TIFF Report: Pan’s Labyrinth Review

The setting is Spain circa 1944. The civil war is over, and the fascist regime is spreading throughout the country. Small packets of resistance still exist, and so squads litter the countryside, attempting to smash the resistance once and for all. Young Ofelia (Ivana Baquero) is travelling to one such squad, along with her sick and very-pregnant mother, in order to be with her new stepfather, the cruel Captain Vidal (a truly chilling performance by Sergi López). Along the way, Ofelia sees what she believes to be a fairy, her first venture into a much different world, one that might provide an escape from the brutality that she’s about to witness.

Upon arriving at Vidal’s camp, Ofelia discovers a labyrinth, at the heart of which is an ancient fawn. The fawn claims that Ofelia is, in fact, a princess, and she’s here to reclaim her rightful place in an underground kingdom. But in order to verify that she is the princess, the fawn assigns Ofelia three harrowing tasks that she must complete, without question. Meanwhile, the real world is becoming more dangerous; the Captain’s efforts grow more desperate, violent and corrupt, while Ofelia’s pregnant mother grows weaker and more sickly.

Pan’s Labyrinth is, in many ways, a companion film to The Devil’s Backbone. Both use historical settings as a backdrop for the fantasic elements, which grounds the fantasical elements in reality and thoroughly blurs the lines between fact and fiction. It could could be argued that Ofelia’s magical adventures are merely a coping device, a way for her to escape the brutality of the real world. And yet Del Toro successfully keeps things ambiguous, allowing the magical elements to flow into the real world (and vice versa).

Visually, the film is yet further proof that Del Toro is one of the most imaginative directors working today. While the fantasy elements of the film may not be nearly as prevalent as as the trailers may indicate, what is there really is stunning.

It’s very tempting to compare Pan’s Labyrinth with Tarsem’s The Fall (my review) in this regard. Both films are visual masterpieces, but whereas The Fall exchanges plot and character for yet another traveloque of exotic locations, Del Toro does not allow himself to be carried away by the visuals and numerous effects. These all take a backseat to the story, and to the characters, be it the ruthless Vidal (who is revealed to be a little something more than a one-note villain), or Ofelia, who successfully anchors the film with her beauty, courage, and nobility.

Again, let me reiterate that the film is not for children, and indeed, many adults might find it a bit difficult to swallow (a scene where a man sews his torn lip back together had much of the audience squirming in their seats). But in order for there to be hope, there must be something to hope against. And in order for evil to be vanquished—not merely understood or tolerated, but outright destroyed—a heavy price must always be paid. It all adds up to a film that successfully draws you into a world of magic, repulses you with brutality and evil, and ends on a lyrical note that is as haunting and beautiful as it is tragic and emotional.