The War Game (Peter Watkins, 1966) is a British pseudo-documentary film which depicts a hypothetical nuclear war and the proceeding repercussions. The film caused a significant amount of distress within the BBC and it was soon deemed to be “too horrifying” for a general audience. The film was later televised in July 1985 during the week before the 40th anniversary of the Hiroshima bombing.
Poster
During this ‘worst-case scenario’, the UK has declared a state of emergency after the Soviets threaten to invade West Berlin if the US does not revoke their decision to employ nuclear warfare. Ration cards and hazard booklets are soon distributed to the public and an emergency siren system is tested. Soon enough, a Soviet thermonuclear warhead airbursts 6 miles outside of Manston Airfield and the effects of the nuclear bomb are viscerally displayed to the viewer through the use of extremely graphic imagery.
The War Game wavers between being an observational documentary and a participatory documentary. In some scenes, the actors on-screen acknowledge the presence of the camera and in others, the camera appears to be invisible. Through this, a ‘fly on the wall’ style of filmmaking is employed, thus placing these parts of the film under the observational mode. The fact that each situation depicted is entirely fictional and each of the characters are actors, suggests that the film can be categorised as a participatory documentary. This is aptly utilised by Watkins in order to immerse the viewer within the imaginably dystopian reality of the near-future.
Some of the many victims of nuclear warfare displayed throughout The War Game
Receiving a 93% rating on Rotten Tomatoes and winning the 1967 Academy Award for Best Documentary Feature, critics praised the film for being “remarkab[ly] authentic” – despite being shown to the public almost 20 years after production.
Although I didn’t get much enjoyment out of The War Game, I greatly appreciated it for its frightening level of genuineness presented throughout its 45 minute runtime. It’s no surprise that this film wasn’t aired publicly in 1965.
How far do each of the films you have studied represent key characters in ways that reinforce or challenge the audience’s expectations?
Autumn 2020
Essay plan
Introduction
Pan’s Labyrinth (Guillermo del Toro, 2006) is a fantasy/war film. Being a passion project of the director, it is set in the summer of 1944 – five years after the Spanish Civil War. The presence of the fascist regime, the Falangists, still emanates throughout Spain during their pursuit of the Spanish Maquis rebel forces through which constant guerrilla warfare is initiated.
Characters such as Ofelia and Mercedes are representative of the hope and disobedience initiated by the Maquis rebel force. Conversely, Captain Vidal is the figurehead of the Falangist fascist regime and he is represented in ways reflective of an authoritarian society throughout the film.
Sequence 1 – Fig Tree Sequence
Cinematography:
Wide shots of soldiers, panning left to right, tracking (eye-level), tree framing (dwarfing Ofelia, shrouded in darkness), shoe closeup.
Low-angle long shot, central framing – obscured by lighting, silhouette is juxtaposed by particle fairies, mid shots push into Ofelia, crabs right to transition.
Tilt up from Vidal’s shoes, camera arcs as he shouts, lowering crane shot displays the rebellion.
Closeups of Ofelia, pushes in on key, closeup of Ofelia holding it focuses attention, pedestals up as she retrieves clothes, centrally framed during rain.
Juxtaposition between palette and uniform, traditional fairytale clothing and book, uterine tree, decorated uniform, hidden rebels less well-dressed (framing and posture)
Ofelia heavy breathing, addresses toad as human, doesn’t cower
Sequence 2 – First Shaving Sequence
Cinematography:
Tracks Vidal as he picks up blade, tilt to face, mid to long shot, arcs around to mid-closeup of shaving cream, uncomfortable closeup, mechanical lair, warmer lighting during Mercedes scene, pedestal up to portray Vidal’s power, claustrophobia
Luxury items, razor blade reflects Vidal, cluttered desk, mechanical imagery, decorated uniform, Pale Man room
Editing:
Glance object focuses on razor, fast pacing matches the tempo of music
Performance:
Precise + fluid movements, ritualistic, moves meticulously, unnecessary shaving, Mercedes acts as a mother figure
Essay – Version 1
Pan’s Labyrinth (Guillermo del Toro, 2006) is a fantasy/war film. Being a passion project of the director, it is set in the summer of 1944 – five years after the Spanish Civil War. The presence of the fascist regime, the Falangists, still emanates throughout Spain during their pursuit of the Spanish Maquis rebel forces through which constant guerrilla warfare is initiated.
It could be stated that Ofelia’s character is formed from the typical ‘protagonist archetype’ established through storytelling, reinforcing the viewer’s expectations. Conversely, Ofelia is also representative of the hope and disobedience initiated by the Maquis rebel force, which ultimately challenges the viewer’s expectations. Captain Vidal is the antagonistic figurehead of the Falangist fascist regime and he is represented in ways reflective of an oppressive, authoritarian society throughout the film which reinforces the viewer’s expectations. To demonstrate this, my two chosen key sequences are the Fig Tree Sequence and the First Shaving Sequence.
The initial opening wide shot of the Fig Tree Sequence depicts the Falangist soldiers on horseback, in order to pursue the Maquis rebels. The non-diegetic composed score is extremely grandiose and patriotic, which is layered in tandem with the diegetic rhythmic galloping of the horses and the soldiers shouting ardently. Through this, del Toro represents the fascist regime as an elite domineering force which is reflective of the viewer’s expectations. The camera pans from left to right, signifying the treacherous journey the soldiers are embarking upon. We then cross cut between the soldiers and Ofelia through the use of a hidden cut – this example of parallel editing aptly informs the audience that these events are occurring simultaneously.
Another pan from left to right, displays Ofelia’s adventurous journey which creates a sense of duality between the forces of good and evil. As the camera rests on Ofelia, a tracking shot follows her movements as the viewer’s focus is appropriately converged upon her. The camera is at eye-level which encourages the viewer to empathise with our protagonist. At this point, the score becomes more playful and bucolic which represents her naturalistic demeanour. The soldiers’ faint chanting can also be heard low in the mix which reminds the viewer of their omnipresence. Ofelia sports traditional fairytale clothing which is extremely reminiscent of Alice in Wonderland, another archetypical protagonist presented to us in a fairytale.
As the camera continues to smoothly glide to track Ofelia, we push back in order to reveal the fig tree in its entirety which is reminiscent of uterine imagery in its design. This is perhaps representative of Ofelia’s maturity as she continues to persevere through her daring adventure – this example of metaphorical imagery potentially challenges the viewer’s preconceived expectations. Ofelia’s narration is naturally layered alongside the soldiers’ pursuit of the rebels which emphasises to the viewer that this is her fairytale. A variety of long takes are implemented to slow the pace of the film to a halt while keeping the focus on Ofelia.
As Ofelia enters the tree, a low angle long shot displays her standing at the entranced. She is centrally framed and partially obscured by the lighting in order to converge the viewer’s attention on her silhouette. The darkness of the silhouette is juxtaposed by the vibrant particle fairies, which suggests that a foreign entity is entering the realm. This challenges the viewer’s expectations of a stereotypical weak, female protagonist by exemplifying the theme of disobedience and rebellion. The implementation of woodwind instrumentation throughout the tree scenes further reinforces Ofelia as the protagonist.
Afterwards, we cross cut back to Vidal’s army – the captain’s stern expression and measured demeanour in tandem with his highly decorated uniform reinforces his authoritative position to the viewer. The two soldiers that accompany him act subserviently. For example, Vidal’s hand gesture immediately silences them, which informs us that the captain is used to being obeyed. In effect, this cements the sociopolitical hierarchy within the regime, which perhaps challenges the viewer’s expectations. Vidal proceeds to shout into the forest, during which his booming voice is extremely high in the mix. This emphatically represents his masculinity, which ultimately instills fear in the viewer. As the soldiers ride back home, a lowering crane shot displays the hidden rebels in a position of power through the meticulous use of framing and blocking. They have successfully outsmarted Vidal and this represents the rebel force in a powerful state of being.
As we cut back to Ofelia in the tree, the camera arcs around her as she crawls and eventually pushes in on a closeup of her face. Her face is extremely muddied, illustrating her character as adventurous and daring, reinforcing the viewer’s expectations. The mud itself has also dried in order to signify the passage of time, displaying Ofelia’s heroic resilience. She persistently breathes heavily which implies that she is extremely nervous about exploring the foreign realm. This informs the viewer that Ofelia isn’t perfect, which challenges the viewer’s expectations.
During Ofelia’s exchange with the toad, she addresses it as if it were a human in order to reassure herself that she isn’t afraid of it. As the toad begins to growl at her, Ofelia continues to stand her ground in the face of danger – she doesn’t cower or show weakness in any way. Alongside this, the score becomes more hopeful as Ofelia hatches her plan to outsmart the toad. Ofelia smirks as a glance object is implemented between Ofelia and a cockroach in her hand, informing the viewer of her cunning plan. After the toad dies, we cut to a closeup of Ofelia holding a mysterious key which displays her utter encapsulation towards it, signifying its valuableness.
As Ofelia exits the tree, a sudden storm ensues causing Ofelia to become completely drenched by the rain. During this, she is centrally framed in order to completely focus the viewer’s attention on our protagonist in order to encourage the viewer to empathise with her. The oppressive rain vigorously enters the soundscape, establishing the narrative device of pathetic fallacy which is reflective of Ofelia’s miserable state of mind, juxtaposing her prior confidence. This emotional development in Ofelia’s character is perhaps surprising to the viewer, due to her aforementioned confident demeanour presented throughout the sequence.
The First Shaving Sequence opens with the diegetic audio of the gramophone emphatically entering the mix – the chosen piece being written by Antonio Molina. This specific piece is extremely evocative of the 1940s time period and oozes Spanish patriotism. A fluid tracking shot follows the movements of Vidal’s hand as he gingerly picks up his cutthroat blade. This deluxe razor blade reinforces the fact that the captain rules the sociopolitical hierarchy which includes overseeing the distribution of luxury items. This reinforces the viewer’s expectations of a fascist figurehead.
Vidal’s movements are extremely precise and meticulous as he selects the blade, moving precisely to the specifically selected music. It becomes clear to the viewer that Vidal treats the act of shaving as a sort of divine ritual, emphasising his masculinity. The captain’s ritualistic attitude towards shaving potentially challenges the viewer’s expectations due to Vidal’s prior representation as a stoic, emotionless leader. As Vidal begins to pensively walk to the mirror, the camera transitions from a mid shot to a long shot – displaying the surroundings of the room. The desk on which the shaving equipment lies is extremely cluttered, informing the viewer that this is the centre of Vidal’s command. The cog-like water wheels that make up the background of Vidal’s lair reinforce his mechanical demeanour towards the pursuit of the rebels.
After a glance object between Vidal and the razor, we cut to an uncomfortably claustrophobic closeup of Vidal shaving his face with temporal focus. The diegetic exaggerated ‘sharp’ sounds of the blade against his face are layered in the mix alongside the score. The razor blade itself is an accurate reflection of Vidal’s personality, requiring acute precision and diligence. It can also be noted that Vidal is shaving unnecessarily – he appears to already be clean shaven. Through this, it is potentially implied that the captain views shaving as a form of detoxing in order to separate himself from the arduous pursuit of the rebels. As the score ascends to a fanfare-like crescendo, Vidal’s posture is reminiscent of a matador, which further reinforces his macho disposition.
After an abrupt jump cut, the lighting of the scene becomes much warmer, informing the viewer that we are now in the presence of Mercedes. As the conversation between the two ensues, the camera pedestals up to portray Vidal as holding an authoritative power over her. This is reflective of the current opposition between the rebels and the fascists. The room the two converse in is extremely reminiscent of the Pale Man’s room, which is presented to the viewer later in the film. This example of foreshadowing establishes the evil parallels between Vidal and the Pale Man later in the film. Mercedes appears to act defiantly against Vidal, instructing him not to cook the rabbit. This foreshadows Mercedes’ disobedience against the Falangists later in the film which is representative of the ultimate triumph of good overcoming evil.
In conclusion, del Toro aptly implements the key elements of film in ways that appropriately represent the powerful forces of good and evil. This is achieved through the characterisation of Ofelia as a protagonist, as well as Vidal as an authoritarian antagonist.
In order to structure an appropriate answer for the following question, the following will act as a plan for my answer:
Discuss how aesthetics are used to communicate themes in your two chosen films. Make detailed reference to particular sequences in your answer.
Summer 2019
Essay plan
Introduction
Pan’s Labyrinth (Guillermo del Toro, 2006) is a fantasy/war film. Being a passion project of the director, it is set in the summer of 1944 – five years after the Spanish Civil War. The presence of the fascist regime, the Falangists, still emanates throughout Spain during their pursuit of the Spanish Maquis rebel forces through which constant guerrilla warfare is initiated.
The key themes presented throughout the film are rebellion, gender, reality vs fantasy and authoritarian order which emanate throughout the film in a variety of ways.
The key aesthetics conveyed throughout are the juxtaposing colour palettes to define the realms, typical fairytale imagery, subjective shots (Ofelia’s POV) and GdT trademark violence.
Three key sequences chosen are First Bedtime Sequence, Fig Tree Sequence and Pale Man Sequence.
Sequence 1 – First Bedtime Sequence
Cinematography:
Blue colour palette juxtaposed by warmth of fire, tracking shots, closeups of Ofelia and Carmen (intimacy), long takes, camera pushes in until they fill the frame, pedestal down into CGI, hellish colour palette, gliding camera, insect appears again, colour palette changes to greens and browns, camera arcs back to show Ofelia and Carmen.
Cut to Vidal in lair, low-angle shot reinforces authority, closeup of pocket watch for the second time, doctor enters with out of focus soldiers, shot/reverse shots depict the doctor holding authority, low-angle shot used as Captain rises to establish that he now holds the power.
Dark moonlit exterior setting accentuates blues and greys, claustrophobia created as camera pushes in, low-angle shot of Vidal, camera swings round as Vidal smashes farmer’s face, alternating between low-angle and closeup.
Wide shot as Vidal shoots farmers – soldiers remain emotionlesss, camera tracks Vidal – centrally framed.
Mise-en-scène:
Blue colour palette, gothic interior design – dark wood and fireplace, soft lighting – purity, horn design on bed frame (uterine), Ofelia’s humble fabrics juxtapose Carmen’s silk, naturalistic makeup.
Foetus evokes fantasy, CGI, crimson palette (GdT trademark), purple rose signifies royalty, foreboding branches, now-familiar insect transitions back to reality,
Mechanical imagery in lair, cog-like water wheel, decorated uniform, ‘over-realistic’ set design, well-dressed doctor, Vidal smokes.
Homogenous soldiers, harsh lighting, farmers are raggedly dressed, GdT graphic blood (aesthetic of facial harm is established), rabbit reveal.
Editing:
Long takes, slow pace, hidden cut transition into CGI, more hidden cuts – unnoticeable change (dream-like).
Crossfade into Vidal’s lair (simultaneous), glance object between Vidal and the watch (subjectivity), shot/reverse shot – continuity editing, J cut.
More shot/reverse shots, long take builds tension, contrast between the prior slow pacing and the fast-paced violence, reactionary shots, pacing sedates once the violence is over.
Sequence 2 – Fig Tree Sequence
Cinematography:
Wide shots of soldiers, panning left to right, tracking (eye-level), tree framing (dwarfing Ofelia, shrouded in darkness), shoe closeup.
Low-angle long shot, central framing – obscured by lighting, silhouette is juxtaposed by particle fairies, wide shots of tree, mid shots push into Ofelia, crabs right to transition.
Tilt up from Vidal’s shoes, closeup of illuminated antibiotic, camera arcs as he shouts, lowering crane shot emphasises the rebellion.
Closeups of Ofelia, wide shot of never-ending cave, crab right to reveal toad, quick pan (right to left), reactionary closeups.
Pushes in on key, closeup of Ofelia holding it focuses attention, pedestals up as she retrieves clothes, centrally framed during rain.
Mise-en-scène:
Juxtaposition between palette and uniform, forest palette, traditional fairytale clothing, particle fairies, uterine tree, magic stones.
Dim lighting, overgrown, dark brown palette, mud + cockroaches.
Tactile antibiotic bottle, rebels are less well-dressed but exert power.
Muddy face, animatronic toad, toad’s death metaphor, mysterious key, return to blue palette, pathetic fallacy.
Over-the-shoulder closeup of storybook (immersion), cut to illustration that matches narration
Wide shot existing between two realms, camera pull, extreme long shot, lighting and colour palette
Hourglass closeup, two-shot of Ofelia and Pale Man
Gliding worms-eye-view of children paintings, pedestal up to reveal shoes,
Tracking shot of fairies, closeup of key, closeup of hourglass (camera push in)
Closeup of blade, push in slowly to Pale Man, his dormancy juxtaposed by fairies
Pushes into forbidden grapes, focus pull to Pale Man, high angle shot depicts Pale Man dwarfing Ofelia
Rapid crab shot initiates chase sequence, handheld camera creates disorientation
Hellish colour palette contrasted with steely blue, distinctive gateway defined
Mise-en-scène:
Holocaust clothes, imprisonment, traditional fairy tale book, uterine drawings, pastel colours, palettes
Rabbit hole crawl (Alice in Wonderland), hellish colour palette, blood-painted wall, medieval resemblance, hourglass represents time and Pale Man
Green clothes juxtapose hellish realm, forbidding fireplace, tantalising food (Alice in Wonderland) – what a child might imagine,
Pale Man symbolic of greed, ghoulish eyes, Goya paintings, Holocaust shoes, key (hope),
Ornamental dagger, Macbeth, appealing grapes,
Vidal and Pale Man parallels, bloodstained hands, GdT violence (fairy deaths), shoe motif
Editing:
Glance object between Ofelia and book (subjectivity), slow paced, fade transition
Heavy colour grading, glance object, alternating between subjective shots and objective
Parallel editing, visualised mental thought process, long takes
Pace quickens during chase, reactionary shot shows Ofelia POV, pacing slows as the danger is over
Essay – Version 1
Pan’s Labyrinth (Guillermo del Toro, 2006) is a fantasy/war film. Being a passion project of the director, it is set in the summer of 1944 – five years after the Spanish Civil War. The presence of the fascist regime, the Falangists, still emanates throughout Spain during their pursuit of the Maquis rebel force through which constant guerrilla warfare is initiated.
Throughout the film, a multitude of aesthetics are used to convey specific themes. The themes of rebellion against authoritarian order and child-like innocence are presented over the course of the film. My two chosen key sequences are the ‘First Bedtime Sequence’ and the ‘Pale Man Sequence’.
During the First Bedtime Sequence, del Toro immediately establishes the theme of authoritarian order through the use of extremely distinctive colour palettes. As Ofelia and Carmen lie in the bed, the incorporation of a foreboding, steely blue colour palette emphasises that this room is owned by the leader of the Falangists – Captain Vidal. The only warmth of the room lies in the fireplace which is representative of the small but omnipresent Maquis rebellion. During the ensuing CGI sequence of the foetus, the colour palette is juxtaposed with a hellish, crimson palette to reinforce the evil that persists within reality and the Underground Realm. The appearance of the familiar insect within the branches signals another change in colour palette to the comforting greens and browns of the forest which is exemplary of the theme of rebellion.
During the next scene, Vidal is seen silently working away in his gloomy lair. Del Toro utilises a low-angle shot and Vidal dons an extremely decorated uniform to reinforce his power and authority over the Falangists. Vidal’s spyglass is an example of ‘over-realistic set design’, an extremely characteristic aesthetic of del Toro’s filmography. This spyglass, as well as other objects such as the cog-like water wheels emphasises Vidal’s mechanical demeanour. The soldiers that accompany the doctor as he enters the room are out of focus, suggesting to the viewer that they are at Vidal’s immediate beck and call. More low-angle shot/reverse shots are used during the captain’s conversation with the doctor to emphasise that he is the authoritative figurehead.
The next scene takes place in a dark, moonlit setting which accentuates the blues and greys of the colour palette. This, alongside the use of a long take immediately establishes a sense of apprehension within the viewer. The camera then proceeds to push in closer to the fascists, creating a sense of claustrophobia. The lighting is harshly distributed onto the rebel farmers, focusing the viewer’s attention upon them and pinpointing the rebellion as the Falangists’ prime target. The farmers themselves are dressed raggedly, re-emphasising their position in post-civil war society. The camera then rapidly swings round as Vidal proceeds to smash the farmer’s face with a bottle, during which we rapidly alternate between low-angle shots of Vidal’s stoic expression and closeups of the farmer’s beaten face. Through this, the pace of the edit drastically increases in order to reiterate the domineering force of the Falangists. The incorporation of extremely graphic violence is another typical aesthetic of del Toro’s work and this introduces the motif of facial violence which reoccurs throughout the film. After the brutality is over, the pacing becomes sedate once again to inform the viewer that the storm is over. A wide shot is used as Vidal remains centrally framed as he proceeds to shoot the two farmers, during which the homogeneously dressed soldiers remain emotionless which emphasises their loyalty to the authoritative order of the regime.
The theme of child-like innocence is presented throughout the First Bedtime Sequence in a number of ways. Firstly, tracking shots are used to follow Ofelia towards Carmen’s bed which establishes her importance as an innocent protagonist to the viewer. The camera then rests on a two-shot long take of Carmen and Ofelia in the bed, through which the camera proceeds to periodically push in and out unnoticeably. The lighting is soft on Ofelia who wears humble fabrics, which is reflective of her purity. As the conversation between them continues, the shot becomes increasingly tighter to the point where the two fit the entire frame. Emphasising the intimacy between the two characters, this implies to the viewer that Ofelia is reliant on her mother’s warmth and comfort which reinforces her innocence. The appearance of Ofelia’s unborn brother as a foetus through the use of CGI also reinforces the theme of child-like innocence.
Throughout the Pale Man sequence, the theme of authoritarian order continues to preside throughout. Firstly, an opening wide shot contextualises the location of the scene initially taking place in the bedroom of Vidal’s territory. This is further exemplified through the reuse of the aforementioned icy blue colour palette to reinforce Ofelia’s state of imprisonment within the confines of the fascist-ruled reality. Her traditional clothing is resemblant of Anne Frank as well as many other Holocaust victims, representative of the aftermath of a totalitarian regime, such as the Falangists.
As she enters the realm of the Pale Man, another wide shot depicts Ofelia existing between the two realms. The previous colour palette is juxtaposed with a colour-graded hellish palette, which incorporates reds and crimsons into a monstrous visual spectacle. The interior is resemblant of a medieval dungeon, reminiscent of the Falangists’ traditional rule of authority over the rebels. Ofelia’s green clothing starkly juxtaposes the hellish realm, suggesting that she is acting as the rebellious force within the institutional evil of the Pale Man.
The Pale Man’s design is symbolic of greed – his loose skin in tandem with his malnourished body represents his gluttonous tendencies which he has not indulged in for a long time. Furthermore, the camera then pedestals up to reveal a colossal pile of shoes that lies beside the Pale Man’s table which is once again symbolic of the many victims of the Holocaust. The shoes represent a potential future that exists in Ofelia’s world which exposes the dangers of a fascist, authoritarian regime such as the Falangists.
Ofelia then retrieves an ornamentally designed dagger from behind a locked door. Receiving a closeup, the dagger is extremely shiny and polished, which reinforces its authenticity and uniqueness. The dagger also has iconographically symbolic relations to the theme of betrayal and rebellion towards the fascists. Alongside this, the key which Ofelia bears during this sequence is exemplary of the rebellious force that will overcome the fascist regime. Later in the film, Mercedes utilises a key to free the peasants from the wrath of the soldiers, reshaping the future of Spain forever.
There are potential parallels between the antagonistic forces of Vidal and the Pale Man respectively. While the captain consumes baby rabbits, the Pale Man devours children which reinforces them both as demonic and remorseless. The Pale Man’s hands are also bloodstained, once again linking to the act of betrayal and rebellion. The fairies’ deaths are extremely brutal and graphic (a typical aesthetic of del Toro’s work) – blood gushes into the Pale Man’s mouth. This symbolises the death of fantasy and whimsicality the fascists enforce.
The theme of child-like innocence is also presented throughout the Pale Man Sequence in a number of ways. Through the use of an over-the-shoulder shot, the drawings within Ofelia’s traditional storybook are portrayed. A glance object is implemented between Ofelia and the book which places the viewer in Ofelia’s virtuous perspective. This emphasises her innocent immersion within her own fairytale. Moreover, the drawings are reminiscent of uterine imagery which suggests Ofelia’s maturity. The use of pastel colours further exemplifies the whimsicality of her fairytale.
As Ofelia crawls through the mysterious gateway to the Pale Man’s lair, the action of ‘crawling through the rabbit hole’ is extremely reminiscent of Alice in Wonderland. Del Toro’s aesthetic reference to this traditional fairytale acutely portrays Ofelia as an innocent fairytale protagonist.
Ofelia then reaches the Pale Man’s table, during which the camera crabs from left to right in order to track her movements from the opposite side of the table. Her trance-like state is displayed to the viewer as she observes the tantalising forbidden feast that lies on the table, reinforcing her innocence and vulnerability. The food is predominantly made up of sweet, luxurious delicacies such as fruits and jellies which is representative of what an innocent child might imagine a feast to be like. The camera then rests on a two shot of Ofelia looking intently at the Pale Man to present him as an antagonistic force.
We then cut to a gliding worms-eye-view shot looking up at the ceiling which depict paintings that display the Pale Man’s visceral brutality towards a countless amount of helpless children. These paintings are resemblant of the works of Goya, a Spanish romantic artist known for extremely graphic depictions of violence towards defenceless children. As Ofelia becomes tempted by the grapes, the camera cuts between closeups of Ofelia, the grapes and the Pale Man in order to subtly visualise her mental thought process and emphasise her innocent inability to resist the tantalising temptation the forbidden fruit emits. A high angle shot is used to depict the Pale Man dwarfing Ofelia, reinforcing the looming danger he radiates towards the vulnerable protagonist.
In conclusion, an abundance of aesthetics are used to communicate the themes of rebellion vs authoritarian order and child-like innocence in a wide variety of ways over the course of the film. Del Toro masterfully employs his characteristic aesthetics as an auteur, such as brutal violence and stark colour palettes to persistently reinforce key thematic concepts and motifs throughout Pan’s Labyrinth.
We were tasked to analyse the key elements of film form of the opening sequence of Pan’s Labyrinth (00:00:00-00:05:52). This involved a detailed analysis of cinematography, sound, mise-en-scène, editing and performance during this sequence.
Cinematography
After the credits, the film opens on a crab shot of Ofelia dying in reverse – this could be considered to be a circular narrative seeing as this scene also appears in the final act. The film uses a blue colour palette to emphasise the harsh reality of the real world. The camera then pushes into her eye and into the Underground Realm. In actuality, this entire sequence is in reverse. This means that the film actually opens on an extreme closeup of Ofelia’s iris, through which the camera then pulls out and then pedestals down.
The camera then glides in an ethereal and mystical manner, crabbing right and pushing in through the entrance. Through the use of tilting, a free-flowing camera movement is created which emphasises the fantastical nature of the realm. At the surface of the tower, overexposure is utilised to create a bright, overwhelming light to represent Ofelia’s erased memory.
It is here that the three main colour palettes used throughout the film are established. The sun kissed gold, the steely blue palette and the green forest palette. Each of these palettes truly encapsulates the atmospheres created by each respective setting and Guillermo del Toro meticulously emphasises the use of visual storytelling throughout Pan’s Labyrinth.
After the time period shift, the camera then continues to glide – specifically tracking the movement of the cars. Through a sequence of selected shots, we are immersed into the story. After an establishing shot, we cut to a closeup of Ofelia’s fairy tale book, specifically Alice in Wonderland. This specific fairy tale is often referenced throughout the film and this shot establishes it. We then cut between a two-shot of Ofelia and Carmen and various closeups of both characters. Ofelia is always positioned closer to the camera to emphasise her greater importance to the story.
We then cut to a long shot of the cars coming to a halt, in which the particle-like fairies make an appearance. These sparkling pixies have connotations of the underground realm and are visually intriguing to the viewer. The camera proceeds to track Ofelia’s curious movements which further establishes her as the central character. We then focus in on the mysteriously shaped rock and through the use of an over-the-shoulder shot we learn that it is emblazoned with an eye. The camera continues to track Ofelia’s movements as she stumbles upon the overgrown statue. It then cuts to a two-shot of Ofelia and the statue, suggesting that the statue is in fact a character itself.
As Ofelia places the mysteriously emblazoned rock in the eyehole, the camera focuses in on the mouth. Through this, del Toro focuses the viewer’s attention on this specific area for the mild jumpscare that follows as the skittery insect makes its appearance. The camera positions itself at Ofelia’s eye level, which once again reiterates her great importance as a character. Del Toro then utilises a focus pull as our attention is diverged from Ofelia to the insect. An ensuing arc shot then tracks the erratic movements of this enigmatic insect as we view the Falangist vehicles from its perspective.
Finally, we are introduced to the main antagonist of the film, Captain Vidal, through a closeup of his cracked watch – yet another reference to Alice in Wonderland. His meticulous and mechanical demeanour is first established through this closeup. It is interesting to make note of the fact that both Ofelia and Vidal are introduced to the viewer through the use of a closeup of an inanimate object, being the fairy tale book and watch respectively.
Sound
The opening credits begin with silence, immediately focusing the audience’s attention. Afterwards, there is a gradual rise in the mix of natural diegetic wind ambience. This ambience is then layered with a peaceful humming lullaby, a reoccurring motif throughout the film. This juxtaposes Ofelia’s ominous dying breaths which are also gradually layered into the mix. As the reverse sequence ensues, an accompanying piano is gradually added to the mix. Through this, an eerie and pensive attitude is created by del Toro.
As we witness Ofelia brutally dying in reverse, non-diegetic narration enters the mix. This explains to the viewer the required expositional information involving the lost princess’ connection to Ofelia. A subtle non-diegetic whoosh sound plays as we push into Ofelia’s eye, which marks the transition into the Underground Realm. The non-diegetic orchestral score throughout the following sequence establishes an angelic and ethereal atmosphere. The jarring squawk of the crows juxtapose this, implying a sense of dissonance throughout the realm.
A subtle non-diegetic swoosh distinguishes the return to reality as a choral score is gradually layered in the mix. As the cars drive past, we hear the diegetic engines as we cut to Ofelia and Carmen within one of the Falangist vehicles. During the closeup of Ofelia’s book, a diegetic page turn focuses our attention towards this. The sound is entirely diegetic throughout the car scene.
As Ofelia steps out of the car, the background dialogue lowers in the mix as Ofelia moves further away from the soldiers. The viewer only hears sound that is relevant to Ofelia, the protagonist, to highlight her importance. During Ofelia’s curious exploration, she stumbles upon a rock which receives extremely distinctive and recognisable sounds. A gentle non-diegetic piano score enters the mix as Ofelia picks the rock up, emphasising the significance it holds to the Underground Realm. Here, del Toro establishes a recognisable sonic link between the use of piano and the labyrinth realm.
As Ofelia inspects the rock, a diegetic ominous wind enters the mix in combination with more sombre and lower instrumentation – specifically the use of a cello. The low strings of the cello represents a tonal shift as the mysterious rock continues to provoke questions in Ofelia’s mind. As Ofelia places the rock in the statue, we hear a tactile noise that confirms its placement.
When the insect appears out of the statue’s mouth, diegetic skittering sounds enters the mix which implies to the viewer that the insect could potentially pose a threat to Ofelia. Afterwards, Ofelia is dragged back to reality and subsequently, the soundscape of the Underground Realm gradually lowers in the mix. The sound of the insect is layered with the vehicles which remains at a constant level as the diegetic sound of the vehicles gradually lower in the mix. Subsequently, the sound bridge connects the vehicles to Vidal through the use of a J cut as we hear the ticking of the captain’s watch before we cut to it.
Mise-en-scène
The film opens with credits presented in a ancient-looking font, which establishes the film’s tone. As Ofelia dies in reverse, the crimson blood flowing backwards creates an initial enigma for the viewer. The Underground Realm is depicted as behind Ofelia’s eye which emphasises her importance to it.
The Underground Realm itself has an extremely cold colour palette, predominantly steely dark blues. The realm contains lots of ancient architecture, illustrating a gothic and mystical vista. As the camera tilts up, the sunlight glares from above which is relatively jarring – representative the time shift. The surface is illuminated in gold and we can clearly see that the area has been destroyed by the ongoing guerrilla warfare.
As we cut to Ofelia in the car, the initial shot is a closeup of a traditionally designed fairy tale book. Ofelia and her mother both wear traditional 1940s clothing, consisting of a beret and a waistcoat. The forest that the vehicles enter is extremely lush and luxuriant – it also matches Ofelia’s green clothing. The Falangist vehicles are also appropriately selected to match the time period.
The aforementioned eye rock is meticulously shaped and framed to fully capture the viewer’s attention. Moreover, the previously discussed particle fairies surround the mysterious statue, which suggests that it holds great significance to the labyrinth realm. The statue itself is overgrown which implies that it has been untouched for many years. The “key and lock motif” which features prominently throughout the film is first established here when Ofelia places the rock into the statue.
As we enter the mill, the soldiers each wear historically accurate uniforms embossed with the Falangist insignia which reflects the presence of the fascist regime during this time period. The object of shoes are also first mentioned here – yet another key motif featured throughout the film. The mill itself is architecturally run down and exposed, emphasising the Falangists’ authoritative control of the area. It is also surrounded by an abundance of militaristic equipment which further reinforces this, as well as the fact that Ofelia is entering an area of violence.
The object of Vidal’s watch is closely focused upon, emphasising its importance to him. The fact that it is extremely distinctive and cracked suggests its significance, it is also reflective of his character. Captain Vidal’s clothing is extremely decorated, signifying his authority. He also dons black leather gloves which make him appear menacing.
Editing
After the credits, the film opens on a title card containing the contextual information of the Spanish Civil War which is required for the full enjoyment of the film. We then fade from black into the opening crab shot. As the sequence plays in reverse, the underground realm matches the graphic of Ofelia’s iris. During the Underground Realm sequence, the Princess is superimposed while running across the landscape which attributes a floaty, mystical quality to her movement. Through the use of meticulous colour grading, the employed steely blues illustrate a cold and moody atmosphere.
Del Toro then uses a fade to white transition followed by a frame from white transition to indicate the transportation to the real world. The subsequent golden, sun kissed colour grading juxtaposes the previous palette which emphasises the change in location. In addition, the implementation of a cross-fade establishes the time period shift. During the car scene, continuity editing is used during Ofelia and Carmen’s conversation. Throughout this sequence, multiple shot/reverse shots are employed and the 180º rule is obeyed.
The particle fairies featured in the woods are theatrical as well as genre-appropriate. During the forest scene Del Toro uses long takes to establish a slow pace throughout. There is a glance object when Ofelia picks up the rock, which is then followed by a closeup of said rock. Alongside this, there is a reactionary shot of Ofelia after she witness the appearance of the insect
We transition to the captain at the mill through the use of a J cut. We hear the ticking of the watch before we cut to it. At this point, there is a reverse glance object as we see Vidal’s watch followed by the captain himself. Afterwards, there is an establishing wide shot which allows the viewer to get a sense of their surroundings.
Performance
As the viewer witness Ofelia dying in reverse, we hear her feeble dying breaths which make her appear vulnerable and weak. Through this, Ofelia immediately receives the viewer’s sympathy. Afterwards, the expositional narration is sincere and measured – aptly informing the viewer of the backstory involving the Princess Moanna and the Underground Realm.
During the car sequence, both actors give naturalistic performances. Ofelia keeps a firm grip on the book, implying that she has a profound affinity for the many fairy tales she reads. As Carmen experiences pregnancy sickness, her emotional performance causes the viewer to empathise with her pain.
Ofelia’s explorative and fearless nature is emphasised through her immediate initiative to explore the forest. Her curious expression reiterates this. During the insect’s appearance, Ofelia’s nonchalant expressions shifts to one of wonder and intrigue. This suggests that she is not afraid of the insect but mystified by its enigmatic presence.
As we are introduced to Captain Vidal, his precise and calculated movements suggest he is a malicious presence. His upright posture and stern demeanour reinforce this.
We have been tasked to answer a number of questions which detail the contextual implications of Pan’s Labyrinth.
1. Synopsis
There are two distinctive worlds featured throughout the film, being the gritty war-torn reality and the fantastical labyrinth realm. Through this, Guillermo del Toro manages to tell two intertwining stories which can never be fully explained without delving into details featured within the other tale.
Real world:
It is 1944 and General Francisco Franco is the fascist ruler of Spain. Captain Vidal and his falangist troops have taken control of a mill in the mountains of Spain. They stockpile food there, giving the civilians barely enough to eat so that they can’t afford to give any supplies to the leftist guerrillas in the woods. Vidal has married Carmen, who bares his child. He sends for her because he wants to be present at the birth of his son. Vidal has little time for Carmen’s young bookish daughter, Ofelia. Unbeknownst to Vidal, his housekeeper (Mercedes) has a brother who leads the rebel maquis. She and Doctor Ferriero secretly supply the guerrillas. The communist rebels retake the mill shortly after Carmen dies during childbirth. As the falangists are overrun, Ofelia kidnaps the newly born child. Vidal follows her into a nearby labyrinth where he shoots the girl and reclaims the baby. He is confronted at the entrance of the labyrinth by Mercedes and a large group of maquis. Pedro (Mercedes’ brother) shoots Vidal under the right eye and kills him. A weeping Mercedes cradles Ofelia. Ofelia dies.
Fantasy world:
Princess Moanna sneaks out from the underworld to become mortal and dies. Her spirit passes through countless humans. The king of the underworld vows to wait for Moanna’s return. A fairy leads Ofelia to a labyrinth where a faun tells her she is a reincarnation of Princess Moanna and that she needs to return to the underworld. However, to make sure that her magical spirit is still intact, Ofelia has to successfully perform three tasks — obtain a key from the belly of a giant toad (that is killing a tree where enchanted creatures rest); use the key to retrieve an item from a locked door guarded by a demon (the Pale Man); spill the blood of an innocent into the portal of the underworld. The faun instructs her in sorcery. Ofelia is distracted because of her sick mother and fails the second task. Ofelia passes the final test by sacrificing her life instead of her brother’s. Princess Moanna returns to the underworld where she rules with “justice and a kind heart”.
2. When and where do the events in the film take place?
The period featured, 1944 in Spain, is intriguing as it is clearly a period where the rumblings from the Spanish Civil War are still being felt despite the war itself having finished in 1939.
The film takes place in a military outpost located outside Madrid in rural Spain. The presence of the fascist Falangists as well as the cowering rebel Maquis are effervescent throughout the duration of the film.
3. Briefly, what was the Spanish Civil War about? When and how did it start and end?
The Spanish Civil War was a military revolt against the Republican government of Spain which lasted from 1936 to 1939. After an initiative coup d’état failed to win control of the country, a civil war ensued between the Falangists led by General Franco and the Spanish Republicans.
Falangist regime
4. Which of the factions does the Captain represent? Why is he stationed at the mill?
Captain Vidal is very much representative of the Falangists, who are in the process of exterminating the few remaining Spanish Maquis rebels who are currently residing in the mill.
5. Which of the factions do the people in the mountains represent? Why are they hiding?
The people hiding in the mountains are representative of the few remaining Spanish Maquis rebels. They are hiding from the malicious fascist Falangist regime, led by Captain Vidal.
6. Which of the factions do the political and religious elite support? Why?
Political elites featured throughout the film are clearly in support of the Falangist faction, due to most political parties forming an alliance to initiate the coup of July 1936. Religious elites are additionally in support of the fascists due to the power and wealth of the catholic church. Throughout the film, a priest is shown participating in the feast hosted by Vidal which emphasises that the church is on the side of the nationalists.
A local priest, attending a meal held by the Captain, dismisses the possible pain felt by the rebels on theological grounds. His representation lacks humanity and is clearly a barbed commentary on an out of touch and complicit Catholic church: “God has already saved their souls. What happens to their bodies hardly matters to him.” Del Toro uses the cinematic conceit of a banquet to heighten the corruption of the local middle classes and ruling elite. Despite his criticisms of Catholicism as a dogma and institution it is clear that Del Toro admires the spirituality of his native religion — in a later film Crimson Peak, a ghost story, he commented on his belief in ghosts. The scene above is strongly redolent of a stylised heaven with its church-like setting, a rosary window flooded with golden light and a grey bearded father figure flanked by a doe-eyed mother. It is all rather stuffy and formal befitting a royal court perhaps but not a fairy domain. That said it is clearly Ofelia’s (Princess Moanna’s) ‘happy place’ — she has come home to a loving warm family and an adoring people.
7. Which of the factions do the peasants support? Why?
Throughout the film, the peasants are shown to be in support of Vidal and the Falangists. Despite the Marquis rebels offering arguably more just ideals, the deprived peasants are utterly dependant on the fascists for food and other resources.
8. What role do women play in the two factions?
The representation of women is evidence of the social problems women faced in this patriarchal and macho era.
Women play a vitally important role in both factions featured throughout Pan’s Labyrinth. For example, pregnant women such as Ofelia’s mother represent the future generation of the fascists, due to the fact that Carmen is pregnant with Vidal’s unborn son. In addition to this, women are portrayed as subservient to the ‘superior’ male, holding roles such as a mere servant in the case of Mercedes. However, characters such as Ofelia recontextualise the role women hold when she shows a level of rebellion against the captain.
9. How is food an important symbol in the film?
The symbol of food presented throughout the film represent a variety of contextual ideas. For example, it is presented as a vital necessity as the peasants struggle to survive as Captain Vidal thinly rations the available resources. Moreover, in the realm of the labyrinth, food is symbolic of the biblical ideology of temptation when Ofelia is punished by the Pale Man for eating two grapes.
Temptation in Pan’s Labyrinth
10. How is poverty an important theme in the film?
The theme of poverty is expressed throughout the film through the depiction of the rebellion against the fascist regime that has conquered Spain. The deprived Maquis rebels are poverty-stricken by the Falangist political elite and this forges the motivations for the uprising by the peasants.
11. How is time an important theme in the film?
Time is important theme presented throughout Pan’s Labyrinth illustrated predominantly through the symbol of Vidal’s pocket watch. This watch holds invaluable sentimental value to the captain and is visually symbolic of Vidal’s necessity for rule and order.
12. How is disobedience an important theme in the film?
Disobedience is the underlying motif that emanates throughout the course of the film. It is representative of the motivations behind the Maquis rebels’ actions and this exemplifies how the choice of rebellion is sometimes morally correct. Ofelia must choose whether to blindly follow Vidal’s authoritative order, or disobey and overthrow the fascist regime.
Vidal’s watch
13. How and in what ways does Pan’s Labyrinth draw on fairy tale and fantasy tropes and archetypes?
The film pays homage to traditional fairy tales throughout the film. For example, Ofelia dons a stereotypical dress worn by both Dorothy and Alice from their respective tales. In addition to this, the Pale Man is representative of typical stories such as Hansel and Gretel by tempting Ofelia with grapes.
Pale Man
14. How is fascism portrayed in the film?
Fascism is portrayed throughout the film through the depiction of the Falangist regime. The authoritative portrayal of the fascists emphasises them as a threatening and overbearing presence. Punishments issued by Vidal are depicted in excruciatingly brutal detail and this invokes a visceral reaction within the viewer.
The negative depiction of Franco’s fascist forces is clearly intended to be extended to the imaginative poverty of fascism in general — in contrast to the more benign and sensitive (although hardly democratic) fairy kingdom. A more realist political representation is that of the guerrillas who are presented as resourceful and determined and egalitarian. Mercedes’ love of children (Ofelia and her baby brother) suggests a tenderness and a celebration of all things childish — indeed, unlike Ofelia’s weak and dismissive mother, Mercedes gives advice on the handling of fauns.
15. How does Guillermo del Toro employ uterine and yonic imagery in the film?
Del Toro utilises uterine imagery in a variety of ways. For example, the faun’s head has a striking resemblance to a uterus, fallopian tubes and ovaries. GdT has additionally confirmed the use of a “fallopian palette of colours”. The trees are also uterus-shaped and there is a detailed depiction of Ofelia’s unborn brother in Carmen’s womb. This could perhaps be symbolic of Ofelia’s developing maturity as the film progresses.
Uterine imagery in Pan’s Labyrinth
16. How are maternal instincts presented in the film?
Maternal instincts are presented throughout the film through the characters of Mercedes and Carmen. Both characters attempt to nurture Ofelia in vastly different ways. For example, Ofelia’s mother attempts to indoctrinate her into joining the Falangists and addressing Vidal as her father. Conversely, Mercedes shows Ofelia the way of the rebellion and guides her towards the path of uprising. Ironically, Mercedes’ role as a mother-figure to Ofelia holds greater importance to her than her biological mother.
17. What is the significance of faces and shaving in the film?
Throughout Pan’s Labyrinth, Vidal is often depicted shaving his face in an extremely precise and dexterous manner. He makes it a prominent part of his routine and focuses his full attention towards it. This is representative of Vidal’s obsession with being in control and the razor used is symbolic of threat and terror.
18. What is the significance of flowers in the film?
Flowers depicted throughout the film are representative of purity and authenticity. Appearing at the end of the film, Ofelia’s rose represents her everlasting presence as well as the journey she completed over the course of the film. The rose could potentially symbolise eternity, implying that Ofelia’s actions have made a permanent impact upon the fascist regime.
19. How does Guillermo del Toro operate a ‘one for them, one for me’ filmmaking policy?
After directing the critically condemned big budget blockbuster Mimic (1997), del Toro used the funds from this to produce and direct The Devil’s Backbone. This alternation between a studio project followed by a passion project became typical for del Toro, and this is the film that cemented it. Pan’s Labyrinth is a key example of a GdT passion project. After recently directing the Hollywood blockbuster Hellboy (2004), del Toro used the funds earned from this project to fully focus his efforts on Pan’s Labyrinth, the film he made for himself.
20. How far is Pan’s Labyrinth representative of Guillermo del Toro’s oeuvre?
Pan’s Labyrinth is an quintessential example of what makes a Guillermo del Toro film so recognisable. Firstly, the film is spoken in the director’s native language, Spanish, which reinforces just how much of a passion project this film really is. In addition to this, the film features heavy use of ultra-violent injury detail – especially in the facial area. This inordinately specific quirk is extremely typical of GdT’s filmography and Pan’s Labyrinth is no exception.
Del Toro as an effective and idiosyncratic fantasy/horror auteur is evidenced in his earlier films such as Cronos (1993), The Devil’s Backbone (2001) and Crimson Peak (2015) as well as in his much more mainstream Hollywood work such as Hellboy (2004) and Pacific Rim (2013).
21. How did the critical reception of The Devil’s Backbone influence the production of Pan’s Labyrinth?
Del Toro has stated that Pan’s Labyrinth is a spiritual successor to The Devil’s Backbone in a thematically linked trilogy of films. The critical reception of The Devil’s Backbone was mostly positive receiving an average score of 7.4/10 on IMDb at the time of writing. This positive acclaim encouraged audiences to go and watch Pan’s Labyrinth, which has contributed to its worldwide success.
22. Was the film financially successful?
Released in the UK by Optimum. Premiered at Cannes in May 2006 to great acclaim. Co–produced by a number of Spanish, Mexican and American production companies the $19 million budget is reflected in the complex production design, period dressing and relatively large cast. The eventual worldwide box office of $83.3 million was seen as a triumph.
Being released worldwide in December among a multitude of Oscar contenders such as The Departed (Martin Scorsese, 2006), Pan’s Labyrinth, the fantasy/war dark horse surprisingly grossed $30 million and is still running strong to this day.
23. Why is the year of release of The Devil’s Backbone and Pan’s Labyrinth significant?
The two films were released in 2001 and 2006 respectively. Being released 5 years apart from each other, the years that the films are set are additionally set 5 years apart being 1939 and 1944 respectively.
24. Why physical effects over CGI?
Employing a minuscule amount of CGI within its special effects, Pan’s Labyrinth predominantly utilises a vast amount of meticulously designed makeup and animatronics to illustrate a visually pleasing spectacle.
The key technology used in this film is the animatronics and green screen work as discussed above and its effective creation of a magical-realist production design.
25. Why did Guillermo del Toro write the DVD subtitles himself?
Del Toro wrote the subtitles for Pan’s Labyrinth himself after becoming disillusioned with the translation of The Devil’s Backbone — a film also with the Spanish Civil War as its backdrop and the informal prequel to Pan’s Labyrinth.
Del Toro was extremely disappointed with the subtitles for The Devil’s Backbone and described themas being for the “thinking impaired” and “incredibly bad”. Subsequently, he took action into his own hands and wrote the English subtitles for Pan’s Labyrinth himself.
26. How does Guillermo del Toro use distinct colour palettes in the film?
GdT implements two distinctive colour palettes in order to visually inform the viewer as to whether the scene was taking place in reality or in the fantasy world. The labyrinth realm features predominantly warm colours such as “deep crimsons and golden ambers, almost like amniotic fluids” as noted by del Toro. Conversely, the colours of the harsh reality utilise a much colder palette, making apt use of deep blues and greens, as well as accentuated sharp angles to reinforce the brutality of guerrilla warfare.
Use of colour palettes
27. Look at the “context starter questions” on the Contexts Of Film mind-map. How many could you answer? Add your answers to the end of this post.
Institutional Context- How films are funded, how the level of production budget affects the kind of film made and the main stages of film production:
GdT was offered a large amount of studio money to shoot the film, as long as it was spoken in English. Refusing this to reflect his creative vision, del Toro financed the film himself with the help of fellow auteur Alfonso Cuarón.
Political Context – The way political issues, when relevant to the film chosen, are reflected in a film:
Guillermo del Toro chose to set the film five years after the end of the Spanish Civil War, as he believes it is a topic swept under the rug by most Spaniards. The Falangist fascist regime are explicitly depicted as brutal and malicious, whereas the Spanish rebel republicans are depicted as heroic and courageous.
Historical Context – Aspects of the society and culture at the time when films are made and, where relevant, where they are set:
Being released in 2006, del Toro himself has stated that the 9/11 terrorist attacks are what inspired him to make Pan’s Labyrinth. He stated that his perception of “brutality, innocence and war” changed after the destruction of the twin towers. The film’s social commentary is not exclusive to the Falangist regime but is an overall critique of fascist ideologies.
Pan’s Labyrinth (Guillermo del Toro, 2006) is a fantasy/war film starring Ivana Baquero, Ariadna Gil and Sergi López. The film is set in the summer of 1944, five years after the Spanish Civil War. The presence of the Falangist fascists still emanates throughout Spain as well as the Spanish Maquis rebel forces through which constant guerrilla warfare is initiated.
We follow Ofelia, the stepdaughter of the malicious Captain Vidal who is violently hunting the rebel Maquis. She stumbles upon a mythical world in which an abandoned labyrinth lies, which seems to belong to an enigmatic faun. It is through this that Ofelia becomes desperate to save her unborn brother from a life of anguish and rid Spain of all conflict.
Interaction between Ofelia and the faun
Del Toro utilises a variety of interesting techniques throughout the film in order to tell a compelling story. Firstly, del Toro’s signature use of ultra-graphic injury detail is ever present throughout the duration of Pan’s Labyrinth. Akin to his previous works such as The Devil’s Backbone and Crimson Peak, countless people are mercilessly tortured and maimed and through this, del Toro instills a sense of enervation within the viewer.
In addition to this, del Toro makes apt use of lighting to differentiate between the fantasy world and the gritty reality. High-key lighting is implemented during scenes when Ofelia is immersed within the labyrinth and this is used to represent a sense of unadulterated bliss. Conversely, during the majority of the film, low-key lighting is used to emphasise the sombre and harsh reality of the war-ridden world.
Use of lighting in Pan’s Labyrinth
The film does not follow a typical linear narrative structure. The film opens with the final scene of the film, which depicts Ofelia dying in reverse. This establishes an initial enigma, which is then resolved at the end of the film. Del Toro’s striking use of nonlinear narrative structure further intrigues the viewer and makes for one shocking opening scene.
The film holds an extremely important place within Guillermo del Toro’s filmography due to the fact that it is considered by many to be his magnum opus. Winning a bountiful number of academy awards such as Best Cinematography and Best Makeup, Pan’s Labyrinth is a profound drama which astutely blends two seemingly dissonant genres, being fantasy and war.
Del Toro receives his Oscars
Personally, I thoroughly enjoyed Pan’s Labyrinth from beginning to end. Del Toro successfully created an enthralling tale making intelligent and calculated use of the elements of film form throughout. I enjoyed each witnessing the struggles and hardships of each of the characters, particularly Captain Vidal who acted as an extremely effective antagonist.
My personal favourite sequence has to be the Pale Man sequence due to how enigmatic and intriguing the creature is. Through the use of no dialogue, the scene is extremely effective in the way of building tension and mystery.
The Pale Man
Through the use of symbolism, characterisation and fantasy, I think that the main message told throughout Pan’s Labyrinth is the terror of war and the capability for humankind to perform malicious and abhorrent actions. The contextual implication of the humans in the real world being just as malicious as the savage monsters of the labyrinth rings true throughout the duration of the film.
Otis Morley’s A-Level Film Studies Blog 
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