Plain and simple: Writer-director Guillermo del Toro's Pan's Labyrinth is one of the tastiest treats of the 2006-2007 season. He deftly depicts both beauty and horror in a visually stunning and unique film.
The year is 1944 and although the Spanish Civil War has been over for five years, the turmoil endures as rebel groups continue to fight the harsh rule and oppression of the Nationalist Army. When Ofelia (Ivana Baquero) and her pregnant mother Carmen (Ariadna Gil) travel north to live with Carmen's new husband, Capitán Vidal, they find themselves amidst brutality, deceit and domineering powers. To escape the grim events occurring around her, Ofelia journeys to a remarkable labyrinth where, with the aid of a mysterious faun (Doug Jones), she must complete three tasks to become the magical world's princess.
While viewers may expect a pure labyrinth-based fantasy adventure, the faun and his world often take a backseat to the grey, brutal reality of war. This aspect of the tale is engaging and contrasts so well with the colorful, dreamlike escapism of Ofelia's quest, that the lack of more labyrinth excitement is hardly missed.
Del Toro's portrait of post-war Spain is incredibly enthralling, largely due to his bold depiction of the sheer savagery and gruesomeness of the sinister nationalists, namely Capitán Vidal. The imaginitve construction of the labyrinth displays a creative prowess that is surprising amongst modern filmmakers, much less the director of Blade II. Del Toro's film carries immense emotional and visual depth with a poignancy that is felt throughout harsh reality and fantastical fairy tale.
From the start Pan's Labyrinth is near perfect storytelling and acting with an ending that will leave audiences both anguished and hopeful.
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