Pans Labyrinth

Are fairytales meant for children only? If you think the answer is yes, then I’ve got a movie that will strip all your stereotypes. Pan’s Labyrinth, directed by Guillermo del Toro, is an independent movie filmed in Spanish that successfully combines fairytale and harsh fascist reality of the darkest chapter of Spain’s history. With a surprising density and complexity, Pan’s Labyrinth has an uncompromising story that mesmerizes its viewers.

The movie takes place in Spain during 1944. The Civil War was nearing to an end and fascist regime was acquiring its power. The young heroine named Ofelia, who recently experienced a death of her father, moves to an old mill located in the peaceful countryside owned by her pregnant mother’s new man, Captain Vidal. The surrounding forest is full of mysterious signs: carved aged stones and partially buried, diminishing structures that indicate a Christian belief. What occurs in this place, however, is anything but pleasant. The fascist Captain is ruthless and callous in hunting down the last members of rebels hidden in the woods. As Vidal’s head housekeeper Mercedes and doctor secretly help the resistance, Ofelia also refuses to conform to Vidal’s myopic worldviews.

Ofelia’s fantasy, or second reality, begins as Ofelia tries to cope with her cruel reality. At midnight a mantis like fairy awakes Ofelia and leads her into an ancient labyrinth nearby, where she meets Pan. In order to reclaim her title of princess of a magical underworld, Ofelia is subjected to a three tasks set by Pan. These tasks are no simple tasks as they include confronting a giant greedy toad, the terrifying Pale Man (a child-devouring ogre that holds his eyes in the palms of his hands), and the sacrifice of an innocent blood. Despite the challenges, this enchanting world of fairies offers Ofelia an escape from the oppression of her sadistic stepfather.

Ofelia, unlike any other young heroine, is not marked by extreme goodness. Instead, she foils other characters as her stubborn and independent mind, high ideals and straight morality results in rebellion against her mother Carmen’s absolute passivity as well as brutality of Captain Vidal. Ofelia also embraces Mercedes, who later becomes a motherly figure after Carmen’s death during labor, as her bravery is illustrated.

The imaginative world of Ofelia and the realities of Spain form an interesting parallel with each other, as the transitions from reality to fantasy are beguiling. Although these two settings are significantly different, they are ideologically opposing ways of telling the same story: a story of tyranny, endless resistance, and the struggle between good and evil. All of Ofelia’s heroic acts, facing fictitious monsters, and forbidden feast reflect what is happening around her. Whether the second reality of Pan is a complete fantasy or not is not explicitly clarified by del Toro as he allows the imaginations of the viewers decide the final conclusion. In result, the ending can be both utterly tragic and victorious at the same time.

What makes Pan’s Labyrinth an exquisite fairytale more than a mere motion picture is the delicate balance of innocent imaginative thoughts with the knowledge of absence in absolute happy endings.