Saturday, February 03, 2007

Review of Pan's Labyrinth

Last Tuesday, I had a chance to see the critically acclaimed film Pan's Labyrinth (El Laberinto del Fauno) directed by Mexican director Guillermo Del Torro.

It is truly one of the most captivating films I have ever seen. Everything about it--from the plot, the special effects, the themes, the acting--contributes to making this film a masterpiece. Out of all this, I think its strength lies in its use of the fairy tale that is at the core of the film. This isn't the first time that the fairy tale motif is used in the medium of film or literature to translate historical facts or explain psychic phenomena. The use of the fairy tale in Pan's Labyrinth enables this film to speak to a variety of audiences, and consequently, allow it to transcend all sorts of classification. In this sense, Pan's Labyrinth rises above the generic, the ordinary. It is neither a children's film nor one exclusively intended for adults. Similarly, there is no restriction in terms of setting: there is a significant time-span: the story of the princess in the underground is ancient, but Ofelia lives in 1944, traversing different time-periods by means of her imagination. While it can fall in the real of science fiction/ fantasy, it also has elements of horror and drama. This is a film, very much like Whale Rider, where fact and fiction commingle seamlessly, where we are what we dream, where strength lies in Imagination.

Pan's Labyrinth is a story about a lonely 12 year-old girl, Ofelia, who goes to live with her pregnant mother and new stepfather in the Spanish country side during 1944. The Spanish Civil-War has just ended and her stepfather, Captain Vidal, is assigned the task of getting ride of an anarchist militia that lurks in the woods surrounding his residence. Ofelia is a very imaginative girl, finding solace in the company of books of fairy tales that she brings with her. One particularly speaks of the legend of a lost princess, who ventured from the peace of the underworld, where she knew no pain, death or disease, to the world of the mortals above ground, eventually forgetting her past and with it, her legacy. The legend predicts that the lost princess will one day return to her Palace, reclaim her identity, and bring freedom and beauty in the world.

It is interesting to note that Ofelia's adventures in the magical realm mirrors the external political conflict taking place around her. As Ofelia finds herself trapped under Captain Vidal's orders, she tries to rebel and so approaches the magical Labyrinth secretly, when no one sees her. As the militia gains power, through the help of the doctor and Mercedes, Ofelia gains more entrance into her magical world. The militia is in fact, fed and nourished, just as Ofelia destroys a horrible toad that was sapping nutrition from the Tree at the center of the Labyrinth. When Ofelia fails her second test, as when she eats the fruit belonging to the Pale Man, she releases a Monster into both her magical world as well as the real world. Captain Vidal gains power this time, capturing the rebel soldiers and torturing them. Concurrently, her mother is weakened by her preganancy, on the verge of losing the baby that sustains her relationship with her dictator husband. When Ofelia is eager to perform the last task and win the Faun's favor, the rebel militia are freed and rises in power. As Ofelia's prophesy is fulfilled, Vidal's regime crumbles and freedom is finally won.

Another instance this film is unique is that it enables women to be agents of Freedom. While the legend spoke of a lost princess who will one day return to restore peace to her kingdom, Ofelia, acts out the princess's valiant deeds. She bravely sets out to perform the tasks the Faun asks of her. As the film progresses, Mercedes, Vidal's housekeeper, also rises in importance. It becomes clear that Mercedes risks her own life and helps her brother and his friends who are in the anarchist militia, despite living under Vidal's roof.

The link between Mercedes and Ofelia is made earlier in the film when Mercedes comforts the friendless, neglected young girl, by offering her comfort and a willing ear. Both Ofelia and Mercedes have poor mother-figures as examples of strength. In Ofelia's case, her mother is weak and sick with a pregnancy, abused her by husband who desires the baby more than his wife. While we know nothing of Mercedes' mother, we do know that she has been greatly influenced by her brother, a rebel fighting for freedom. Ofelia and Mercedes also both rebel, striving to attain freedom: Ofelia tries to return to her fantasy kingdom, and Mercedes wants to stand by her brother's cause, one in which Vidal and his cruel dictatorship is overthrown and freedom and equality will be restored to the people.

Mercedes says, when Vidal confronts her about her ability to carry out espionage under his own eyes, that the reason she was able to get away with her actions was because she, being a woman, is considered invisible. Mercedes asserts that invisibility becomes a source of power for a woman. She need no longer hide behind the shadows, but can use her strength of mind and body to her advantage. Similarly, Ofelia looks timid and lanky on the outside, but is immensely courageous on the inside. In her invisibility, the loneliness that thrust her into the folds of invisibility, Ofelia was able to fill her mind with stories, and being naturally curious as well as neglected, she was able to explore her world and find the Faun, thus being mistress of her own Fantasy story.

Del Torro shows that political freedom is attained alongside freedom of the imagination. When Ofelia's fantasy world is given full reign, only then is Vidal destroyed. Del Torro's stance on women is given most weight at the end of the film, when he links Ofelia to a Christ-like figure. Ofelia, an innocent, virtuous young girl, sacrifices her life in order to save an innocent, and thus, liberate humanity, after defeating evil. By elevating Ofelia to Christ's status, Del Torro's subversive act questions the precepts of religion, Christianity, resurrection, and gender roles.

Along with its thematic elements, stunning visual effects and dedication to the Art of Storytelling Pan's Labyrinth reminds us that belief in the Imagination is vital to the triumph of the human consciousness.

4 comments:

Cristina said...

Can you believe that I have been reading fantastic reviews online of Pan's Labyrinth and only now, reading yours with the original title have I realised it's El Laberinto del Fauno?

Unfortunately I haven't seen the film yet but did see an exhibition of the models, etc. used for the special effects.

I had the impression that it was publicised in a smiliar way as The Chronicles of Narnia, but have been told that was it. You don't mention any relation or similarity either. There is absolutely no connection then?

mysticgypsy said...

Hi Cristina!
I hope you get to see it! It is one that's not to be missed!

Pan's Labyrinth is quite different from Chronicles of Narnia in that the former is much more dark and has more connections between the conflict in the "real" world and the imaginary. The latter takes place exclusively in the world of the imagination. When you mean Chronicles of Narnia, do you mean the Lion, the Witch and the Wardrobe (i.e. Book 1 of the series), or do you mean the entire series?
Both Pan's Labyrinth and the Chronicles of Narnia are firmly rooted in the idea of Religion. I hope to expand on this theme in a future post.

Thank you for the comment! :)

Anonymous said...

Thank you for your answer. I had a feeling it must be a marketing kind of thing. And the fact that I'm not very familiar with either.

I did mean The Lion, the Witch and the Wardrobe. The film really, though I haven't seen it or read the books, so I was only judging based on very little.

Do write about that in a future post - it will make an interesting read for sure!

Tru Boo said...

Thanks for your pains -- this review is great and will help me with my English assessment task. Unfortunately I cannot find any web resources that give me so much as a hint as to how the film relates to the concept of 'Belonging'. Of course, I am required to and have formed my own ideas but I am looking for someone to concur with, since the way I think is different to the mainstream. I simply want to confirm that my ideas are what the Board of Studies and my teachers are looking for. Any suggestions/help?