Pan's Labyrinth Film

1. Pan’s Labyrinth Guillermo de Toro Initial Response

2. First Thoughts It is important that we capture your first thoughts about feelings about the film. These are often the most interesting responses and will help to guide the remainder of the unit. Bus-Stop On each table will be a question. In pairs you will walk around the room writing your thoughts about each of the questions on a large sheet of paper. You will be given a time to review the question and previous responses, and then another amount of time to write a response. The time you are given to write will reduce as you go around the class (you will get better at doing this and we want your first thoughts), the time you have to review will increase (their will be more review!). The key rule is that you are NOT allowed to repeat any material that has been recorded.

3. Questions Was Ofelia’s death successful at showing you anything? Is this a feminist film? What is del Toro’s central message? What does Vidal symbolise? What is the purpose of the fantasy world? How successful is the film at getting you to emotionally respond to Ofelia and her journey?

4. Where to… Think/Pair/Share: What do you want to discover and explore about this film?

5. Pan’s Labyrinth Guillermo de Toro Dual Worlds

6. One of the key aspects of del Toro’s film is the creation of a dual diegesis . Del Toro’s ‘created worlds’ are central to the way in which he sets about effecting his audience. Over the next two/three periods we are going to look at these world in detail and the way in which they are created through the use of filmic techniques. We are also going to begin to explore what the overall purpose of using these two worlds is. Dual Worlds

7. Discussion around the parallel worlds could be considered to fall under the technique of ‘structure’, but this is simplistic. These parallel worlds are far more than a structural technique though. These worlds become symbolic also and are key tools in conveying an idea. Film Structure

8. On a piece of paper draw a line down the centre. On one side write at the top Ofelia’s Fantasy on the top of the other side write Ofelia’s Reality . Today we will look at the fantasy aspects of the texts. The Parallels

9. "where there are no lies or pain there lived a princess who dreamed of the human world, she dreamt of blue skies, soft breeze and sunshine. One day eluding her keepers the princess escaped once outside the bright sun blinded her and erased her memory. She forgot who she was and where she came from. Her body suffered cold, sickness and pain. And eventually she died. However, her father the king knew the princess would soon return but perhaps in another body, in another place, at another time. He would wait for her until he drew his last breath, until the world stopped turning.“ Narrator

10. "I am the mountain, the forest and the earth. I am a faun, your most humble servant. Your highness". The Faun "You are not borne of man. It was the moon that bore you“ The Faun

11. "Aren't you ashamed eating all these bugs, growing fat while the tree dies?" Ofelia

12. "The thing that slumbers there is not human. There you will see a feast, but don't eat or drink anything. Absolutely nothing. Your life depends on it“ The Faun

13. “No excuse for negligence“ The Faun

14. “You promised to obey me…you would give up your sacred rights for this brat you barely know?..You would give up your throne for him? He who has caused you such misery, such humiliation?“ The Faun

15. “"It is said the princess returned to her father's kingdom. That she reigned there with justice and a kind heart for many centuries. That she was loved by her people. And that she left behind small traces of her time on earth visible only to those who know where to look.“ The Narrator

16. Chapter Event Fantasy Elements One The ‘Prologue’ Introduced to the tale of the princess . ‘Other’ world – idea of journey introduced. Two Ofelia’s Stories Ofelia share a ‘fantasy’ with her brother. Camera takes us outside ‘real’ diegesis into parallel world – through the baby (childhood imagination). Three Meeting the Faun Finally seduced fully into the fantasy diegesis Ofelia meets her guide – the Faun . ‘Gifts’ are given to help her on her journey. Four The Book comes to Life Ofelia experiences for the first time the magical and ‘fantastical’ book . Provides task for journey. Five The Frog Ofelia completes first task of rescuing the key from the frog who’s greed has been causing the other trees in the forest to starve. After which Ofelia goes back to the Faun and shares success. Seven The Blood Again the magical book seems to reflect or predict the ‘real’ event of Carmen’s illness. Eight The Second Task For the first time the Faun enters into Ofelia’s world – she does not enter his. Second task (retrieving the dagger) is given, as too is the ‘magical cure’ of the mandrake root given.

17. Chapter Event Fantasy Elements Nine Task Confirmed Again the ‘magical’ book comes to life and leads Ofelia into the underworld . She disobeys fairies, retrieves dagger, eats grape, escapes Pale Man and sacrifices two fairies to complete task. Eleven The Faun’s Threat The Faun after hearing that Ofelia has caused the death of two fairies chastises her and states that she will remain mortal . Eleven The Mandrake Dies The ‘magical’ cure comes to life in the fire as it is thrown away by a disbelieving adult. Thirteen The Final Task Ofelia must steal her brother and bring him to the Faun . She is given a second chance. Fourteen Delivering the Child The forest opens up within the labyrinth to allow Ofelia to deliver the baby to the Faun. Fourteen Ofelia enters her Princesshood The full fantasy realm is revealed to the audience. Ofelia has completed her tasks (or has she?) and now she is entering into the world that has been promised to her.

18. In your groups come up with a series of statements and word to describe this fantasy world. You need to think about the overall mood , atmosphere and, most importantly, how del Toro wants you to respond to this world . It is important that we begin to understand the use of this world and evaluate its effectiveness. The Parallels

19. Pan’s Labyrinth Guillermo de Toro The Real World

20. What is the purpose of the fantasy world in the film? Why has del Toro used this ‘other’ diegesis ? Is this ‘mystical’ world able to better help us understand the ‘real’ world? How effective is the fantasy world at getting you to respond to the film?

21. But, it must be remembered that this fantasy world exists only alongside the real world that Ofelia must experience. We can look at these worlds as complementary or contrasting, but either way we must understand that it is the creation of the two together in the film that is one of its most striking features. Today we will explore the ‘real’ world of the film and what occurs here. The Real World

22. “Fairy tales? You're a bit too old to be filling your head with such nonsense“ Carmen

23. “You must look lovely for the Captain, like a princess?“ Carmen

24. "His men said that when General Vidal died on the battlefield, he smashed his watch so his son would know the exact hour of his death. So he'd know how a brave man dies.“ Dinner Guest

25. "I'm a coward…A coward for living next to that son of a bitch, doing his laundry, making his bed, feeding him.“ Mercedes

26. "Go ahead, Serrano, don't be afraid, this is the only decent way to die.“ Captain Vidal

27. "You're getting older you'll see that life isn't like your fairy tales. The world is a cruel place. And you'll learn that, even if it hurts…Magic does not exist. Not for you, me or anyone else.” Carmen

28. "It would have been better for you. I don't understand. Why didn't you obey me?" Vidal "To obey like that for the sake of obeying, without questioning. Only people like you can do that, Captain" Doctor

29. "That's what you have always thought. That's how I got away with it. I was invisible to you." Mercedes "Damn. You've found my weakness. Pride.“ Captain Vidal

30. "I'm not some old man! Not a wounded prisoner! You mother fucker. Don't you dare touch the girl. Won't be the first pig I gutted." Mercedes

31. "Tell my son, tell him what time his father died. Tell his that I… " Vidal "No. He won't even know your name" Mercedes

32. Chapter Event Key Elements One Fascist Spain Landscape introduced (crumbling, falling apart), we meet Ofelia (through her book) and mysterious stone icons introduced – mysticism. Tension Ofelia’s dreaming Vs Carmen’s realisation. Ofelia discovers labyrinth. Two The House Comes to Life Ofelia in bed with Carmen – afraid of talking house. Vidal brutally kills father and son. War tension Republican Vs Nationalist introduced. Mood shift. Four The Battle Captain, knife introduced. We see the store room and the key. Ofelia receives a new dress to look like princess. Vidal follows smoke. Raids camp – kills rebels. Takes one as prisoner. Six Dinner Party Captain has a dinner party, Carmen insulted, Captain questioned on father. Ofelia arrives home dirty. Rations are to be cut. Seven Separated Carmen falls ill. Ofelia sent to different bedroom. Mercedes sings her a lullaby to calm her down. Eight The Saviour Mercedes takes food, medicine, communication to rebels. Learn of Pedro and the resistance movement. Brutal situation. Doctor helps.

33. Chapter Event Key Elements Ten Tension Captain’s mirror suicide. Mercedes feels weak. Ofelia places mandrake under bed. Investigating smoke men venture into hills. Kill rebels. Take prisoner. Eleven Vidal’s Torture Mercedes thinks brother captured – other man. Vidal tortures man – see brutality. Vidal suspects Doctor. Ofelia found under bed. Mandrake killed. Twelve The Doctor’s Sacrifice Doctor puts rebel out of misery. Doctor defies Captain, killed (heroic death?). Carmen dies, baby boy born. Funeral and then Ofelia leaving. Mercedes thinks Captain on to her, leaves, forced to take Ofelia. Venture out, caught by men. Thirteen Sweet Revenge Vidal dismisses men to torture Mercedes. Mercedes cut Captain, threatens and escapes. Ofelia poisons Captain. Mercedes escapes men with help of rebels – Vidal’s men killed. Fourteen The Final Act Ofelia takes baby. Captain chases her. Captain forces her to return baby. Shoots Ofelia who dies. On leaving is killed by Mercedes. Mercedes cries over Ofelia’s body.

34. In your groups come up with a series of statements and word to describe this fantasy world. You need to think about the overall mood , atmosphere and, most importantly, how del Toro wants you to respond to this world . It is important that we begin to understand the key events and evaluate the effectiveness of getting you to think about an idea/theme. The Parallels

35. What is the mood and atmosphere created in this real world? Who does del Toro want you to feel sympathy for throughout? What idea does this lead you to think about? How realistic is this ‘real’ world? Justify your response. What ideas does del Toro want you to think about in the text?

36. Pan’s Labyrinth Guillermo de Toro In Contrast

37. “A hidden ‘feast’, a secret key, and visions of blood-letting in one world are reflected in the other.” “…no great transitional distinction between the countryside, gore-soaked and seething with secrets as it is, and the Gothic netherworld presided over by a ‘faun’ – a smooth talking goat-headed man thing who seems scarcely more trustworthy than the men in uniform, and who insists she endures a series of trials to prove her true, mystical lineage” What is good about the language used here? Why is it important to think about the language that you use in your writing?

38. So…why has del Toro used dual worlds? How is one world reflected in the other? Are these worlds complementary or contrasting? How effective is the symbolism of these worlds at showing you an idea? Dual Worlds

39. Before we evaluate the overall impact or effect of the duality created by del Toro it is important that we look at how ‘echoes’ of each world exist in one another. We will look at a series of moments/images and see if we can match a moment in the parallel world to this. Match the Moment

40. Stick Insect in the ‘Real’ World The appearance of the stick figure from the stone monolith in the opening chapter is ‘real’ but given the feel of fantasy.

41. The Fairies in the ‘Fantasy’ World Obviously the metamorphasised stick insects (link to the book). Change indicates the transition between reality and fantasy – but also could be symbolic of Ofelia’s own transition and change (childhood – adulthood, innocence to experience)

42. Ofelia’s Books in the ‘Real’ World We have many over the shoulder shots as Ofelia reads her books. Books commented on by Vidal. Show her imagination – desire to leave world. The echo of these tales can be seen in the fantasy world she enters.

43. Ofelia’s Magical Book in the ‘Fantasy’ World The book creates itself – she reads aloud from the book. The difference from receiving and creating, and creating without the assistance of an outside being??

44. Ofelia’s Experiences in the ‘Fantasy’ World Her ‘three’ tasks and attempts to defeat the brutal monsters of this ‘other’ world.

45. Mercede’s Experiences in the ‘Real’ World Attempts to defeat the ‘brutal’ monster. Completes ‘tasks’ also – bringing of medicine, food and correspondance . You could see Merecedes as Ofelia’s ‘double’ – we will look into this later.

46. The Brutal Captain in the ‘Real’ World The Captain and his greed, brutality and lack of humanity in the real world.

47. The Brutal Pale Man in the ‘Fantasy’ World They are both killers of children, both linked to fascism (the pile of shoes). Ofelia escapes both (one physically, the other through death) and gets the better of both also.

48. The Greedy Captain in the ‘Real’ World The Captain restricts rations to the people while he and his friends feast at his table. While they prosper other die of hunger

49. The Greedy Frog in the ‘Fantasy’ World The frog also takes from those around him and prevents them from surviving . The frog show no care for anyone but himself and his own fulfilment. Ofelia’s deception is able to defeat the Frog, as it does the Captian .

50. Mercedes is given the key in the ‘Real’ World The key enables Mercedes to help the rebels and provide them with food, medicine and arms which will help them in their quest to defeat fascism.

51. Ofelia retrieves a Key in the ‘Fantasy’ World The key Ofelia retrieves by defeating the frog will allow her to advance in her own quest to escape her horrific world. Like Mercedes it will allow her to continue on with her heroic quest.

52. The Motif of the Watch in the ‘Real’ World Throughout the film there are constant close-ups on the Captain’s watch and references made to being ‘late’. It seems that the ‘real’ world is forced to work within time constraints.

53. The Moon and the Hour Glass in the ‘Fantasy’ World We are constantly made aware of time in fantasy world also. Ofelia must complete her mission in one lunar cycle, she must retrieve the dagger before the hour-glass runs out and so on.

54. Ofelia is given a pair of shoes in the ‘Real’ World Carmen, in order to make Ofelia a princess, provides her with shoes and a dress. Note the constant references to her becoming a princess in the ‘real’ world.

55. Ofelia displays her Shoes in the ‘Fantasy’ World It is significant that there are close-ups of Ofelia’s red shoes when she enters into her final ‘fantasy’ world. When she has finally become a princess. Note also the Wizard of Oz allusions – ruby slippers,??

56. Rebellion in the ‘Fantasy’ World Ofelia rebels against the Faun – she refuses to listen to the fairies who ask her to choose a different lock, she defies her orders not to eat and then she finally refuses to spill the blood of her brother.

57. Rebellion in the ‘Real’ World Mercedes rebels with food, letters and assistance; the rebels refuse to submit to the Nationalists; the Doctor assists men and assists the death of the rebel; finally, Ofelia rebels by refusing to use the term father and by taking her brother at the end.

58. So…how effective are these echoes in the text? What did they allow you to explore/understand ? Was this an effective technique used by del Toro? The Big Question

59. “her salvation lies in active resistance …By way of her waist high viewpoint, everything in Pan’s Labyrinth is metaphorically political and suggests a deeply un-Hegelian reading of revolutionary history – people’s rebellions and socialist movements are subordinated to the patterns and ordeals of a hero’s quest and the archetypal agonies of traumatised childhood. Call it folkloric materialism…[Ofelia is far more] embroiled in the real world visitations that rupture the family’s unbalanced universe.” Michael Atkinson

60. “The destructive force of the fascist is more horrendous than anything possible in fairy tales…Reality is the true realm of evil . We do not need to have mythological evil in fairy tales.” Michael Atkinson

61. “Fairy tale themes – fears of ‘otherness’, rites of passage and liminal phases of fantasy (dream, nightmare and death) are interwoven with the historically specific, to address traumas caused by fascism and male brutality ” Louise Hubner

62. Pan’s Labyrinth looks at our “ willingness to enter into the darkness ” and the “unspoken dualities and taboos of human nature” Louise Hubner

63. “del Toro restores his mythic motifs to their proper place as the symbolic representation of a psyche struggling to come to terms with traumatic social and familial conditions while forming a nascent sense of self .”

64. “Dances between: inner and outer reality, civilization and barbarity, the loss of innocence and the perverse quest for power, nature and unnatural repression of our humanity.”

65. “I think have a responsibility to preserve our heritage of imagination…Ancient cultures valued the dream life as much as the waking life and I think we’re losing that. We’re in a losing battle for the spiritual side of mankind and the lost refuge of faith ” del Toro

66. I think that taking on the dual diegesis (Paradox worlds? Parallel? Complementary? Contrasting?) used by del Toro is a good way of receiving a high grade. What you need to make sure that you are doing is referring to filmic techniques as you discuss these world. You will look at this in the next task. You also need to ensure that you have clearly thought about how del Toro intended you to respond and whether you did this. You need to pivot from just discussing the worlds to evaluating the ideas that were created because they were used. What follows is a summary of what I think we learn from the dual worlds – taken from the critical material that we have been looking at. Mr W’s Thoughts

67. Contrast Evaluation The mundane bugs of the real world and their fairy counterparts. The stick insects transport us into the fantasy world through their transformation. They are symbolic of the shifting reality. Note how their shape is based on the imaginative books of Ofelia’s. Symbolic of Ofelia’s change also. Frog and Pale Man are reflections of the Captain. Physical manifestation of Fascism. It could be seen that Ofelia is unable to escape fascism. Its power so strong that it invades her imagination in the form of brutal creatures. These physical manifestations also allow Ofelia to In the real world Ofelia starts as a passive victim unable to rebel, fantasy world she becomes a princess warrior. Fantasy world allows Ofelia to become more than a “passive ethereal princess”. It is almost as though it allows her to grow in confidence towards active resistance instead of passive subservience. Del Toro allows this contrast of her character to exist. Brutality exists in both: Vidal and his torture, Carmen and miscarriage, Mercedes and revenge; Pale Man and torture, Faun and threats? Brutality exists in both worlds, but becomes fantastical in Ofelia’s imagination. This subversion of real brutality to fantastical brutality shows its invasion in her life, but could also be seen as a mechanism through which she tries to make sense of her life. Mercedes journey in the real world and Ofelia’s in the fantasy. Ofelia is a mirror of Mercedes. Both are on a quest and must face trials, both must beat brutal monsters. It seems that Del Toro wants us to empathise with the rebels (both the literal men and the woman who support them). Resistance in reality and imagination.

68. Contrast Evaluation The real world is dominated by the male fascist Vidal and his violence, the fantasy world by Ofelia and her quest. There is a divide between the brutal male world of fascism that we must endure and the female fantastical imagination. It is interesting that female power comes, at first, only in the imaginative. The real world requires belief to survive, the fantasy world requires belief to exist. The imaginative world for Ofelia requires her to believe and trust in order to confirm her existence as a princess, but belief in this fantasy world is what allows her to survive in the real world. In both worlds the idea of belief becomes essential. Resistance ends in death in the real world, in the fantastical it allows ascension to a higher world. Ofelia’s resistance leads to physical death in reality, but spiritual rebirth in her fantasy world: “While, indeed, resistance is ultimately the source of hope (the flower on the fig tree), those who resist can only take comfort in the morality of the act itself.” It seems that it is the paradox of these worlds that ultimately intensifies the power of each. It is interesting to think about the way that the labyrinth becomes more beautiful as the real world becomes more brutal. We seem to journey less and less to this imaginative world as Vidal and the fascists are more brutal with their execution of power. We will imagination and fantasy to protect and shield us from the violence. We finish watching the film preferring imagination from reality.

69. Binary Oppositions: