Pan's Labyrinth Essay

Pan’s Labyrinth Essay 

The scene begins with a close up shot of Ofelia opening a book. The book seems to light Ofelia’s face with the brightness of the pages. The opening of a book also signifies a new chapter, either of the book or in life, in this case it is a new quest for Ofelia. It also links to the idea of fantasy, a recurring theme throughout the film, and represents the ideas of Disney, whose films always begin with the opening of a book. This addresses the theme of fairytales within the film, which can also be seen in other sequences within the film. The sequence then cuts to a close up of the book, inside which drawings of a slim, skeletal being appear. The drawings foreshadow the next quest, and ultimately the next obstacle. The scene then transitions to a close up of Ofelia, who appears shocked at the images appearing. A narrative of instructions over dubs the scene. The sequence cuts to a long shot of the room, with Ofelia situated on the bed. Within the scene, Ofelia closes the book, as though to tell the audience her quest begins. The mise en scene features a clutter of furniture and boxes. The corner of the room is of low-key lighting, creating a mysterious ambience within the scene. The lowkey lighting may also symbolise a danger to come.  

The sequence cuts to a close up shot of Ofelia’s hand drawing the outline of a door upon the wall in chalk. The shot cuts to a close up of her face, her eyes transfixed on the line she sketches. The sequence then cuts back to a shot of her hand, which follows the line of chalk as a magical door begins to appear. The door may reference new beginnings, which both Ofelia and the resistance look for. It may also resemble a need for escape, potentially from reality or from the fascist regime of Captain Vidal. The narrative explains to ‘not eat or drink anything while you’re there’. This is repeated, and was previously mentioned by the Faun, who delivers the line with a serious intent. This emphasises the point, and implies danger without explicitly stating what it may be, foreshadowing later events. 

The door is opened, the scene cutting to a shot inside the new room with Ofelia at the doorway. The walls of the room shine a deep crimson red, which symbolises danger. This contrasts with the innocence of Ofelia, who peers through the doorway. The crimson walls may also represent the blood of the innocents, consumed by the ‘Pale Man’. This may reference the bible, with the ‘Pale Man’ acting as King Herod, who murdered the children of Nazareth. The camera then pans backwards, leaving Ofelia alone in the doorway. This gives an impression of vulnerability. The shot then transitions into a long shot of the hallway, establishing the scale of the room. The sequence then cuts to a shot reverse shot of Ofelia, who places the box of fairies around her neck. The sequence then cuts to a close up of Ofelia turning the hour glass, her body halfway in the door, halfway between fantasy and reality. The shot is a turning point for the sequence, for it begins a magical quest and also creates a tense atmosphere within the audience.  

The sequence transitions to a close up shot behind Ofelia, who peers back towards the hour glass with a face of terror. The shot then cuts to a close up of the hour glass. The camera pans in on this. It is filmed with a short depth of field, making the hour glass in focus and the background out of focus. This causes the hour glass to dominate the scene, emphasising its importance to the sequence. It then cuts to a neutral shot of Ofelia walking down the hallway. The mise en scene features almost biblical arts, with ancient walls and pillars of a sandy colour. The pillars seem worn, signifying age. The camera then cuts to a shot behind Ofelia, with her in the foreground and the vast table of food in the background. Stationed at the table is the ghoulish figure of the Pale Man. The room is set up to be a parallel of Captain Vidals table, featured in an earlier scene. This implies how Vidal is similar to this ghoulish villain, who dominates the table. Behind the Pale Man is a glowing fire, like that of Vidals, with a golden, flamboyant fire place looming over it. The crimson glow of the fire suggests danger, especially from the Pale Man, which the fire seems to surround.  

The sequence cuts to a panning shot of the table and Ofelia, with the food in the foreground, and Ofelia out of focus behind it. Ofelia appears transfixed on the food until she reaches the end of the table, where her gaze changes to view the Pale Man. She looks up and appears deeply shocked at the hideous sight. This may reference fascism; with the Pale Man acting as Vidal and his fascist regime, it shows how the public do not see the hideous truth of fascism, and are blinded by the treats of it, in this case the food. The sequence then cuts to a shot reverse shot of Ofelia, then the Pale Man. Ofelia proceeds to pick up the plate, on which sits the eyes of the Pale Man. Ofelia looks up towards the ceiling, the shot cutting to a low angle of the ceiling. On the ceiling are oval framed paintings of the Pale Man, in which he is seen murdering and consuming children. The shot then transitions to a close up Ofelia with her back to the Pale Man behind her. This presents Ofelia as vulnerable. The camera then pans down towards a pile of shoes, then pans upwards to form a low angle shot of Ofelia gazing down at the pile. The shoes reference those of Auschwitz, the camp infamous for the mass genocide which occurred there. The shoes are of children murdered by the Nazis, which links to the murder of children by the Pale Man. The low angle shot sees Ofelia looking over the shoes, which should empower her, however creates a feeling of inevitable doom and vulnerability.