Around The World in 24 Frames 07.03.09: Pan's Labyrinth
Posted by Len Archibald on 07.03.2009
Fascists and Fauns and Fairies, oh my!
Welcome! All children are welcome to Week 11 of "Around the World in 24 Frames"! A happy belated CANADA DAY to my fellow Canucks from a fellow Canuck in Ohio. Drink a few 24 packs of LaBatt's Blue for me! Also, a happy Independence Day to my American friends! Hopefully those aliens won't be so brave this time.
This will be my longest rant to date, so please bear with me
The Rant
*sigh*...
I don't know if it's age or what, but it seems as if all the names and faces I grew up with are departing this world. Karl Malden, Academy Award winning actor and TV Spokesman died Wednesday morning. He was 97. Yeah, he lived a full life and died of natural causes, but to me - he'll always be the guy who went toe-to-toe with Marlon Brando in On The Waterfront and A Streetcar Named Desire (or which he won his Oscar.) He was on The Streets of San Francisco and always reminded American Express cardholders, "Don't leave home without it." Another great has left us...
Karl Malden: 1912-2009, R.I.P.
* So there's this whole brouhaha about Transformers: Revenge of the Fallen - whether or not it is a good movie, deserves the HUGE opening box-office, is being fairly or unfairly bashed, whether negative reviews are directed at the film or its director, Michael Bay, whether two of the robot characters are considered "racist", etc
People, seriously calm down.
1) It's a MOVIE. Yes, I take what I do seriously as I review and critique films on a different scale than Joe Q. Casual Moviegoer, but I can't deem that person's opinion any less valid than my own because their expectations may (most likely) differ from mine. It's not like Transformers will impact the suffering in Darfur or persuade Israel to give Palestine recognition as a state. Don't take the shit seriously.
2) Since we should all be adults (or, the ambiguity of personalities on the internet assumes that most on here are adults), we should all understand this little thing called freedom of expression. If someone HATES a movie, that is their right to hate it and express that opinion, whether valid or not. If someone LOVES the same movie, they have the right to express that opinion, whether valid or not.
This is why I have taken my stance on "ranking" films: At the end of the day, it is all subjective. 411 recently asked the readers what movie they hate that everyone loves some films listed were those that are, in most circles, universally praised movies such as The Godfather, Citizen Kane, and 2001: A Space Odyssey. Does that make their opinion any more or less valid? Of course not it is THEIR opinion. Everyone approaches the medium of entertainment (especially film and music) differently, and as such, should expect differing opinions. I think the issue that needs to be dealt with is the lack of respect for people with differing opinions. Opinions aren't fact; they're opinions one can't scientifically prove that liking or disliking Transformers results in a stupider person. I have seen people give opinions on such films as Cannibal Holocaust, Caligula or Salo: The 120 Days of Sodom - three films that I HATE with every fiber of my being that are spectacularly different from mine. I could take the easy road and call them degenerates or the bottom-feeders of existence for having a positive opinion or even liking these films, but I cannot, because they may have approached those films from a different perspective than my own. Again, it is all subjective.
So, here it is: Transformers: Revenge of the Fallen has been universally panned by the majority (not ALL) of film critics. That is their job to criticize films. They come from a different perspective. Most (I would hope) have seen thousands upon thousands of films so their level of expectation may be a little on the higher side of things. They base their opinions on technical mastery, the craft of storytelling, editing, acting, music, the "look" of the film things they are SUPPOSED to base their enjoyment on. The truth is, most moviegoers could give two shits about whether the film matches the mythology of the cartoon, or if there seems to be too much focus on pretty things and not enough on substantial character development. Their expectations of a movie can simply be based on whether or not they are presented with something they have never seen before, or did they laugh, or did they see their favorite film starlet in as little clothing as possible, or were the explosions loud and devastatingly fun.
Only one other film has reached the $200 million box-office take faster than Transformers: Revenge of the Fallen. What does this mean? Has the general movie-going public become dumber? Have we all settled for mediocrity?
Really the answer is: It doesn't matter. Movies have been made from the beginning of time from two mindsets to entertain and to inspire. Some films tend to do both, but usually, a movie is made to effectively do one or the other. It is what you take out of it when the lights dim and the opening credits roll. Those two mindsets will continue to make movies until the end of time. If people like action-packed blockbuster fare with as little social commentary as possible, they will see it and have a right to enjoy it. If others like character-driven stories that expose the faults and nuances of human nature, they will pay money to see it, and have a right to enjoy it. Both of these sides also have the right to bash the other based on their PERSONAL TASTES. Simple. The two mindsets CAN co-exist. They have since the advent of film.
I will see Transformers this weekend. I expect it to be loud, dumb, have plotholes that Optimus Prime can drive through and essentially have no plot other than situations where we can see a few hundred explosions. But that is what I EXPECT because that is what was SOLD to me. Michael Bay, or none of the cast and crew, for that matter has come out praising the film based on its writing or acting. If any technical aspects of this movie are to be anticipated it is the special effects. THAT is the thing that sells the movie. Different from last year, when the performance of Heath Ledger and the inspired style and story was the selling point of The Dark Knight. The two can't be sold or anticipated as the same movies, because they are on completely opposite sides of the coin.
Look, life will not be drastically altered because of the reception, or anti-reception that Transformers receives. It will be known as another big-budget special effects romp released in the summer and that will be that. We will all move on, the world will keep on turning and we will still hold onto the fact that everyone is different and as such, will have differing opinions on what kind of movies entertain them. I study films: Not only the technical aspect, or the artistic point-of-view, but also from a cultural, or more specifically, popular cultural standpoint. Some films were HATED when released by most (2001) but are generally loved by the public now. Some films were ADORED by most (Kramer vs. Kramer) and now are considered forgettable or just haven't aged well. It depends on one's point of view.
Sheesh, people. It's just a movie. If we were able to expend the amount of energy debating how X is stupid for liking Y or vice-versa on things that were actually IMPORTANT in the grand scheme of things, we'd probably accomplish a lot more as human beings. [/end rant]
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I love movies. They represent escapism, art, intellect and spirituality. Some are nothing more than popcorn flicks, designed to ease the burden of "real-life" for a couple of hours. Some bring important issues to the forefront that challenges how we perceive our surroundings. The most important thing for me if one is a serious film goer is to constantly expand and discover new movies. This includes experiencing stories told outside of North America.
Yes, I know: "I don't like to read while I watch movies". Well, neither do I, but I won't use that to prevent me from finding a great story within the screen. It is important, as human beings to discover other cultures and expand our perceptions of those different from us and how they see the world. There are reasons that Bergman, Kurosawa, Fellini, Ozu and Truffaut are important in the movie world They are just great at what they do.
I intend to highlight a new film every week that is considered "foreign-language"; now that definition is simple, yet broad and complex. For example, if you need subtitles to understand the events of the plot, I will discuss it. If it is a film from a primarily English-speaking nation, but is *NOT* in English (i.e. Leolo or Atanarjuat: The Fast Runner from Canada), I will discuss. If it is a film from outside the U.S. and it *is* in English, I will not discuss (sorry, Brits & Aussies) for now. My goal is to shed light on some of these gems, and help quell the insatiable appetites for those who can't live without seeing a new movie. Enjoy!
El laberinto Del fauno: The Fawn's Labyrinth aka Pan's Labyrinth (2006)
Mexico
Dir: Guillermo Del Toro
Runtime: 112 min
The human imagination is one of the most powerful of intangible entities. Imagination can transport a child into a world unlike their own. Adults can use imagination to invent people or events out of thin air. Imagination is a staple for any form of art; without it, we are without a suitable mirror to our realistic existence. There is nothing to explore, no ideas to contemplate no places to escape to.
Imagination, with the power of escape is what fuels Guillermo Del Toro's indelible print on the film world with 2006's Pan's Labyrinth. Here is a film that takes place during one of the great horrors of our existence Fascism during World War II, and does not retreat from it, despite the main character's desire to do so. There is a very, very faint line that blurs fantasy and reality and the only rule that links them the one that matters most is that - you can get killed.
It is Spring, 1944, after the Spanish Civil War in Francisco Franco's Spain. Ofelia (Ivana Baquero) is a young girl who loves to read. She is traveling with her pregnant mother Carmen (Ariadna Gil) to join her new stepfather, Captain Vidal (Sergi López i Ayats) the father of Carmen's unborn child, at a post where he is stationed and searching for Spanish Maquis rebels. Ofelia is skeptical of her mother's new relationship, but is unwilling to ruffle any feathers so she escapes into her imagination (or is it?).
Make believe is real.
Right from the get-go, we are introduced to the first of Del Toro's many inventions: a stick insect that is revealed to be a fairy. Most films of this ilk play out the relationship between fantasy and reality as something that happens only in the darkness or sanctuary of a child's bedroom (this film eventually travels down this path as well), but it was definitely a twist and a joy to watch Ofelia's first encounter with the fantastic in broad daylight, surrounded by other adults. She doesn't need to be alone to be teleported to another world, as her current one is too busy ignoring her.
Upon watching the TV spots for Pan's Labyrinth, I was led to believe this was going to be another fantasy yarn for children capitalizing on the success of The Lord of the Rings or The Chronicles of Narnia. I was terribly wrong. My first clue was the film's "R" rating and make no bones about it, this is *not* a film for children. Captain Vidal is one of films' most sadistic villains, a serial killer dressed in uniform - not unlike Ralph Fiennes' character Goeth in Steven Spielberg's Schindler's List. He kills randomly, tortures with glee, is disturbingly fascinated with time and slashes the throat of his reflection in the mirror while shaving. He murders two farmers because they carried rifles out of his paranoia he was under the assumption they were rebels. They were only hunting rabbits. When this is discovered, Vidal orders the servants to take the rabbits and make a stew; he berates his officers for wasting his time. He cares not for Carmen just the fact she may give him a son.
Eventually Ofelia is led to a labyrinth on the compound where she is introduced to the Fawn (Doug Jones) in a scene that could startle the adults. Jones brings a life and commitment to this project, not only playing the Fawn, but the "Pale Man", a disgusting creature with eyes in the palms of his hands and his skin drooping in folds from his body. Jones was hand-picked by Del Toro, and went so far to learn fluent Spanish to prepare for his role (it is not his voice as the Fawn on the soundtrack, though.)
The Faun implores Ofelia to obey his wishes.
The Fawn carries an amoral weight to his character, giving tasks to Ofelia that should prove her "worth" to see if she is in fact a reincarnation of a princess from another world, but does so with a sinister tone. The audience is never too sure whether or not he is trustworthy, and it adds another dimension to Ofelia's plight: is she using her imagination as an excuse to misbehave in the "real" world, or are her actions influenced by The Fawn and his creatures? He doesn't truly represent good or evil, but the choice that humans take to go down either path. Ofelia will find out that she will need to make tough choices in order to survive both the fantasy and real world.
Ofelia is given a book by the Faun called "The Book of Crossroads", which will instruct her on the tasks she must complete in order to prove her essence as the princess is still in tact. This book shows Del Toro's imagination at work: the pages are blank, but bleeds out to become traditional storybook text, reminiscent of the old Grimm Brothers books I used to have as a child. Sketches are drawn out looking eerily like things from Tolkien. A magnificent scene involves the ink seeping through the pages like blood, only for Ofelia to discover her mother is bleeding heavily from her womb.
On the commentary, Del Toro explains how the film is about choices, and Pan's Labyrinth pulls no punches in explaining this. During dinner, Vidal proudly explains that he has chosen to serve for Franco going so far to say that he has chosen to kill those who oppose the will of Fascism. Two of the most powerful scenes deal with choosing not to obey orders; a doctor disregards Vidal's orders to keep a prisoner, horribly tortured alive and the powerful climax of the film, where Ofelia must decide how much she is willing to sacrifice to leave this world and be reunited with the land where she is supposedly from.
Sergi López i Ayats as Captain Vidal one of the movies most vile characters.
There has been debate in whether the Faun, Pale Man or fairies Ofelia encounters are real or imaginary. I am inclined to say that I am sure the fantasy world is as true to life as the Fascist Spain. Time is given to creatures that linger in the foreground, to react, to follow our human characters, and to interact between worlds. Ofelia is trapped, heavily guarded in her bedroom, and yet is able to escape using a piece of magic chalk that can make a door when drawn on the wall. I don't think Del Toro was displaying any sort of ambiguity both worlds are real, simply because the dangers in both worlds exist.
The film has a stunning look. Del Toro's Academy Award winning cinematographer, Guillermo Navarro paints the frames in washes of blue to show the outposts bleak view. Contrast this with the bright colors of the Pale Man's red and gold corridor, or the interiors of the princess' palace. It is a triumph in set design. The Faun moves in and out of darkness, encapsulating his moral ambiguity. Wipes where a foreground image slides across the screen to transition to another scene are ingeniously, yet deceptively used. Roger Ebert suggests that this technique is used to show that the real and fantasy world are on the edges of the same frame. When rebels attack Vidal's compound, notice the red and yellow explosions that give life to the drab compound. Favorable characters are lit ever so slightly different than the villains.
I always thought to myself that the fairy tales of old were nothing more than horror stories for children. The Witch wants to cook and eat Hansel & Grethel. The Wolf swallows Little Red Riding Hood's Grandmother whole. Snow White's stepmother is nothing more than a Voodoo Priestess. These are details that on the surface should frighten children and they do but also carry a tone of curiosity and fascination. Perhaps because these same fairy tales were always able to show great light with the darkness. There is no Prince Charming or White Knight in Pan's Labyrinth to rescue Ofelia. She is locked in a tower that she can only save herself from. It is this fact that she must depend on herself with no hope of a Deus ex machina that separates Del Toro's film from most other fantasy outputs. Even though there are fantastic elements, the rules of the real world apply and that includes facing down man's greatest nemeses, the evil within himself.
The Pale Man creepy invention of Guillermo Del Toro.
The acting in Pan's Labyrinth is top notch. Ivana Baquero plays Ofelia as an innocent, but not oblivious to the horrors surrounding her. Ariadna Gil as Ofelia's mother is quietly convincing as a woman who married simply because she no longer wanted to be alone. When Ofelia exclaims to Carmen that she is not alone, listen to the heartbreak when she explains to her daughter, "When you're older, you will understand". Maribel Verdu and Álex Angulo as Mercedes and the doctor are expertly portrayed as noble beings in a cruel world. But this film, performance-wise belongs to Sergi Lopez as Vidal and Doug Jones, who not only plays The Faun, but the frightening Pale Man as well. There are subtle physical cues and nuances that Jones gives to the two completely different characters that remind me of Johnny Depp's choices in playing Jack Sparrow in Pirates of the Caribbean.
Guillermo Del Toro (born 1964) may be the most imaginatively ambitious filmmaker in the world today. He creates places and characters brand new, from doodles and sketches he places in various notebooks he travels with. His feature film debut, Cronos gave the world a taste of his talent. He exploded onto mainstream cinema with the highly underrated Mimic (1997) - even I was a skeptic before I saw the film, and left the theater highly entertained. He has since been known as the Hellboy guy, or even moreso, the man who will direct the adaption of J.R. Tolkien's The Hobbit; I have stated many times with friends that if there was another choice to direct any of the Lord of the Ring films, it would have to be him. His sense of style made Blade II watchable.
Guillermo Del Toro with Doug Jones.
He, along with fellow Mexican filmmakers Alfonso Cuaron and Alejandro Gonzalez Inarritu have created somewhat of a new renaissance of Mexican film. Del Toro's films, as well as Cuaron's Children of Men, Harry Potter and the Prisoner of Azkaban and Y Tu Mama Tambien, along with Inarritu's Amores Perros, 21 Grams and Babel are examples that Mexico, despite their poverty, overflows with creativity. The three trade actors, technicians and show general support for each other, much like how Spielberg, Lucas, Coppola and Scorsese shared ideas and crew in the 1970's. There are parallels here the best filmmakers are the ones who are involved in a circle of support.
Pan's Labyrinth is a winner of three Academy Awards, along with numerous other accolades. This is one of the most unforgiving tales in regards to creativity. The two worlds that exist in Del Toro's universe should not be intertwined, but they are and the film plays true right until the final credits. It is a testament to the power of imagination the kind that inspires children to read; the kind that inspires those same children to pursue and carry out their own dreams.
Pan's Labyrinth Trailer:
{Film Passport Stamped}
Coming Attractions: Part One of a retrospective look into the films of the man many declare as one of if not the greatest filmmaker of all time.
Questions or comments? Email me at aa24frames@aol.com!!!
