Guillermo del Toro had shown promise with some of his earlier films, most particularly in the comic book adaptation Hellboy, and his ghost story The Devil’s Backbone. But he had never melded his extraordinary talents as a visual stylist with some storytelling craft as well as he did with his 2006 masterwork Pan’s Labyrinth. He wrote a simple story about a young girl escaping from her hellish life into a fantasy world that may not be any less brutal, but tells it with an elegance and assurance that he’d only hinted at before. The effortless flow of the story makes the simplicity all the easier to enjoy, with the only character who isn’t really a defined good guy or bad guy being the Faun who opens up this alternate world to our young heroine.
Movies with children as the lead characters can often get bogged down in “cute” moments from the young actors who fail to give much in the way of a real acting performance. Pan’s Labyrinth is not one of those movies. Premier among the movie’s many pleasures is the central performance from Ivana Baquero as Ofelia. The rest of the cast is littered with wonderful performances as well, but Ofelia is our guide and needs to be something truly special. Baquero is most certainly that. The film’s detractors often point to the simplistic nature of the movie as a negative, usually pointed at Sergi Lopez’s villainous Captain Vidal as the biggest offender. So what? So he’s obviously the bad guy, and he’s a really, really bad guy. He’s not even the most memorable villain, as the infamous Pale Man sequence has demonstrated. Regardless, do we denigrate The Adventures of Robin Hood because Claude Rains is so wonderfully hissable, or the Harry Potter movies because Voldemort is one-sidedly evil? No, we enjoy the obstacle for our heroes to overcome. And the movies are better for it.
The feeling that often stays with me after watching Pan's Labyrinth is one of a beautiful melancholy. The Javier Navarrete score is gorgeously haunting, and fits the movie perfectly. The rich cinematography from Guillermo Navarro, as well as Del Toro’s developing compositional brilliance, leaves us with some stunning images. One thing I would like to address that Del Toro purposefully leaves open to a bit of interpretation is whether or not this fantasy escape is all happening in Ofelia’s head. There’s a shot near the end where Vidal runs into Ofelia talking to the Faun, but he can’t see the Faun. Del Toro has said he meant this as adults aren’t as in tune with the fantasy world as children, more than that the fantasy world doesn’t exist. And that’s the way I’ve always looked at it as well. I’m more one who believes in the fate of the fig tree as an indication of what was real and what wasn’t. What is very real though is that this is one of the great movies I’ve ever seen, and I have no problem having it as my #2 movie of the decade.