Premiering in the States just over a month ago, Pan’s Labyrinth has quickly thrust veteran director Guillermo del Toro into the Hollywood limelight. Despite the 11 directional efforts under his belt, Pan’s Labyrinth is the first to showcase del Toro’s creative talents to Hollywood and America.
Del Toro, a native of Mexico has been in the film industry for 25 years. After working as a make-up supervisor for several years his career took off in 1992 when his film Cronos won nine Academy Awards in Mexico. Del Toro’s international triumphs, however, did not equate instant success in Tinseltown. Del Toro described the making of his first Hollywood film Mimic (1997) as one of the worst experiences of his life. Feeling frustrated and creatively stifled, del Toro returned to Mexico to create his own production company, the Tequila Gang. Since then he has directed a handful of films, including The Devil’s Backbone (also in Spanish), Blade II and Hellboy, the realization of a childhood dream. Del Toro, an avid comic fan and Hellboy enthusiast, has begun production of Hellboy 2 to be released in 2008. Where no previous film flopped, none truly displayed the artistry of del Toro’s direction until Pan’s Labyrinth. Full of action and/or overt horror, his prior films entertain but consistently lack depth. Pan’s Labyrinth, however is comprised of a subtle, thought-provoking terror.
The heroine is 11-year-old Ofelia (Ivana Baquero). Uprooted with her pregnant mother (Adriana Gil) to a rural military outpost in 1944 Fascist Spain, she must quickly deal with her mother’s poor health and a new stepfather who is a cruel and violent captain (Sergi Lopez). Her only confidant is Mercedes (Maribel Verdu) the housekeeper. Guided by fairies and the titular faun (Doug Jones), she discovers an other-worldly portico and attempting to escape reality and the literal war at home, she eagerly embraces the promise that she will be a princess in this unseen realm.
The character development is genius. In one portrayal of the Captain’s morning routine he turns his razor blade on the mirror’s reflection in a moment of self-loathing. Although seemingly random, this scene offers a glimpse of the complexities of this character. By shattering the cliché of good guys and bad guys, del Toro’s characters remain relatable although haunted by varying degrees of darkness. The well chosen actors contribute to a collective chemistry that transcends languages, rendering the subtitles unnecessary for comprehension of most scenes.
The script of this sinister and haunting fairy tale, (in league with the tradition of the Brothers Grimm) is a mastery of stylized storytelling. While shocking audiences with graphic portrayals of wartime brutality it is rich in spirituality and consumed by political undertones. The hybrid allegory presents themes that range from ideas of innocence, obedience and death; correlating Ofelia’s journey to the Underworld and the guerrilla’s refusal to submit to the Fascist regime.
Del Toro’s brainchild – from creation to production has won him no less than six awards for best foreign film and two awards for best original screenplay. The diligence and imaginative efforts of del Toro’s entire career culminates in Pan’s Labyrinth to both applause and acclaim.
Del Toro, a native of Mexico has been in the film industry for 25 years. After working as a make-up supervisor for several years his career took off in 1992 when his film Cronos won nine Academy Awards in Mexico. Del Toro’s international triumphs, however, did not equate instant success in Tinseltown. Del Toro described the making of his first Hollywood film Mimic (1997) as one of the worst experiences of his life. Feeling frustrated and creatively stifled, del Toro returned to Mexico to create his own production company, the Tequila Gang. Since then he has directed a handful of films, including The Devil’s Backbone (also in Spanish), Blade II and Hellboy, the realization of a childhood dream. Del Toro, an avid comic fan and Hellboy enthusiast, has begun production of Hellboy 2 to be released in 2008. Where no previous film flopped, none truly displayed the artistry of del Toro’s direction until Pan’s Labyrinth. Full of action and/or overt horror, his prior films entertain but consistently lack depth. Pan’s Labyrinth, however is comprised of a subtle, thought-provoking terror.
The heroine is 11-year-old Ofelia (Ivana Baquero). Uprooted with her pregnant mother (Adriana Gil) to a rural military outpost in 1944 Fascist Spain, she must quickly deal with her mother’s poor health and a new stepfather who is a cruel and violent captain (Sergi Lopez). Her only confidant is Mercedes (Maribel Verdu) the housekeeper. Guided by fairies and the titular faun (Doug Jones), she discovers an other-worldly portico and attempting to escape reality and the literal war at home, she eagerly embraces the promise that she will be a princess in this unseen realm.
The character development is genius. In one portrayal of the Captain’s morning routine he turns his razor blade on the mirror’s reflection in a moment of self-loathing. Although seemingly random, this scene offers a glimpse of the complexities of this character. By shattering the cliché of good guys and bad guys, del Toro’s characters remain relatable although haunted by varying degrees of darkness. The well chosen actors contribute to a collective chemistry that transcends languages, rendering the subtitles unnecessary for comprehension of most scenes.
The script of this sinister and haunting fairy tale, (in league with the tradition of the Brothers Grimm) is a mastery of stylized storytelling. While shocking audiences with graphic portrayals of wartime brutality it is rich in spirituality and consumed by political undertones. The hybrid allegory presents themes that range from ideas of innocence, obedience and death; correlating Ofelia’s journey to the Underworld and the guerrilla’s refusal to submit to the Fascist regime.
Del Toro’s brainchild – from creation to production has won him no less than six awards for best foreign film and two awards for best original screenplay. The diligence and imaginative efforts of del Toro’s entire career culminates in Pan’s Labyrinth to both applause and acclaim.
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