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Download Pan's Labyrinth 2006 Movie Legally
USA, Spain, Mexico
Drama, Thriller, War, Mystery, Fantasy
IMDB rating:
Guillermo del Toro


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Ivana Baquero as Ofelia
Sergi López as Captain Vidal
Maribel Verdú as Mercedes
Doug Jones as Fauno
Ariadna Gil as Carmen Vidal
Álex Angulo as Doctor
Manolo Solo as Garcés
César Vea as Serrano
Ivan Massagué as El Tarta
Gonzalo Uriarte as Francés
Francisco Vidal as Sacerdote (as Paco Vidal)
Juanjo Cucalón as Alcalde
Pan's Labyrinth Storyline: In 1944 falangist Spain, a girl, fascinated with fairy-tales, is sent along with her pregnant mother to live with her new stepfather, a ruthless captain of the Spanish army. During the night, she meets a fairy who takes her to an old faun in the center of the labyrinth. He tells her she's a princess, but must prove her royalty by surviving three gruesome tasks. If she fails, she will never prove herself to be the the true princess and will never see her real father, the king, again.
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An extraordinary movie !
I really like how this movie can mix between reality and imagination of this young girl.I think that Guillermo del Toro tries to show us how this girl escapes from her terrible real life to her extraordinary fantasy world and how she truly believes in that because it is the only way for her to can endure the cruelty of her wicked stepfather.i don't know if this movie makes me feel sad,terrified or just confused but it surely has a strong influence on me with a lot of emotions which deeply smash my heart.
A somewhat disappointment
Ofelia is a small girl who loves books for their fairy tales. After she moves with her mother in her stepfather's camp, she is visited by a fairy who leads her to an old, magical labyrinth. There, a creature called Faun tells her that she's the daughter of the underground world king and that he was sent to get her back. But in order to prove that she hasn't become a mortal, she must complete three difficult tasks. Meanwhile, her mother struggles between life and death due to her pregnancy and her stepfather (a general of the Spanish army), a tough and almost soulless being, tries to find and eliminate a local rebellion who was being helped by "spies" infiltrated into his camp.

This is an emotional story, having two separate worlds running at the same time. A harsh human world dominated by the captain and his unhuman behavior and a fantastic world in which Ofelia tries to become someone she's only dreamed of. It's a good story but unfortunately it's being overwhelmed with violence, treason, lies, guns and death while the other world occupies only a small part of the movie and even that isn't as impressive as I hoped. The ending is split between the two worlds. A great one and a tragic one but you'll have to see the movie to find out which is which. Overall, I had a good time watching it but to be honest, I was expecting more from a movie who's in IMDb's top 100.
A film for anyone who hasn't slaughtered the child within
Tremendously, poignantly sad, Pan's Labyrinth is a masterpiece of cinema.

Pan's Labyrinth is equivalent to our daily experience--in which we wake up every morning bathed in the reality that life is not all perfect, fluffy Disney movies. In fact, life often seems unbalanced in favor of the pain and anguish department. Moments of joy, happiness, love, security, satisfaction--every experience of positive emotion--are fleeting, more mirage than solid reality.

Pan's Labyrinth speaks to the child wearing an adults shell. It speaks to our sense of horror at the world and life we're surrounded with. Agreeably, few of us endure the horrors, pain, fear, and despair of Ofelia's life, but by painting Ofelia's demons and nightmares as vividly as she experienced them, our daily struggles are immortalized, honored. We, vicariously through Ofelia, feel that perhaps there's a reason we endure the turmoil of life. Perhaps we too are princes and princesses, destined for greater things. Pan's Labyrinth is a movie for thinking people; a movie for those who feel like there must be more; a movie for anyone who's ever struggled onward, day to day, winning small battles but feeling they're loosing the larger war.

Pan's Labyrinth is not for the faint of heart, nor for those who've slaughtered the child within on the alter of harsh reality. Pan's Labyrinth is for everyone else.
Unfulfilled Potential.
My Spanish teacher showed this in class, and it was at least more enjoyable than school. That makes it sound like I hated it, but I didn't. There was a lot of talent from multiple people displayed here as well as some good creative vision, but it just wasn't tied together well enough. It felt like somebody made a cake with some high-quality ingredients, but then nobody blended them.

The concept of having Ofelia escape the unfriendly world that she is forced into through a fantasy world is good and interesting. As a kid who was into books, I was always hoping that some fantastic adventure would save me from my own dissatisfaction with reality. It made sense that Ofelia might imagine a fantasy world, if you want to interpret it that way. While I was watching it, I assumed that the fantasy world was real and didn't consider that it might be her imagination until reading it in another person's review. I think the reason I made that assumption was because I expected the two worlds to be connected somehow, but they aren't. This is an area where I got dissatisfied with the story. It's really two separate stories happening at the same time. They don't connect to each other in any meaningful way, but instead just happen side by side. Both of them were interesting and had some good scenes, but they didn't play off of each other enough IMO.

The characters were also pretty good, but dissatisfying. Captain Vidal was quickly and effectively established as an unsavory person, but his unsavory actions felt believable and consistent. I don't think he has any strong beliefs that drive him to act the way he does, but he doesn't seem to feel regret or moral compunction for them either. Mercedes and the band of rebels are touched upon infrequently, and there are some good scenes and drama that arise from their conflict with the military unit stationed nearby. Ofelia doesn't have much development, but it's easy to put yourself in her shoes as she grapples with the challenges that arise in both of the worlds she is involved in. I thought more could have been done with the Faun. He didn't quite fit with the rest of the movie in the way that he hides the truth from Ofelia.

Finally, the theme of courageous disobedience was inconsistent. I agree with the idea that we should not have our convictions shaken by what punishment may come of it, but it was another thing that I didn't even think of as central to the movie until I read it in a review. I don't want to write the movie off, because there were some solid scenes in it along with good writing and production design and acting. But now looking back at it, I'm left thinking "so what?" Overall Rating: 7.1/10.
Entartaining but not one of the very best movies from last year
When I heard first time about the movie made by the Mexican director Guillermo del Toro that was a mixture of many genres, including drama, fantasy, thriller, and fairy tale for adults that takes place in Spain of 1944 in two parallel words, one of unbearable bleak and horrifying reality, and the other of deliciously dark magic fantasy, I wanted very much to see it. I knew that the movie has been praised by many critics and has made hundreds top lists of last year, that it was nominated for countless awards including six Academy awards and it won three Oscars, and that it had received 20 minutes standing ovation at Cannes. The main reason for me was the fact that I love del Toro's earlier film, "The Devil's Backbone" (2001), the ultimate ghost story that goes beyond the genre and very successfully mixes horror, suspense, and coming of age during the war time story.

I hoped and expected "Pan's Labyrinth" to be as compelling, insightful, interesting, and engaging as "The Devil's Backbone" was. I finally saw "Pan's Labyrinth" couple of days ago and I was disappointed. The movie has an interesting concept, even if not original one. It brings to mind many famous works of literature and the earlier movies about the little girls escaping their dreadful realities of war or death of the loved ones or all sorts of abuse in the world of their imagination such as "Forbidden Games", "Spirits of the Beehive" (which "Pan's Labyrinth" tried to be but never was), the later also takes place in Spain during the Civil war, as well as "Wizard of Oz", "Alice in Wonderland", "Legends and Myths of Ancient Greece".

One movie that "Pan's Labyrinth" has been often compared to is Terry Gilliam's "Tideland", his fairy tale for adults, his "Alice in Wonderland meets Psycho" which also tells the story of an 11-years-old girl and her world of imagination. "Tideland" was released last year and was either ignored or hated by majority of critics and left many viewers puzzled and confused. I am not completely in love with "Tideland" but I found it much more interesting that "Pan's Labyrinth" in all aspects. The main difference between the two - Gillian does not present reality in his film in the simplistic way and does not divide his characters to devilish monsters or shining knights the way Del Toro does in "Pan Labyrinth".

I am not sure what the target audience for Del Toro's film is? Its story (the writer/director was nominated for the best screenplay and I found his writing the weakest and most ridiculous part of the movie) is so naive and primitive that you would think the movie was made for children but its shocking violence and horrifying tortures are not easy to watch even for adults. Another problem is with the characters. I know I should sympathize with Ofelia, and who would not feel empathy for an 11-year-old girl who had to live through the death of her mother and to confront her monstrous step-father but if frankly, her character is not very interesting. As for visual effects and cinematography, the film looks good but not especially spectacular or breathtakingly beautiful. Of five Oscar nominated films for best cinematography from last year, at least three seemed to be more interesting. Gilliam's "Tideland" that was completely ignored by the Academy, is always technically superb, visually arresting and much more impressive than "Pan's Labyrinth".

I should admit that at least one scene in "Labyrinth" was absolutely brilliant - dark and scary it came directly from Francisco Goya's terrifying painting, "Saturn Devouring His Children" and it was extremely imaginative. I would not go as far as calling "Pan's Labyrinth" a bad movie and give it one star. It is not bad; it is just not as great as I thought it would be. As for all the awards, "The Devil's Backbone" is much more deserving than "Pan's Labyrinth" and that's the film I would give a standing ovation to.
Beautiful Decay
Guillermo Del Toro's "Pan's Labyrinth" begins with a transfixing opening shot that completely transports you into a dark and mysterious world. The film has the look and tone of Del Toro's near-masterpiece "The Devil's Backbone." Whereas "The Devil's Backbone" was a ripping good yarn and old-fashioned ghost story where the haunting served as a metaphor for the fractured relationships of the people living in the aftermath of the Spanish Civil War, "Pan's Labyrinth" uses the same historical context to present a simplistic and damning Passion Play.

Much like the similarly well made but questionable "Children of Men" this film presents us with an array of characters who are nothing more than archetypes pulled out of the decaying mythology of both Paganism and Christianity. Del Toro attempts some character development by assigning each person a single detail to give them depth (i.e. the Captain's father's watch, Mercedes' hiding of the knife in her apron, or Ofelia's love of books).

Despite the lack of substance in the storyline, the film is not without its suspenseful and magical moments. Ofelia's escape from the horrifying "baby-eater" and Mercedes' escape from the Captain provide cracker-jack thrills and are expertly staged by the director. Del Toro masterfully handles the complex special effects, elaborate make-up and set designs, creating a hauntingly beautiful mise-en-scene that gives the viewer plenty of eye-candy without being overwhelming or reeking of hollow CGI design.

Unfortunately the film, saturated in Catholic overtones, becomes rather predictable once Ofelia's imaginary friend Pan reveals a sinister nature behind his tasks for the young girl. Ironically, this film will probably appeal to the same people who found great comfort in Mel Gibson's odious "Passion of the Christ." Those who believe in redemption through torture and self-sacrifice will heavily identify with the archetypes on display here. Ultimately the film presents a sadistic task-master "god" whose sole design is to trick an innocent into sacrificing themselves for the "future" and gives us a notion of "heaven" that may only exist in the mind of a wildly imaginative young girl. A film (like Roman Polanski's "The Pianist") that presents the horrors of the real world as something for a person to survive and overcome speaks truer to the human condition than a film like "Pan's Labyrinth" that cloaks the real horrors of life in fantasy and myth and celebrates martyrdom over the innate will to survive. Del Toro dresses his falsity in beautiful garb, but the morality lurking beneath is rotten to the core.
The Labyrinth of Del Toro
Guillermo Del Toro shows an incredible amount of passion for his job. In interviews, in festivals, it is undeniable that this man adores making films, from one end of the creative process to another, and has tremendous energy and honesty for the activity. Nevertheless, there is something that doesn't function in his films, and as heartbreaking as it is to see someone with ideas and talent fail, this film isn't an exception and has a few weak points as well as his other ones. For some reasons explained further, it isn't even a "true" fantasy film. I have to stress upon how wonderful and magnificent the imagery - not just of this film but of all his films - is. Man-like creatures, caves, labyrinths, statues, puzzles, everything that contributed over the years to make Del Toro's imagery makes him a very powerful visual director, which times like these are in desperate lack of. The visions he projects onto the screen make him no less than a visionary. The thing that fails to give his film(s) the grandeur they need, though, seems to be always the same element: character depth / psychological analysis of his characters / the way the characters and their personalities blend into the rest of the film. Maybe we can attribute it to Del Toro having more patience to polish the sequences with special effects than the ones with actors, but in particular in this film, the characters seem to have no depth at all, they are grounded to feel one emotion at a time. Ofelia in the film is shown owning and reading books, but her relation to these books, what they mean to her, what they bring her, this relation is never shown or explained, we have to go by a stereotype and "assume" for ourselves that she has a wild imagination. The mother of Ofelia is also a faulty character of the story, we the audience have to fill a gap, and imagine for ourselves why shy would be attracted by Vidal, what brings her to be forced to stay with a monster like Vidal as opposed to remaining a single mother, etc... Vidal himself is very quickly presented: we know his lineage was military and that his father let him have his watch... not much of an emotional background for a man who tortures and kills with no hesitation! We know nothing of Vidal as a child, we only have this one-dimension, Manichean character. The list goes on, and none of the characters - Mercedes and Pablo, the doctor, etc, are presented or explained to the viewer. The same could be said about the elements of the illusory world. Usually, though, fantasy/horror films don't need any explanations (see Edward Scissorhands, Alien, Legend...), but this one would need to have some, and this is probably due to the state of psychological confusion of the characters (or, should I say, their irrationality). Ofelia, throughout the film, seems to live in constant fear of the tyrant Vidal, yet finds enough time and solace to go on imaginary journeys at night, and light-heartedly do anything the faun asks her, without even questioning or wondering where it will lead her. Mercedes, when given the opportunity to gut Vidal and be finished with him, leaves him alive half-way. And the doctor itself, whose side on the events is never clear, never poisons Vidal or puts himself in the way when given opportunities. Is Guillermo Del Toro cold? We might wonder. He has absolutely no scruples when he tries to shock the audience with violence towards nice characters, with monsters, with blood. Yet when his overall goal is to make a fantasy film, he remains a little bit too polite and shy to really break into the genre. To me, a "real" fantasy film would have had the imaginary break in the "reality". Yet Vidal doesn't see the faun, the faun doesn't save anyone or scares Vidal. Reality remains reality and fantasy remains inside the heads. The imaginary world in itself seemed a bit poor because of that, because of the film not really being a fantasy film, keeping the fantasy inside the head of its protagonist and reducing the spectrum of illusions (which are never directly opposed to the "realist" world). Overall, the film shows great academicism, not just by politely keeping the imaginary and the reality separated, but also by the decisions of the film-makers (the editing is gentle when it should be a bit punchier, the camera moves are scarce, the music is incredibly lame and boring, the camera angles are overall inexistent, etc).

I have no idea whether Del Toro will or will not provide better character depth and psychological progression in his next films, but it flaws the films he has made so far. Yes, there is a beautiful message, we've heard it before, of how monsters can be monsters on the inside and humans on the outside, while some monsters look like monsters and aren't all that bad after all. But until the characters and the story have a real depth and meaning to the audience, none of all the fantasy, violence or special effects will mean anything. The blunt reality as it is shown here, carries so much depression in it that the message of poetic escapism doesn't function in the end. The task is difficult to propel kids in wartime eras, it is even more difficult when fantasy takes part in it. Del Toro's next films will, hopefully, dig deeper into its characters.
A Gothic Masterpiece
Playing moments of true wonderment off scenes of sadistic brutality, Guillermo del Toro has created an epithet for classical fairy tales reminiscent of the traditional stories which amazed - yet simultaneously frightened - children.

Del Toro offers us two worlds through the perspective of young Ofelia. The first - reality - is the cruelty of Franco's Spain; where Ofelia is whisked away to her sadistic step-father (played brilliantly by Sergi Lopez) who is attempting to root out the last remnants of the Republic. The second - fantasy - is the underground kingdom - or more precisely the promise of such a world - as Ofelia must complete three tasks for the beautifully constructed faun in order to prove her worth of being a part of such a utopia. What elevates Pan's Labyrinth above other fantasises, however, is the fact that its reality sequences are just as intriguing as its fantasy elements - a rare feat - and the two meld together perfectly.

For instance, the faun may offer interestingly ambiguous revelations about Ofelia's destiny, but only if she follows his orders. Yet he doesn't necessarily mean what he says, and the presence of the Fascists in Ofelia's reality suggests that blindly following orders is the complete opposite of what she should do. So, while there are trips into the magical world (including a disturbing yet inherently memorable scene with the hieronymus bosch-like spectre known as the 'Pale Man') they do not overwhelm the film.

The true horror and the meat of the story lies in Falangist Spain with the menacing Captain Vidal, who takes delight in torture - ritually preparing his tool kit and reciting his own speech to demoralise his victims - and who is equally obsessed with the continuation of his bloodline. The fantasy world is indeed where Ofelia's lessons are learned so that she may confront the terrors of reality; the most important of which being the need for courageous disobedience in the face of extreme oppression. Pan's Labyrinth therefore successfully and perfectly captures the essence of classical children's literature; combining fantasy with moments of horror, all with an underlying and ultimately crucial message which we must take head of in reality. The final scene is also a true whopper; with a killer of a send-off line and an ambiguous ending which still fuels debates to this day.

Thankfully, del Toro uses CGI sparingly, although it is very obvious when it is used (particularly in the case of the giant toad) but this doesn't detract from the film's overall brilliance. It's dark, at times disturbing, but nevertheless beautiful, a true Gothic tale if there ever was one.
A shallow gore-fest
I was very excited to see this film. It got excellent reviews and looked incredible from the previews. The previews lie the the reviewers lie. There is nothing in this film worth seeing; unless of course you like gratuitous gore.

The film begins with young Ofelia and her pregnant mother Carmen traveling to a remote mill in rural Spain in 1944. The Spanish Civil War is officially over, but the fascist government is still fighting guerrillas in the countryside. They are traveling because Carmen has recently married a officer in Franco's army, Captain Vidal.

Early on in the film several characters are rather transparently labeled as "good" and "evil." We see Mercedes, a maid in the household, rather clumsily helping the rebels. And we see Captain Vidal brutally murder a farmer.

Vidal's men captured two farmers who were hunting for rabbits. They are interrogated, and then accused of being Communists. When the younger farmer pleads innocence, Vidal smashes him in the face with the bottom of a wine bottle. After two blows, the farmer falls out of the shot.

This where the film and I parted ways. Instead of continuing to show Vidal beat on the man just out of the frame, we're treated to a close up of Vidal smashing the bottle into the man's face at least ten times until nothing is left but a bloody pulp.

Vidal's men can look away in disgust. Why can't the camera afford us the same courtesy? After this gratuitous brutality, we're treated to a later scene where Mercedes, finally discovered by Vidal, pulls out a paring knife that she had hid in her dress, cuts the ropes that bind her wrists and then attacks Vidal. She doesn't kill him of course, she just stabs him in the back, in the stomach, and then cuts a gash across his face giving him a "Joker" smile. We're again treated to close-ups of this wound while Vidal's men look away in disgust. And then we're treated to an excruciatingly unnecessary minute long scene of him stitching up his cheek, and then drinking a shot of liquor that creates a great deal of bleeding (aparently for comic effect).

Ofelia's fantasy world (which is what the movie trailers claimed the movie was all about) account for possibly 15% of the entire film. Many people have claimed that the fantasy land is a metaphor for what's going on the real world, or her way of coping, yet Ofelia never witnesses the brutality of her step father.

In the end Carmen dies, Dr Ferreira dies, Vidal dies, Ofelia dies, and I couldn't really care.
NOBODY expects the Spanish Inquisition!
And I didn't expect what I got when I saw Pan's Labyrinth, either. Based on the marketing, the reviews, the previews, the buzz, etc., I was looking forward to a moving, visually rich mythopoetic tale that would feed my spirit and inspire my imagination. What I saw instead was a bloody, disgusting, depraved, amoral, aspiritual, nihilistic, and ultimately pointless horror film that fried my nervous system, left me furious, and made me fearful for any culture that embraces this sort of psychotic trash as art.

I signed up with IMDb just now for the sole purpose of warning others like me away from this soul-abusive celebration of torture, blood lust, killing, and graphic ultraviolence. I'm so glad I didn't see this in a movie theater, as it would have been severely traumatizing. Thankfully, this nightmare was a rental DVD from the local video store and I'm headed out the door to return it as soon as this review is posted. I don't want this sadistic violation of my senses and my spirit in my home any longer than necessary.

If you are a sensitive person with a kind heart, a vivid imagination, and a rich inner life, do yourself a favor and do NOT expose yourself to this psychotic splatterfest.
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