A scene from PAN'S LABYRINTH, directed by Guillermo del Toro for Picturehouse.

Pan’s Labyrinth (2006, Guillermo del Toro)

Pan’s Labyrinth is a pretty film. Gorgeous cinematography, great locations, intricate make-up (bad CG, but it’s only really noticeable once). Guillermo del Toro does a decent job directing the film but has these really annoying transitions–the back of someone’s head frequently becomes a tree in the forest in unending pans. His script is competent and, well, heartless. I was trying to work up some suspense, but since del Toro ruins Pan’s Labyrinth‘s suspense in the opening shot, maybe it’s appropriate. Pan’s Labyrinth could have been a really good war movie, but instead del Toro mucks around in fantasy. Bad fantasy.

I was hoping Pan’s Labyrinth would either use the fantasy elements as a metaphor (it does not) or would be a descendent of Cocteau’s Beauty and the Beast. Unfortunately, it’s neither. Instead, like I said before, it’s heartless. Only one of the characters is at all human and she’s just human by default. The rest are unbelievable, except maybe the bad guy (until the end, anyway). The lead character, the precocious girl, goes from being wise beyond her years to being inconceivably stupid. Del Toro never spends any time figuring the character out in any real sense, so there’s not even a surprise (by the time she got stupid, I’d already given up). There’s also absolutely no suspense in the film, thanks a) to del Toro giving everything away at the beginning and b) just some lame plotting.

The performances are fine, but not worth enumerating. Something does need to be said for the graphic violence, however. Instead of attaching any real emotion to Pan’s Labyrinth, del Toro makes it frequently bloody to get the audience interested (Paul Verhoeven talked about this method in regards to Robocop–if you haven’t gotten the audience to care with actual character development, blood and guts can do it).

Pan’s Labyrinth is so artificial it’s hard to be particularly disappointed. While it’s boring and empty, the war aspect is so full of potential, you can just sit and imagine the fantasy thing being gone and the movie being good. Maybe it’s because del Toro doesn’t have any M. Night Shyamalan moments… well, until the end, but who cares by then? It’s almost over.

1.5/4★½

CREDITS

Written and directed by Guillermo del Toro; director of photography, Guillermo Navarro; edited by Bernat Vilaplana; music by Javier Navarrete; production designer, Eugenio Caballero; produced by Bertha Navarro, Alfonso Cuarón, Frida Torresblanco and Álvaro Augustin; released by Picturehouse.

Starring Sergi López (Vidal), Maribel Verdú (Mercedes), Ivana Baquero (Ofelia), Ariadna Gil (Carmen), Alex Angulo (Doctor) and Doug Jones (Pale Man).


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3 thoughts on “Pan’s Labyrinth (2006, Guillermo del Toro)”

  1. Glad to see someone else who found the movie as dissapointing as I have. Why the film has had such universal acceptance despite what I see as many flaws is beyond me.

  2. I tend to agree with the reviewer, although I’d rate the film a little higher.

    I, too, expected the fantasy world to be some form of metaphor for what was happening above, but it wasn’t.

    The well-fed girl’s insistance on eating something after being told quite pointedly that to do so would be extremely dangerous, was indeed stupid–even incomprehensible, under the circumstances.

    I expect one reason the film is so popular among self-appointed “intellectuals” is because the “bad guys” are fascists.

    While it’s only marginally alluded to in the film, the “good guys” were essentially communists–little, if indeed any–better than their adversaries. Unless you’re a self-appointed intellectual.

  3. I’d have to agree with this review. I put off seeing PAN’S LABYRINTH for an awfully long time — letting the hype burn off naturally, I suppose — and in the end I was dramatically underwhelmed. Which suggests that maybe I hadn’t let the hype burn off enough — but what continually nagged at me was that del Toro has done this movie before, and infinitely better. THE DEVIL’S BACKBONE struck a lovely balance between ghost story and civil war. PAN’S was pretty to look at, but lacked the heart of del Toro’s previous films. Something has gotten a little lost in the telling here.

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