro’s work, as it combines the beauty and twisted aspect of nature, and how we are ultimately affected by it. It too shows Ofelia’s grand difference and almost appreciation of the natural world, the childlike charm, and longing to explore greatly contrasts the concrete, colourless world of war.

Amongst maternal characters like her mother Carmen & housemaid, Mercedes, Ofelia is challenged and thrust into womanhood, something that Del Toro powerfully communicates with what can be said to be a feminist message. Carmen represents repressed femininity, especially when seen with Captain Vidal, as he oppresses any such independence or voice coming from his new wife, and step-daughter, Ofelia. Sending a message of clear sexism coming from Vidal, Ofelia can be seen as acting as a replacement for her mother, or her mother’s potential as a woman. Her trials and tribulations make her just as significant as Captain Vidal. Audiences are presented with a view that as Ofelia faces life-threatening challenges in her life, like Vidal, young women are just as significant in power or meaning as a typically glorified man at war. Yet her glory lies deeper, as she clearly has stronger character and humanity in her, having her qualities, added with her circumstances, almost surprisingly rising above Vidal.

The strikingly infamous and frightening sequence of Ofelia with the Pale Man can be seen to so cleverly represent the fear and movement into adulthood, along with its deep trials and tribulations. Del Toro showcases this brutally and quite literally. The decision-making that has fatal results reflects the intensity of morals and choices that Ofelia is learning about — testing her disobedience and having her see its measures. Further to this, the comparison and contrast between the Pale Man and Vidal himself are there, as both are murderers and Ofelia does leave each to flee awful circumstances. The multiple fantasy elements add a great richness to the context of the already overwhelmingly engaging picture, a real chiaroscuro (if that exists in cinema) taking hold of many scenes. The twisted view of fairytales and enhancement of them has us seeing children’s stories and perspectives in a new and educational light. The purpose they serve is to introduce a harsh reality — Little Red Riding Hood teaching us not to trust strangers and Pinocchio teaching us to speak the truth. The mentioning of the fascism of the time comes into place with Del Toro creating an algorithm to present the terror of the totalitarian leaders; Capitan Vidal and The Pale Man. Both have such eagerness to utilise violence as a means of control, as well as destroy human nature and free will.

The beauty of world cinema is a genre in itself, Pan’s Labyrinth showcasing the power and alternative inspiration that Spanish cinema carries. A focus on heart, family, emotion, and power all overtake the impassioned Mexican director’s cinematic world. Del Toro’s mix of thematic messages and intelligence on differing levels, specifically seen in the young Ofelia, given her fantastic comebacks with each harrowing ‘test’ and encounter with hell in a mythical form. The beauty and uniqueness of Pan’s Labyrinth’s surreal nature is something that so strongly sets it apart from any ordinary thriller film. The Spanish-led film has Del Toro destroying the sometimes popular notion that horror films are not interesting or award-winning. The genre combinations and grand enchantment, as well as the powerhouse, raw filmmaking all add to the beauty of another touching world film.

Whether or not a fan of thriller films, the truly enchanting, whimsical music that this piece of cinema carries creates passion and significance within it. With questions unanswered, audiences can be encouraged to create their own meaning within the work of Del Toro. Yet it harmoniously affects us in both a fantastical and disturbing sense, the monsters of the woodland world following us after watching the film. That’s when you know you’re affected by a piece of cinema & it’s no wonder that Pan’s Labyrinth has garnered such enthusiastic attention within its engrossing messages and stunning scenery. Since its release, Del Toro has blown it out of the water, winning the Academy Award for Best Director in 2018, for another one of his ultra-quirky, yet moving films, The Shape Of Water. World cinema doesn’t get enough credit for its impact and relevance in our world today, as we can be more inclined to stick with films pouring out of Hollywood. Yet for a foreign director to succeed in Hollywood, there is a place to start. And the place to start with Del Toro really is Pan’s Labyrinth.

Stars Out of Five: 4/5