The spectacular film Pan’s Labyrinth (Guillermo Del Toro, 2006) is tremendous clash between fantasy and reality. The film parallels both fantasy world and reality through the eyes of a little girl named Ofelia (Ivana Baquero) who is caught between a fairy tale and the aftermath of the Spanish Civil War in 1944. Del Toro uses both fantasy and reality in relation to time and place.
The reference of time throughout the film is quite interesting for many reasons. First, is it ties into more than one character. According to Clark and McDonald there is a sharp contrast between a childlike view of time and Vidal’s (Sergi Lopez) “near obsession with maintaining correct and regimented time structures and his neurotic connection to a watch” (154). Vidal’s obsession with time stays with him until his last words are said right before he is shot in the face. Ofelia does not have an obsession with time but she is left the looming question of timing such as the decision to stay within the comfortableness of childhood or go into the world of adult independence. Here it is also important to note that in her second quest, Ofelia is forced to focus on the reality of time and control when she encounters the Pale Man, yet another form of “patriarchal” rule.
The use of the forest is also interesting because not only is the labyrinth located in the woods but so is the Resistance. The forest seems to represent an escape (thus the fantasy world) for Ofelia and it also represents opposition to Fascist rule. The forest also presents an escape for Mercedes (Maribel Verdu) from the Fascist rule she is forced to part taken in on a daily basis. Having the Resistance in the forest (and taking over) could show triumph of good over evil and it could show that they are not constrained to one place like Vidal. For Ofelia the forest is an endless playground of fairies and fauns that is untouched by the evil of Fascism.
Overall, there are many aspects of Pan’s Labyrinth that would be wonderful to analyze but time and place seem to be the ones that truly stand out. By paralleling fantasy and reality, Guillermo Del Toro creates an art film that is something to be seen. It makes the viewer remember the days when they were a child and believed in fairytales and contrasts it with a harsh reality amongst war and violence.
“Because it is in pain that we find the meaning of life“
Francisco Vidal, as Sacerdote (Priest)
References:
Guillermo Del Toro: Film as Alchemic Art (By Keith McDonald, Roger Clark)
The Fade Out: A Movie Blog 