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"Pan's Labyrinth" is a timeless classic, of Magonian sleep visitations & ominous Fortean underworlds, mixed with Deep Politics and foreboding Fascist subplots.

"Pan's Labyrinth" might equal "Children of Men" as the best film of 2006-2007. And I'd probably put both in my All Time Top Ten.

The plot set-up (no spoilers):

In 1944, at the beginning of Franco's fascist Spain (in what would become a 35-year reign of fascism), a little girl is taken to a Fascist outpost in the woods. Her pregnant mother has been summoned by her fascist military stepfather.

Ophelia, the little girl, is a student of fairy tales and the magical thinking of childhood. Ophelia encounters a faerie, disguised as a preying mantis, who visits her during her sleep.

The insect/faerie takes the child to an underworld chamber, beneath an ancient pagan ruin in the woods. A satyr/faun/alien grey informs Ophelia that she is a lost princess, and if she performs 3 magic tasks before the full moon, she can join the underworld and become immortal.

Meanwhile, above ground, pregnant mother's health is deteriorating and the fascist Capitan stepfather is battling "Leftist peasant guerillas" in the woods, as well as instructing his camp physician to "save the child rather than the mother."

This classic film, in the tradition of "The Wizard of Oz" (itself another war-time fable released in 1939, under the foreboding stormclouds of fascist threat), delves into fairy tales that are not for children, truly disturbing and ominous -- yet reminds us that true fairy tales, from the cannibalism of "Hansel & Gretel" to the bildungsroman journey of "A Nightmare On Elm Street," really are a child's "boot camp for adulthood" (in the words of Wes Craven).

"Pan's Labyrinth" can be read as metaphor, or experienced as pure straightforward cinema, and it works on all levels. The surreal images of the underworld adventures of Ophelia are loitering in my psyche, a day after seeing the film.

"Pan's Labyrinth" (and its best-film-of-the-year companion, "Children of Men") can only be described as must-see viewing for members of the Rigorous Intuition discussion board. "Pan's Labyrinth" especially possesses reasons for everyone here to see it, whether you like Rigorous Intuition for its political dimensions, Forteana, psychological frontierism, or the whole weird mix.

Just be prepared to squirm and hide your eyes. The movie trailer doesn't do justice to the film.

Jeez, I *just* walked in the door from seeing this.

Brilliant film..

How many out there think that was Hades and Persephone on the throne at the end?

This is clearly a PSYOP to direct people to my critical postings of PSYOPS... or some sort of satyrical hijackery.

But I jest, with apologies to the newly returned Mr. Manatee.

I really enjoyed this movie, with one caveat -- I wouldn't recommend it to anyone who has been traumatized by violence. It's a beautiful movie, but it is also exceedingly brutal. The brutality hammers (literally) home the violence inextricably linked with fascism, so I think it's integral to the story and not gratuitous.

Very moving, very dark, and very provocative.

Pan, the first thing that came out of my mouth when I walked out of the theatre was, "There's no way this script would have walked out of Hollywood". Yes, it's a visceral production, but it's refreshing seeing viscerality displayed in showing Facism's dark side as opposed to gratuitous violence one isle over shown merely for the sake of showing it.

Viewer's being able to determine between these on a cognitive level is another discussion entirely. It was a huge disappointment to be one of less than 20 people in the theatre seeing it on opening weekend here..

I've got to get myself to a theater to see this movie. I saw some extended clips and read some reviews durng my NYC visit over Xmas, and I was totally floored.

Too bad the nearest theater showing it is 50 miles away, but I'll have to make the long drive and overcome my latent agoraphobia to see it. It really looks/sounds fantastic...

Hey if you guys don't mind would you post "spoiler threats" if you go too deep into the plot...I want to read what those of us who have seen it think, but I don't want to know the ending...

I agree Children of Men is an completely awesome film, also added to my all time top ten.

Pans Labyrinth is playing in Alabama? Where? I can't wait to see it!!

It was a huge disappointment to be one of less than 20 people in the theatre seeing it on opening weekend here..

The art-house theatre where I saw it (in Baltimore City) was packed. I think that's a good sign. I haven't seen a line like that in a while.

I loved this. Has anyone else seen The Devil's Backbone?

sunny wrote:Pans Labyrinth is playing in Alabama? Where? I can't wait to see it!!

http://www.imdb.com/title/tt0457430/cinemashowtimes

Make sure you try different dates or you're not going to get accurate information.

et in arcadia wrote

How many out there think that was Hades and Persephone on the throne?

[No Spoilers]I don't know, but I can tell you, as far as my own personal "night visitation" experience went (written about elsewhere in the RI archives), that "faun" with the satyr's legs is exactly what I saw, although the face was not so wide, and my demon's eyes were glowing red.

professor wrote

I really enjoyed this movie, with one caveat -- I wouldn't recommend it to anyone who has been traumatized by violence. It's a beautiful movie, but it is also exceedingly brutal. The brutality hammers (literally) home the violence inextricably linked with fascism, so I think it's integral to the story and not gratuitous.

As an abuse survivor of every type, I can agree that it was agonizing to watch. I have taken to wearing earplugs in recent years (not helpful to personal relationships) because my own physical reaction to loud, sudden noises (especially originating from behind my back) triggers hallucinatory reactions that my violent father is nearby. So I can say that if anyone is likely to have PTSS from watching this film, it's me.

But over the years, films like this are sure to be my personal sacramental favorites. "The Deer Hunter" and "Nightmare On Elm Street" are my top two films, for the very same reasons: as Craven said, they're "boot camp," particularly for abuse survivors.

et in arcadia wrote

Pan, the first thing that came out of my mouth when I walked out of the theatre was, "There's no way this script would have walked out of Hollywood". Yes, it's a visceral production, but it's refreshing seeing viscerality displayed in showing Facism's dark side as opposed to gratuitous violence one isle over shown merely for the sake of showing it.

About 6 hours ago, this idea also struck me. "Was this film based on a novel?" I wondered. Because the script is so multi-dimensional and original. And yet the treatment of the script is both Spielbergian at moments and Lynchian at others -- as if the screenplay and the direction were conceived simultaneously.

et in arcadia continues:

Viewer's being able to determine between these on a cognitive level is another discussion entirely. It was a huge disappointment to be one of less than 20 people in the theatre seeing it on opening weekend here.

Where I saw it (Seattle, Washington, considered by many the "most literate city in the U.S."), the entire first weekend was sold-out, and I missed yesterday's first two showings because they were sold-out. I finally saw the 9:45pm showing, which was also sold-out.

However, I make it my business to "bear witness" up-front when a movie is good: I'm that first person in the audience who claps at the end of a film. This is a unique topic unto itself -- timing and politics and many factors play into audience response -- but I've been the only person clapping at the end of many a film, including "Brazil" in 1986 and "Children of Men" recently. At "Pan's Labyrinth" (the screening I attended) only one person in the theatre clapped with me.

I'm not confident, either, that "Pan's Labyrinth" will meet its audience -- at least, not in the U.S. I'm sure that Latin America will understand it innately, not only for reasons of language.

Yet many sequences in the film are as accessible and compelling as any other film you can name. I'm thinking of the "Don't Eat The Banquet" scene, truly dreamlike and memorable and haunting.

philipacentaur wrote:I loved this. Has anyone else seen The Devil's Backbone?

One of my favorite films, there were so many genres swimming around.

Watched Pan's Labyrinth earlier this week, it completely amazed me, very beautiful film.

Saw the movie yesterday, and was totally unable to sleep last night. I couldn't get the movie out of my head.

One of the most creative, imaginative films I've seen in a long time.

I thought it was really good, but not great.

Had some very interesting ideas and symbolism, definitely RI material, and amazing imagery, but as a film it was too conventionally structured and predictable for my liking... too Hollywood in it's style and structure tho not the content.

Would have liked to see much more of the 'dream' world and less of the period drama personally...

There's no way this script would have walked out of Hollywood"

I don't really get what you mean by this? I mean, sure it's not in english, but it's Hollywood thru and thru. It's a mainstream movie by Guillermo del Toro for Time Warner...

About 6 hours ago, this idea also struck me. "Was this film based on a novel?" I wondered. Because the script is

Interesting, I can see where you're coming from, it had a certain 'magic realism' novel feel to it,but really a bit too high-concept to be a novel adaptation... It had "storytelling" vibes but more due to the fairytale content and evocative ideas I think than the actual structure, which was very much that of a movie script.

Thought Children of Men was truely amazing tho...

^^As for it being a Hollywood movie, it was shot and released in Spanish, in Spain. I watched a beautifully high-res DVD rip that was subtitled in English -- so far as I know, it's only in theatres here. US companies picked it up after the fact for distribution -- just like Devil's Backbone.

Sure, but it's fairly big budget, it's hollywood-style filmmaking from a hollywood director is all i'm saying. You know, it's not some indie film...

I don't think there's really much in the script's content or structure that would give hollywood too much trouble, tho I agree it wouldn't be at all the same if it had been made actually in the USA. They'd find a way to mess it up if they were there for the production.

Anyway not severely disagreeing with anyone here at all, and this isn't a cinema discussion messageboard so I'll leave it at that!