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Pan's Labyrinth
Feb. 9th, 2007 11:28 pmI saw Pan's Labyrinth today at the Rave. Ten minutes after the movie was due to have started, I had to get up and tell the staff that we wanted the movie and were tired of listening to Judy Garland and Olivia Newton John. The staff were indifferent at best and desultory at worst. The pimply-faced mouth breather who apparently went to fix the problem didn't even acknowledge my complaint before turning from me. I really need to write a letter to the company as I have literally had to complain about some careless mistake every time I've gone to the theatre since I've been back in the country.
But! That is not the subject of this post, oh no. We wish to speak of Guillermo del Toro and the magic he has wrought in El Laberinto del Fauno.
"Long ago in the Underground Realm, where there are no lies or pain..."
This movie was the best example of a fairy tale that I've seen in a long time. This was a tale of the Wood, and a house in the Wood. There was blood and terror and being true to yourself no matter the cost (and there were grave costs). There were unlikely friends, both fair of face and foul, who offered what help they could when those who should care were either dead or monstrous. There was a labyrinth inside a labyrinth and golden keys brought forth from filth only took you so far before actual blood was required.
The score was brilliant as well: darkly melodic and haunting, just like the movie. The orchestral arrangements engrossed me, completing the spellbinding effect of the visuals and the storyline. I may well have to purchase the soundtrack with some of this birthday money...
The fantastic elements really only take up a small amount of the movie, however. The rest of the narrative depicts the Spanish Civil War, a struggle that took place concurrent with World War II. The story of Ofelia and her labyrinth unfold against the struggle between the Fascist government and the Communist rebels.
Even though this struggle is shown in a most real and brutal fashion, replete with guerilla warfare, prisoner torture, and rebel intrigue (not to mention machismo machinations and military politicking), I feel that I must point out the fairy tale elements interwoven with this real world story. The profession of Ofelia's father, the way in which the Captain married her mother, and other such elements of the narrative were riddled with fairy tale tropes.
I'll definitely be seeing this movie again at the Capri come the end of the month. I actually won't have to complain to the staff and can just focus on once more enjoying the richness of this film.
Oh, also, Andy complained about the English translation of the film's title, pointing out that it should be The Labyrinth of the Faun rather than Pan's Labyrinth. I agree, but also realize that Pan's Labyrinth gives the movie a certain edge in attracting public attention: it sounds dark, fascinating, and haunting. Besides, Pan is one of the few named fauns around. His name gets a lot of mileage. Mr. Tumnus' Labyrinth just wouldn't have flown, y'know? (And I'll just end this post here, refraining from entering a discussion how fauns are a Roman-derived belief, but Pan was originally Greek and possibly more related to satyrs-- themselves originally different to fauns. Er, yes, done.)
But! That is not the subject of this post, oh no. We wish to speak of Guillermo del Toro and the magic he has wrought in El Laberinto del Fauno.
"Long ago in the Underground Realm, where there are no lies or pain..."
This movie was the best example of a fairy tale that I've seen in a long time. This was a tale of the Wood, and a house in the Wood. There was blood and terror and being true to yourself no matter the cost (and there were grave costs). There were unlikely friends, both fair of face and foul, who offered what help they could when those who should care were either dead or monstrous. There was a labyrinth inside a labyrinth and golden keys brought forth from filth only took you so far before actual blood was required.
The score was brilliant as well: darkly melodic and haunting, just like the movie. The orchestral arrangements engrossed me, completing the spellbinding effect of the visuals and the storyline. I may well have to purchase the soundtrack with some of this birthday money...
The fantastic elements really only take up a small amount of the movie, however. The rest of the narrative depicts the Spanish Civil War, a struggle that took place concurrent with World War II. The story of Ofelia and her labyrinth unfold against the struggle between the Fascist government and the Communist rebels.
Even though this struggle is shown in a most real and brutal fashion, replete with guerilla warfare, prisoner torture, and rebel intrigue (not to mention machismo machinations and military politicking), I feel that I must point out the fairy tale elements interwoven with this real world story. The profession of Ofelia's father, the way in which the Captain married her mother, and other such elements of the narrative were riddled with fairy tale tropes.
I'll definitely be seeing this movie again at the Capri come the end of the month. I actually won't have to complain to the staff and can just focus on once more enjoying the richness of this film.
Oh, also, Andy complained about the English translation of the film's title, pointing out that it should be The Labyrinth of the Faun rather than Pan's Labyrinth. I agree, but also realize that Pan's Labyrinth gives the movie a certain edge in attracting public attention: it sounds dark, fascinating, and haunting. Besides, Pan is one of the few named fauns around. His name gets a lot of mileage. Mr. Tumnus' Labyrinth just wouldn't have flown, y'know? (And I'll just end this post here, refraining from entering a discussion how fauns are a Roman-derived belief, but Pan was originally Greek and possibly more related to satyrs-- themselves originally different to fauns. Er, yes, done.)