FILM ANALYSIS: PAN'S LABYRINTH - MA Visual Effects

Guillermo Del Toro’s 2006 film Pan’s Labyrinth is a dark tale about magic, war and tragedy. The story explores the adventures of Ofelia, a young girl fascinated with fairytales, who is sent along with her pregnant mother to live with her new stepfather, a captain of the Spanish army in 1944 Falangist Spain. She escapes into a fantasy world when she encounters a faun who tells her she must complete a set of tasks in order to obtain immortality according to the legend of a lost princess. This award winning film is undoubtedly one of the gems of Del Toro’s work and is a cinematic pride for a number of reasons- one being the way the director uses his understanding of film theory and language to communicate specific themes, moods or narratives to the audience.

LIGHTING

Throughout the film, there are focal shifts between themes of war and rebellion and that of magic, mystique and fantasy, as it toggles between the real world and the fairytale world Ofelia has immersed herself in. This divide is demonstrated particularly through the use of low-key and high-key lighting according to the reality vs. fantasy trope. The film was most dominantly shot in low-key lighting, used in the scenes that occur in the real, war-torn world. The hard shadows, low light and high contrast add a dramatic tone to the shots and emphasise the grim and somber nature of the real world, while highlighting the underlying themes of war and difficult times.

Contrarily, high-key lighting is used in the fantasy scenes where the world is portrayed through the eyes and mind of Ofelia. An exception is made for the scenes where Ofelia interacts with the faun. These scenes feature the darker side of Ofelia’s fantasy world and are all shot in low-key lighting, filtered with the same blue hues that are seen in some of the real-world scenes, especially as the plot progresses. The lighting here is particularly used to establish the faun as a morally ambiguous character. Ofelia only meets this magical creature at nighttime, which is a trope commonly used in horror films to build suspicion or warn of danger. The faun is never fully lit- the use of harsh shadows and low light adds to his obscurity and leaves the viewer wondering if he is a trustworthy character or not. In the film’s extras, Del Toro explains the importance of maintaining that ambiguity in the faun and the fairies, as in classical mythology, fauns are neither good nor bad. Rather, they represent nature.

Most shots where Ofelia is out adventuring or immersed in her fantasy world are cast in high light, with relatively low contrast and few, soft shadows. High-key lighting tends to lift the mood of a shot and is often used to represent a sense of honesty and innocence, especially when the subject’s face is fully lit. The use of lighting in these shots is a play-up on Ofelia’s childish innocence and imagination and the disconnect she feels to her environment. Her fantasy world is her escape in spite of the perils and darkness of the real world and this contrast between both realms is well reflected through the lighting.

COLOUR

Del Toro is well known for his compelling use of lush and vivid colour palettes in his films and this film is no exception. Colour was one of the most prominent elements used not only to draw the line between reality and fantasy, but also to emphasize certain narrative elements of the film. Del Toro uses rich, warm hues of red, yellow and brown to represent the fairytale world, but switches to a cooler palette with blue, grey and green hues in scenes within the real world. We are introduced to this visual style at the beginning of the film as the tale of the lost princess is narrated. The princess’s world is washed in cold shades of blue and grey to depict the gloom and deterioration caused by her absence, but when the camera moves into the real world, the colour palette changes.

Scenes where Ofelia is out exploring are supported by warm and vibrant green, brown, golden and yellow hues that strongly promote the themes of magic, nature and adventure that the fairytale is rooted in. This colour palette not only differentiates the two separate worlds, but also establishes Ofelia’s relationship with her environment. For instance, after her first encounter with the faun, she goes out into the woods to complete her first task of poisoning a magic toad in the hollow of an old tree trunk, wearing the dress her mother made for her. Ofelia’s green dress plants her firmly as a part of her surroundings and shows the strong connection between her and the woodland environment. This is where she belongs.

The colour palette remains consistent even when she confronts the toad inside the tree- while the situation is unfamiliar and possibly risky, she is still not out of place. When Ofelia emerges dirty and disheveled from the tree trunk, the palette switches to the frigid blue of the cruel real world as she is forced to snap back to reality and return home.

COMPOSITION

Composition was used several times to show the importance of a character or object- for instance, the role of the fairy that leads Ofelia to the labyrinth is emphasised throughout the film using several closeup shots. In addition, whenever the fairy appears in a shot with Ophelia, they share equal space within the frame. The fairy is important because it is the first link between Ofelia and the magical world. It plays the role of a guide even when Ofelia sets out to complete her task in the Pale Man’s den.

The Rule of Thirds is known to be visually satisfying to the human eye and it was executed in many ways to guide the viewer’s focus. In the sequence of shots that feature Captain Vidal grooming himself, he stays within a third of the screen in a good number of the shots. This exact sequence is focused all on him and the intricacy and undivided attention he pays to such little details. The attention of the viewer is indented to be on him, the subject.

Central framing was popular throughout the film, but was implemented in different ways and for different reasons. The shot that captures Ofelia stepping into the hollow of the tree is an appealing shot for a number of reasons, one being the way the subject was framed and positioned within the shot.

Del Toro utilised Central framing, which can sometimes have an immersive effect, showing a strong relationship between the subject and the environment. This seems to be the goto framing technique whenever Ofelia is about to enter another magical realm. For instance, when she is about to enter the Pale Man’s lair, the camera pulls back to reveal the pillared corridor, while Ofelia stays framed in the centre of the shot. In this shot, the environment itself frames the character. The pillars, lights and even the light/shadows on the floor all form lines of perspective that guide the eye back to Ofelia.

Another key instance where central framing was used was with Captain Vidal in the banquet scene. This shot is parallel to the Pale Man scene. In the film’s extras, Del Toro speaks about the relevance of this shot. At that time in 1944 Spain, food was an extreme rarity, yet the Captain was hoarding food and medicine, hosting this rich banquet. He’s almost as an overlord perched at the head of the table while his subjects eat. This is echoed in the way he’s framed right in the centre of the shot, with either row of diners forming straight lines that guide the eye back towards him. For the rest of the shot, he remains firmly planted in the middle of the frame. This position represents power, control, rigidity and authority- all qualities that he embodies.

We see Vidal centred within the frame yet again, in the shot where he emerges from the labyrinth to face Mercedes and the troops. In this case, he is in a position not of power, but defeat. He is completely alone. Del Toro uses the same kind of shot to convey contradictory messages.

GENRE

While Pan’s Labyrinth consists of themes of war and drama, it is predominantly categorised as a dark fantasy, evidenced by several popular narrative tropes executed throughout the film. The plot itself is grounded in magic and the idea of the discovery or fabled existence of a magical creature or realm is a strong and common theme often used in the fantasy genre, and one that is already implemented at the very beginning of the film when the narration of the tragic fairytale introduces the princess’s mystical world. The story tells of a lost princess that must find her way back home to her magical kingdom- this is the conflict which Ofelia must resolve through the completion of the three tasks the faun assigns her. These circumstances are reminiscent of the concept of the hero’s quest in the conventional fantasy genre- the protagonist is burdened with a responsibility/a set of objectives he/she must complete and embarks on a journey to resolve what is often the main conflict of the plot, and ultimately fulfill his/her purpose.

BIBLIOGRAPHY

Pan’s Labyrinth. (2006). [film] Directed by G. Del. Telecinco Cinema.

Davis, C. (2011). Mindhole Blowers: 20 Facts About <i>Pan’s Labyrinth</i> That Might Make You Believe in Magic. [online] Pajiba. Available at: https://www.pajiba.com/seriously_random_lists/mindhole-blowers-20-facts-about-pans-labyrinth-that-might-make-you-believe-in-magic.php [Accessed 4 Jan. 2020].

Oseman, N. (2017). 9 Uses for Central Framing. [online] Neil Oseman. Available at: http://neiloseman.com/9-uses-for-central-framing/ [Accessed 4 Jan. 2020].

Renee, V. (2017). 3 Different Ways You Can Use Central Framing in Your Films. [online] No Film School. Available at: https://nofilmschool.com/2017/01/3-different-ways-use-central-framing-films [Accessed 4 Jan. 2020].

McCullagh, J. (2018). What Do Filmmakers Mean When They Refer to Composition?. [online] The Beat: A Blog by PremiumBeat. Available at: https://www.premiumbeat.com/blog/create-compelling-film-composition/ [Accessed 4 Jan. 2020].

de Reeper, M. (2014). How to Analyse Movies #5: Lighting, Sound & Score | Film Inquiry. [online] Film Inquiry. Available at: https://www.filminquiry.com/analyse-movies-lighting/ [Accessed 4 Jan. 2020].

Week 2 | Pan’s Labyrinth | Lighting. (2014). [Blog] Bitter Lily. Available at: https://amaralilium.wordpress.com/2014/11/21/week-2-pans-labyrinth-lighting/ [Accessed 4 Jan. 2020].

Preisler, V. (2015). LIGHTING ON PAN’S LABYRINTH. [Blog] Narrative/Storytelling. Available at: https://vjpreisler2015.wordpress.com/2015/05/21/lighting-on-pans-labyrinth/ [Accessed 4 Jan. 2020].

Booker, R. (2013). Use of Colour in Pans Labyrinth (del Toro 2006). [Blog] Review.Report.Reveal.Robin Booker Films. Available at: http://reviewreportreveal.blogspot.com/2013/08/use-of-colour-in-pans-labyrinth-del.html [Accessed 4 Jan. 2020].

Huls, A. (2017). How Guillermo del Toro Uses Color for Thematic Effect. [Blog] Pond5 Blog. Available at: https://blog.pond5.com/17947-guillermo-del-toro-uses-color-thematic-effect/ [Accessed 4 Jan. 2020].

O Connor, M. (2012). Color in Films: Pan’s Labyrinth. [online] The Design Inspirationalist. Available at: https://thedesigninspirationalist.com/2012/08/01/color-in-films-pans-labyrinth/ [Accessed 4 Jan. 2020].

14 Popular Fantasy Tropes — And How to Make Them Feel New Again. (2018). [Blog] reedsyblog. Available at: https://blog.reedsy.com/fantasy-tropes/ [Accessed 4 Jan. 2020].Freeman, D. (2014). The Use of a Theme in “Pan’s Labyrinth”. [online] David Freeman. Available at: https://beyondstructure.com/the-use-of-a-theme-in-pans-labyrinth/ [Accessed 4 Jan. 2020].

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