Of War and Wonderland
Labyrinth Brings Horror Fantasy to Reality

The fairy tale/myth has been the subject of few non-animated films in the past thirty years. Ever since Star Wars debuted in 1977, there have been fewer fantasy films like Clash of the Titans and Labyrinth. Sure, there was the Lord of the Rings trilogy, but that epic stands above the genre. In 2005, Neil Gaiman's MirrorMask breathed life into the dying realm of fairy tales and mythology. Now, director Gullermo del Toro steps into the genre with a gothic fairy tale amid the Spanish Civil War in Pan's Labyrinth.

Pan's Labyrinth
Doug Jones (right) and Ivana Baquero in Pan's Labyrinth. Photo by Teresa Isasi. (Picturehouse, 2006)
Directed by: Guillermo del Toro
Written by: Guillermo del Toro
Starring: Ariadna Gil, Ivana Baquero, Sergi López, Maribel Verdú, and Doug Jones

Rated R (for graphic violence and some language)
Running time: 112 min.

FilmGuru's Rating : 9 out of 10.

The film follows Ofelia (Ivana Baquero), a young girl traveling with her mother (Ariadna Gil) to a country estate to be with her step-father, Captain Vidal (Sergi López), a soldier in General Franco's Nationalist army. When they arrive, a nearby labyrinth catches the young girl's eye.

That night, a fairy (disguised as a walking stick insect) invites Ofelia to follow. She willingly goes into the Labyrinth, where she meets The Faun. The Faun (Doug Jones) explains that Ofelia is a princess from the underworld who's spirit is trapped in human form. He invites her to partake of three quests to prove her royal heritage. In exchange, she can return home and be reunited with her father.

Baquero's performance of Ofelia is one of the most convincing performances by a child actor I have seen. She encompasses her character completely, living in her world. At no time did I suspect the actress might be separate from the character. Likewise, López is disturbing as the sadistic Captain Vidal. His ability to change from caring husband to violent commander is shocking, and his transformation at the end of the film is equally amazing.

The score for the film, composed by Javier Navarrete, is one of the most haunting, beautiful scores I have heard. A cross between a lullaby and a dirge, the song "Long, Long Time Ago" is both unique and memorable. It is as important to the feel of the film as the art direction and the cinematography.

Despite the comparisons made between this film and other fantasy works, the fantastic elements are few. Ofelia makes only three brief trips to the underworld, constituting a small part of the film. Although this is technically a fantasy, Pan's Labyrinth has more in common with a war film. This, in my opinion, is its only drawback. I had hoped for more of a fantasy film, but found this film brutal in its portrayal of the war.

Director Gullermo del Toro populates this world with the gruesome reality of the Spanish Civil War. Gun battles, torture, and brutal murder fill nearly every moment. Even Ofelia's fantasy world is not immune.

The "wonderland" to which she escapes is not a nice place at all. Although the artistic direction of the film is beautiful, it is in a horrible sort of way. The labyrinth itself is in ruin and the Faun appears old and unpleasant. Even the fairies are meat eaters. On her quests, she must dig in a bug-infested hole; try to slip past a blind, child devourer (again, Doug Jones); and ultimately she must face her own mad step-father. Not exactly the stuff of modern fairy tales.

Yet, within this tale of war of madness, del Toro creates a world of innocence in the spirit of Ofelia. Although her wonderland may be tainted by the same violence and horror she sees in the real world, she is true to her mission. What she wants most is not to escape, but to keep her mother safe.

Although my knowledge of Spanish history is incomplete, it is obvious that del Toro has put a lot of research into his work. So, one must consider the subtext of the film. Is Ofelia an image of a pre-war Spain, caught in the midst of a war she can't survive? Is her refusal to call Vidal her father an act of patriotism or rebellion? Is Vidal's attempt to replace Ofelia with his own son a metaphor for the fascist Nationalists wanting to control the Republicans? I'm sure that historians and film buffs (better versed in Spanish history than I) will be dissecting the film for years to come.

Pan's Labyrinth is a visually stunning work. Recently nominated for six Academy Awards, including Best Foreign Film (Mexico), it is in Spanish with English subtitles.