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?
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.
10. "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
11.
12.
13.
14.
15. "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
16.
17.
18.
19.
20.
21. "Aren't you ashamed eating all these bugs, growing fat
while the tree dies?" Ofelia
22.
23.
24.
25.
26.
27.
28.
29. "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
35. “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
36.
37.
38. “"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
39.
40. 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.
41. 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.
42. • 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
44. 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?
45. • 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
46.
47.
48. “Fairy tales? You're a bit too old to be filling
your head with such nonsense“ Carmen
49.
50.
51.
52.
53. “You must look lovely for the Captain, like a
princess?“ Carmen
54.
55.
56.
57.
58. "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
59.
60. "I'm a coward…A coward for living next to
that son of a bitch, doing his laundry, making
his bed, feeding him.“ Mercedes
61.
62.
63.
64. "Go ahead, Serrano, don't be afraid, this is the
only decent way to die.“ Captain Vidal
65.
66.
67.
68.
69.
70. "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
71.
72.
73. "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
74.
75.
76.
77.
78.
79.
80. "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
81.
82. "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
83.
84.
85.
86.
87.
88.
89.
90. "Tell my son, tell him what time his father
died. Tell his that I… " Vidal
"No. He won't even know your name"
Mercedes
91.
92.
93. 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.
94. 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.
95. • 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
96. 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?
98. “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?
99. • 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
100. • 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
101. 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.
102. 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)
103. 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.
104. 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??
105. Ofelia’s Experiences in the ‘Fantasy’ World
Her ‘three’ tasks and attempts to defeat the brutal monsters of this
‘other’ world.
106. 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.
107. The Brutal Captain in the ‘Real’ World
The Captain and his greed, brutality and lack of humanity in the real
world.
108. 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.
109. 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
110. 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.
111. 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.
112. 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.
113. 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.
114. 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.
115. 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.
116. 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,??
117. 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.
118. 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.
119. • 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
120. “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
121. “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
122. “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
123. Pan’s Labyrinth looks at our “willingness to enter into
the darkness” and the “unspoken dualities and taboos of
human nature” Louise Hubner
124. “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.”
125. “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.”
126. “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
127. • 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
128. 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.
129. 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.
