A family heads to an isolated hotel for the winter where an evil and spiritual presence influences the father into violence, while his psychic son sees horrific forebodings from the past and of the future.
Mathilda, a 12-year-old girl, is reluctantly taken in by Léon, a professional assassin, after her family is murdered. Léon and Mathilda form an unusual relationship, as she becomes his protégée and learns the assassin's trade.
In 1944 falangist Spain, a girl, fascinated with fairy-tales, is sent along with her pregnant mother to live with her new stepfather, a ruthless captain of the Spanish army. During the night, she meets a fairy who takes her to an old faun in the center of the labyrinth. He tells her she's a princess, but must prove her royalty by surviving three gruesome tasks. If she fails, she will never prove herself to be the the true princess and will never see her real father, the king, again. Written by
Appeared on more than 130 top ten lists in 2006. See more »
When Ofelia enters the lair of the Pale Man, she sets the hour glass down on the wall (where she entered). From when she puts it down to when it is next in shot, quite a lot of sand has fallen, and this is even before she's walked into the banquet chamber. There is no way that the sand would have lasted past when she was eating the grapes, let alone to when it supposedly did run out. See more »
A long time ago, in the underground realm, where there are no lies or pain, there lived a Princess who dreamed of the human world. She dreamed of blue skies, soft breeze, and sunshine. One day, eluding her keepers, the Princess escaped. Once outside, the brightness blinded her and erased every trace of the past from her memory. She forgot who she was and where she came from. Her body suffered cold, sickness, and pain. Eventually, she died. However, her father, the King, always knew...
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The title and the names of the actors and the production staff are not shown until the end of the film. See more »
Set during Franco's mopping up exercise after the Spanish Civil War, Guillermo Del Toro's Pan's Labyrinth is a wonderful, dark fairy tale that, in a metaphor for Spain itself, teeters on the edge of nightmare dreamscapes of corruption, violence and the death of innocents.
This film is definitely not for young children. Although the fantasy sequences are gorgeously realised, and are fairy tales in the truest sense (in that they are dark, fey, dangerous and violent), most of the story (about three quarters of it, in fact) exists outside of the dreamland, in the even more frightening (and sometimes shockingly violent) world of a real life struggle of ideas and ideology.
Sergi Lopez is excellent as the brutal (and possibly sadistic) Falangist Captain tasked with routing out the remaining leftists from the woods and hills of Northern Spain. Into this precarious situation come his new wife (a widow of a former marriage, who is carrying his son) and his stepdaughter Ofelia (played to absolute perfection, by the then 11 year old, Ivana Baquero).
Uncomfortable with her new surroundings, suspicious of her stepfather and desperately concerned about the worsening condition of her mother, Ofelia uncovers a strange alternative world, and the chance to escape forever the pain and uncertainty of her everyday life.
Thus the film alternates between the world of Civil War Spain and the increasingly bizarre, dark and frightening world of the Pan's Labyrinth. As the twin plots progress, they intertwine, with the tasks of Ofelia becoming the choices faced by a Spain at the crossroads. The poignancy of the film lies partly in the fact that the victories of the child are reflected so starkly by the failures of the adult world.
Apparently Pan's Labyrinth won a 20-minute standing ovation at Cannes, when it was shown. This may be a little bit over the top. I suspect when the furore has died down some will choose to swing the pendulum back and criticise it for its more obvious faults. Much of the film is derivative. There are few ideas in the film's magical dreamworld that haven't been seen before. There are also few ideas in the film's depiction of the Civil War that can't be read in Satre or Orwell; can't be viewed in Picasso's Guernica; or can't be watched in Land and Freedom.
For all the evident truth of these observations, to accept them would be to entirely miss the majesty of Pan's Labyrinth, which doesn't lie in its originality but its absolute mastery of execution. People will watch Pan's Labyrinth in a way that most won't watch Land and Freedom. In doing so, they will also discover a world of fairy tales which existed before Disney sunk its claws into them: a dangerous world, where nothing is as it seems and every step is a possible death a place which may leave even adults shivering under the duvet, part in terror, part in wonder. And all this backed up by the finest cinematography I've seen.
The only real faults I am prepared to allow for this film is a slight tendency (particularly at the end) for a Narnia-like moralism, and the fact that the faun is, perhaps, is not quite wild enough! These are eminently forgivable, though. This is easily the best film I've seen this year, and a must see on the big screen.
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