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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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Guillermo Del Toro crafts an exuberant, yet nightmarish fantasy world, blending high-classed visuals with and storytelling with sobering history on the European front
Picture an adult version of 'Alice in Wonderland', add graphic violence and momentous themes to the mix, and you got yourself an accurate picture of Guillermo Del Toro's Pan's Labyrinth (or El Laberinto del Fauno in Spanish). This film takes a high-classed fantasy genre and spins into a dark, twisted universe where fairy tales clash with the grim history of the European front during World War II. The results that transpire is an Alice in Wonderland-like adventure that strikes at the heart not with whimsical excitement or charm, but with its wicked twists and turns that captures the innocence of childhood diminished under the unforgiving history that defined our world today. Do not let the visuals fool you, this is by no means a kid-friendly adventure. It is very dark, very violent, and proceeds a sense of dread from beginning to end; and Del Toro has almost no doses of levity to offer in the bargain. On the upside, the scarcity of child-friendly themes is what makes this high-classed fantasy tale so unique. The film is set in 1944 during the Spanish Civil War when Spain was being overrun by fascism. Following the death of her father who was killed in the war, 11-year old Ofelia (played by Ivana Baquero), a fairy tale obsessed youngster, moves with her mother (played by Ariadna Gil), who is growing ill from her pregnancy, to the country side of Spain to escape the chaos. There, she meets her new stepfather Captain Vidal (played by Sergi Lopez), a fascist army officer with a sadistic edge, and Vidal's housekeeper Mercedes (played by Meribel Verdu) who she grows a close bond with. On night, Ofelia is awoken by a fairy who leads her to a mysterious labyrinth where she meets a giant faun (voiced by Doug Jones). Upon meeting, she learns she is the princess of a magical kingdom, but must prove her loyalty by completing three unpleasant tasks before the full moon rises. As the war atrocities rage on and the lines between reality and fantasy begin to dissolve, Ofelia is pitted in a ruthless battle that threatens to tear both her and her family apart.

Guillermo Del Toro wields a masterful hand at pulling us into his world where dreams turn to nightmares and fantasy morphs into horrifying reality. Rich in electrifying storytelling and powerful in balancing his signature visual methodology with hard-hitting substance, the film takes you on a ride that is vastly unpredictable with plenty of scares and thrills to fill the mix. The story operates on the base of the Spanish Civil War in which the action, beautifully shot by Del Toro, is intertwined back and forth with the lead character Ofelia's interaction with the fantasy world and the effects it leads on both her and her ailing mother. As Captain Vidal's tyranny ravages their home land, a gruesome battle between good and evil rages on to the point where all bets are off and the fate of each character could be the worst imaginable scenario. And the beauty of Del Toro's storytelling is that he never lets any moment go to waste nor does he make the critical mistake of allowing his nightmarish visuals tower over his narrative, especially when offering a solid history lesson on the atrocities of war in the European front. The fairies and the monsters, all of which are done by CGI, are astounding, yet scary to look at. We are talking about pale-skinned monster with no eyes on his side, but on the palm of his hands. The performances by Ivana Baquero and Meribel Verdu are amazing, but perhaps not enough to match up with Sergi Lopez's grim performance as Captain Vidal, the ruthless Hitler-like army officer who splatters the screen with his blood-stained demeanor. Each time he is on screen, the sense of discomfort fills the air.

Pan's Labyrinth is an exuberantly crafted fantasy tale, constructed by the hands of Guillermo Del Toro who offers a near-flawless blend of twisted visual methodology and sobering history of the war in Spain. It is a high-classed fantasy that places a landmark on its genre in more ways than one. It is a definite must-see, but only for mature audiences. If you are a parent and make the ill-advised decision of letting your children sit through this, well, do not be surprised if you find them sneaking in bed with you in the middle of the night.
6 on a scale of 10
I simply can't see what all the fuss is about regarding this movie. There have been hundreds of more violent movies. There have been dozens of more magical movies. There have been tens of better war movies.

What's more, there was very little, if any, character development. We were sympathetic to the child, but pretty much couldn't care less about any of the other participants. All of them were disposable.

I don't like subtitles, but I can live with them and decided not to penalize the movie for them. But, given the choice, it's a no-brainer.

The biggest problem with the movie is simple. It's the ketchup and ice cream analogy. Both are good, but they suck together. Here is a war movie with a child who lives in a fantasy world - presumably in order to escape her terrible surroundings. The fantasy was fairly interesting. The war was fairly interesting. Putting both together in the same movie is ketchup and ice cream. It is irrelevant to me that the reason the fantasy even exists is because of the war. The fact is, they don't mesh well in a movie. But, I will admit, that's just my opinion. Someone else may find the exist together just fine.

I have ALWAYS loved this movie!
I have always loved this movie. I was a young girl when I first watched it and I fell in love with the fairy tale aspect and as I have gotten older I have fallen in love with the effects and conflict of it. The story line is interesting and keeps you guessing to see if the girl is in fact the princess. This story of love really feels authentic and wonderful, mostly because it is a story about love of family. You can honestly appreciate the way the story is framed in warn torn Spain and how that creates a different level of drama and sometimes confusion. It is an interesting blend of fantasy, war, and horror. I have seen this movie probably 30 times and it never fails to make me cry at the end from sadness and joy.
Pretentious waste of time
As i was looking for any great films i might have missed over the years i came across this.At first it seemed pretty good rated so i decided to watch it...

Big mistake.The whole 2 hours I was hoping it would cut it with the real world Spanish war drama crap and go to wonderland already.It was like watching Alice in Wonderland but without wonderland and with some twilight-esquire lets talk about our feelings crap.

Most over-rated movie I have ever come across.It's up there with New Moon as the most horrific movies I've ever watched.The flat ending smashed any hope i had of it being at least decent. Was hoping for some gruesome stuff coming out of the whole "open the portal" thing, i was really hoping the whole princess thing would be just a hoax.

This is NOT a fantasy film!Thats just the commercials in between the soap opera.
boring good guys, disgusting bad guys, impotent fantasy creatures, lovingly rendered torture effects
A fairy flies around the face of an enthralled, fairy-loving girl for the first time, and she just looks straight ahead, smiling vaguely. Giant black bugs crawl up her arms and she ignores them. A terrible monster sits quietly at a food-laden dining table but ehhhh she's hungry so no need to even keep an eye on it. BUT OH when a thing hits a guy hard in the face yes of course the face breaks and blood squishes through the ruptures and his dad cries out in anguish and tries to reach for him and then the guy gets a bullet and more blood squirts out and then the dad gets shot too and more blood squirts out. Etc. etc. for two hours. The message: Fantasy is irrelevant; guns are reality.
The worst Del Toro so far
This is no doubt the worst movie by Del Toro so far, no matter what other people have said. The plot is simply ridiculously unbelievable, especially if you know a thing or two about recent Spanish history and are not caught in ideological mousetraps. The plot is similar to Del Toro's "El Espinazo del Diablo" (2001), but unfortunately it is much weaker. In fact, the viewer will not understand the plot at all unless he or she is mired in a certain ideology which Del Toro apparently shares with his leading actors. The absurdities and historical inaccuracies (especially those concerning Captain Vidal) are too gross and too abundant to list here, and the result is one of the most biased movies I have ever seen.
Beautiful, violent, magical and sad....
I was fortunate enough to catch Pan's Labyrinth last night as part of the 'Fright Fest' programme in London and was completely blown away. Guillermo Del Toro himself was present to both introduce the movie and to answer questions afterwards. He spoke very passionately about the film, and it was easy to see why. Guillermo Del Toro has created something very special - part war movie, part fantasy, that everyone should see. The film features a fantastic performance by Sergi Lopez as Captain Vidal and as central character Ofelia, newcomer Ivana Baquero delivers the performance of a seasoned veteran. If you are the type of person who is put off by subtitled movies, don't be. This is a very 'visual' film that does not rely overly on dialogue. This does not open until 24 November in the UK and 29 December in the USA but already I am looking forward to seeing it again (and buying the Special Edition DVD).This is the first time I've felt the need to write a review on here. Do yourselves a favour and go and watch it on the big screen.
somewhat less than the sum of its parts
One of the cardinal rules of any good fairy tale is that, no matter how fantastical it becomes, it must make sure to keep one foot firmly planted in reality so that the story can more easily connect with the audience. In the case of "Pan's Labyrinth," however, that foot may be so firmly planted in the real world that it actually prevents the movie from cutting loose and soaring into the stratosphere of imagination and enchantment in the way we wish it would.

The movie takes place in 1944, five years after the end of the Spanish Civil War that has left Franco in power and bands of defeated Leftist rebels hiding out in the Iberian countryside. Eleven-year-old Ofelia arrives with her pregnant mother to the estate of Captain Vidal, a vicious fascist who, in a clever bit of fairy tale role reversal, plays the part of the evil stepfather of the story. As Vidal busies himself with hunting down the pesky Communist outcasts, Ofelia discovers herself drawn to a strange alternate universe, unbound by the laws of nature, which frequently opens up for her to enter and to which she alone seems privy.

There's no denying that "Pan's Labyrinth" is an extremely well made movie, miles above the average American fantasy film in terms of both sophistication and vision. Director Guillermo del Toro has fashioned a dark, violent, exquisitely realized world filled with secret passageways and awe-inspiring creatures to which Ofelia periodically retreats in an attempt to escape the even more brutal life around her. Like Judy Garland in "The Wizard of Oz," the lovely Ivana Baquero is the perfect heroine for the tale: wide-eyed, curious and filled with an intense longing for a world better than the one that entraps her. The movie is a miracle of art direction, set design, makeup and special effects, and it boasts some of the most dramatic use of sound this side of "Das Boot."

Yet, for all its good points, "Pan's Labyrinth" winds up disappointing us a bit in the end. For much of its running time, the movie seems to be operating in two largely different spheres - that of reality and that of fantasy - and having a hard time bringing the two together into a unified, coherent whole. It spends too much time chronicling the conflict between the fascist general and the rebels in the forest - which might be interesting in a different context and another movie - and not enough focusing on Ofelia's otherworldly adventures. Even though the emotional pull back to Kansas was never far from Dorothy's - and the audience's - consciousness, Baum knew enough not to spend too much actual time there. Del Toro, on the other hand, seems not to be able to yank himself from the scene, the result of which is that the fantasy world never exerts the magical force on us that it might have done had it been more thoroughly developed and taken a more center stage in the drama. The magical world in "Pan's Labyrinth" lacks the sort of densely plotted, compelling narrative one finds in the "Lord of the Rings" saga or "The Wizard of Oz." We don't get a clear picture of what the land itself is like, who its various inhabitants are, and what Ofelia's real role will be once she gets there.

Thus, although the parts in "Pan's Labyrinth" are better than the whole, thanks to the quality of the film-making and of Baquero's performance, those parts are often indelible and unforgettable.
A Terrible Misfire...
I seem to be among the only people who consider this movie to be a terrible mis-fire, on a par with Shyamalan's *Lady in the Water* and Gilliam's "The Brothers Grimm".

So be it. I shall back that claim up.

Many people are reportedly enjoying the movie's ability to 're-interpret traditional fairy tale motifs'.

If only that was what del Toro was up to, here. He didn't re-interpret anything. He just grabbed a bunch of classic themes and plot points (the three tasks; the magical guide; the unexplained magic rocks that are the bane of an evil creature for some reason; the magic book that foretells the future; the golden key and the choice of key-holes; the prohibition against eating in the underworld that is broken simply because it would be no fun if it weren't; the magical creatures that adults can't see because they aren't really there; the young girl on the cusp of puberty who fears her growing sexuality and capacity for reproduction and so retreats into a fantasy world to deal with her traumatic environment; the climactic flight into a maze that is conveniently nearby) and threw them into a ridiculously drawn shadow of the aftermath of the Spanish Civil War.

On this front, Sergi Lopez and his lame impression of Ralph Fiennes in *Schindler's List* was particularly outrageous. The points which are meant to build him into a threatening character were always taken from elsewhere, and, even worse, always CAME ACROSS as points meant to build him into a threatening character: his vaguely harassing caress of Mercedes' shoulder; his rampant chauvinism; his graphic crushing of an innocent farmer's face; his slashing at his own reflected throat with a straight razor; his tortured relationship with his dead father's watch...etc. At no time did he seem like anything more than a caricature.

Unfortunately, this was not unusual.

The overall weak characterization meant that any real sense of Fascist Spain was just entirely missing, and the brief fantasy sequences lacked any real resonance.

The dinner party was meant to relate the connections between the wealthy, the church and the Fascists, but it was too short to register.

The faun himself had few lines, and was entirely cryptic. If Ofelia was simply dreaming him up, this perhaps accounts for the fact that she was never, not for one second, surprised that a giant faun was offering her faeries and tasks, but not his complete lack of any helpful, world-building clues. And, since we are not welcomed into his world, the threat of its destruction simply doesn't matter to us.

The predicament of Mercedes didn't make any sense. Why was she not in the mountains with her lover? Was her ability to sneak mail and keys to (hilariously flimsy) wooden doors out to the rebels really so essential? In fact, having a few female rebels would have been more authentic and less offensive than having them all chopping potatoes for the Captain. Did anyone for one second think that she would not find some use for that blade she kept tucked into her dress? Why did she not kill Vidal when he was at her mercy? She had no trouble later on. (Was it really because he needed to live in order to continue driving the plot? Because that would be pathetic.)

Did Ofelia's mother actually say, out loud, that she married a cold, brutal psychopath who made it clear that he valued her only as a vessel for childbirth, simply because she was 'lonely'? What the hell was up with that? (I mean, as the widow of a tailor, it isn't as though she needed to marry a soldier in order to maintain her accustomed level of luxury. Why be so massively anti-feminist simply because you can?)

The death of the doctor, who tries to make a moral statement despite offering his skills to the Fascists whom he hates, was also hackneyed. (Hint: Don't turn your 'sympathetic' character into a cowardly Fascist collaborator who is so terrified of losing his sense of privilege that he would rather euthanize rebels than fight alongside them.)

The attempts to work in allegories of change (the death of Vidal, the fact that his son would never know of him, the sly glances at 'Red Propaganda' which claims that we are all equal) also caused me to frown.

Franco won in '39, the 'heroic' rebels (who were just as given to atrocity) were hunted to extinction, and the Fascists ruled well into the 1970s, ruining the lives of further millions; socialism in the Spanish-speaking countries turned out to be just as bad. Just what the hell is del Toro getting at? He seems very muddled.

Even the special effects, which are getting excellent press, were cartoonish and poorly executed. (The toad that vomited up its tongue wouldn't have been out of place in *The Phantom Menace*, nor would the fairies whom Ofelia never quite seemed to be looking at...and did I actually spot a goddamn elf-ear on Ofelia's resurrected mother? Leftover sets and props from the Lord of the Rings, I suppose.)

The overall lesson seems to have been that innocence is lost, and death is everywhere, so the only course is to delude oneself to the point that you are willing to trust 'the voices'. Ofelia needed psychiatric treatment, not a richer fantasy life. There was no value, to my mind, in her visions or her death. And that WAS a tragedy, of a different kind than the one intended.

I could go on but I'll stop there.

PS. If you thought that this film was excellent, just wait until *Coraline* comes out. Then you might see a truly re-interpreted fairy tale, with a greater depth of explanation, mystery and menace.
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