Pan's Labyrinth

Morgan and I decided to take advantage of New York's movie matinees ($6 before Noon) and schlepped down to 67th and Broadway for a flick. The critics had been gushing about this film since it was first released at the end of last year and we were eager to see something fantastical. I have been obsessed about macabre children's stories (i.e. Alice in Wonderland, the Oz books, anything by Dahl), and this film seemed to fit the bill.

The film is slicky-made- everyone is lit in that even, one-hour television drama style. The CGI scenes were generally effective, but there were a few moments where I couldn't help but notice how artificial they looked. In one scene there was a beautifully-rendered, writhing, mandrake root while another shot had a Spanish Captain staring through binoculars at terrible, CGI campfire smoke.

The story is strong in formula but there are some nice plot twists to be found. The film contains a significant (and somewhat indulgent) number of squirm scenes. I like the idea of a dark, dreadful fairy world but most of the gore is used to redundantly underscore the evilness of the Captain. Although many images are striking and effective at establishing tone, after a while it felt like they were more for the filmmaker's amusement than the story's needs. Though Ofelia's faun and faeries are interesting, they are simplistically rendered and do little to reflect upon either Ofelia's past with her dead father or her escapist perception of the world. I have seen enough magical beings in my filmic lifetime so their mere presence wasn't enough to induce a "wow" from me.

Writing fantastical stories is not difficult. I can let my imagination run wild and concoct wildly fantastical creatures and worlds. With the help of special effects artists and scenic sculptors, I could readily make a convincing world that is completely unfamiliar from our own. What makes great fantasy, however, is when those images are wrangled into the service of a specific, tangible equivalent. The Wizard of Oz (the film) showcases Dorothy's need to escape the mundane, American plains and learn that the world is cruel and one needs family to endure those trials of life and those characters (the witch, the scarecrow, the tin man) arise from the people and life around her. Roald Dahl's tales choke with the challenges of growing up amongst the cruelties of peers and adults and his villanous characters are often extreme representations of those personality types. The Brothers Grimm collection of folk tales are moral tales given fantastical vehicles to express them.

The most compelling character of Pan's Labyrinth was a strange, unnamed creature who kept his eyes in his hands. There is a brief shot where Ofelia enters his room and sees paintings along the ceiling that depict him killing and eating little children. Although the moment was brief and never referred to again, it intrigued me and, unlike nearly every character in the film, made me want to know more about this creature's story and Ofelia's relationship to him.

I enjoyed an opportunity to see a film that looks at World War II from a small corner of the world, à la For Whom the Bell Tolls, but I would have liked for the fantasy elements of this film to carry my perspective of such times to a new place rather than to showcase untethered imaginings. Still, if you like watching bugs turn into faeries, books whose pages morph from empty to ornate, or brief snippets of gore then this is probably the film for you.