magical, adult fairytale

Rating: 9/10 (14 January 2007)

Fairy tales have always been with us. Tales for children, stored with life lessons, morals and universal parables and themes. Fairy tales all carry a dark element, dug into their subtext or subtly played upon. The Grimm Brothers tales played on that darkness more, while Disney left it in the background to be dug out. Pan's Labyrinth is a fairytale that isn't one for the young; an adult fairytale, yet tapping into the imagination of the young at heart and that inner child. Written and directed by Guillermo del Toro, Pan's Labyrinth draws out that darkness, pushing it right to the forefront, creating a magical film to behold and go down as a defining film in del Toro's career.
Comparison and a parallel could be drawn between Pan and Alice in Wonderland; but this isn't rightly so. Wonderland had it's nexus point at the rabbit hole, the fantasy of Pan's Labyrinth roots itself into reality, grounded by the protagonist Ofelia. Set at historical point, Pan starts on the decline of the Spanish Civil War, and the Fascist regime. Ofelia with mother Carmen, pregnant with child, move to live with Capitán Vidal, right in the middle of his mission of eliminating the guerrilla army and his own emotional war of so to be fatherhood and demons of his own father.
The Labyrinth World is an elusive place. It's depth and grandeur are hinted upon, with our exploration only the tip. The allure of the Labyrinth World wields so much pull, it's deterring we're dropped back into reality and the emotional drama. Yet both realities carry one another and require a harmonious balance. The Labyrinth world draws it's power on imagination and power of the innocence, but it's the war ridden world that really plays on the darkness of fairy tales. While reality may be laced with a magical presence, the darker elements are used heavily in del Toro's use of violence. Not the bloodiest story told on film, but del Toro unflinchingly doesn't turn from the torture and violence; many deaths leave gruesome impressions. But both worlds exhibit that true nature of the fairytale; a true danger and horror. Ofelia's task in the lair of a child eating monster exudes this perfectly.
Guillermo del Toro is an extremely visual director. The wonder and beauty held in Pan's Labyrinth is the visual aesthetic. Pan the Faun, other creatures and their worlds, are so vividly brought to life with brevity, based that they are created in a "old fashion sense"; utilising sets and puppetry. Computerised effects are minimal for a more visceral experience. You can feel the dirt and grit of the Labyrinth world, with a genuine warmth. Pan is a wondrous sight to behold, amazingly acted by Doug Jones, along with strong performances by Ivana Baquero, Maribel Verdú and a commanding performance by Sergi López as monstrous Capitán Vidal.
Superbly imaginative, beautifully dark and wondrous, just like a labyrinth, del Toro takes you on a journey of twists and shocking turns, leading to the inevitable center for one emotional ending. Pan's Labyrinth is truly magical.