Pans Labyrinth Essay

 Pans Labyrinth-Analysis of Mise-en-scéne and cinematography

Pans Labyrinth contains more secrets and symbolism than most people would see on a single view of the movie. Directed by Guillermo Del Toro, the unique film maker who is behind other epics such as Pacific Rim and HellBoy, this film tells its story of fantasy and reality through the eyes of ‘Ofelia’ in 1944 Spain. At this time, a vicious uprising is occurring by the Spanish people against the army, and the film often asks the question of which world is better, the bloody battlefield of reality or the fantasy world of monsters and magic. Specific themes can be seen throughout the 2006 masterpiece such as a circular motion to the entire motion picture. The film begins with the ending, and throughout, there are links to a circular motion such as the often use of keys in locks, or symbolism in the shape of certain scenes in the film such as the centre of the Labyrinth. 

The two scenes that I am going to be analysing are Ofelia entering the Pale Man’s realm and ‘The death of Captain Vidal’. I have chosen these two clips as I wanted to analyse the cinematography and messages that the reality and fantasy worlds of the film show. This is because as a viewer, we are given mixed emotions towards which one is real/the best.

Ofelia entering the Pale Man’s realm

The scene begins with the camera panning left around Ofelia to bring her to the central point of the screen, showing that she is the focal character of the story. Immediately, the mise-en-scéne of the cool blue tones fill the background and give the clip a relaxing, freezing atmosphere. As Ofelia reads the text in the book, (‘Use the chalk to trace a door anywhere in your room’) a long shot begins highlighting the isolation she has, and the clutter that fills the long, gloomy bedroom. When the camera cuts to a close up of Ofelia’s hand drawing the doorway, non diegetic music creates a mystical, magical feeling. This is further created, when the chalk starts to dissolve through the dark walls, allowing a doorway to the fantasy world to be made. As the stone slab is pushed aside by a curious Ofelia, a quick mid close up shows the glowing orange lights shine through onto her face, underlining the difference of appearance in both worlds. To start with, this glow provides warmth and emphasises the welcoming realm that Ofelia is able to enter. 

When fully opened, the wonder on the girls face quickly drops as she realises the eery appearance that the hallway in front of her contains. The non diegetic music increases this effect of shock and uneasiness by using high pitch violins to create an unsettling environment for the viewer. A medium close up quickly pans backwards and fades to an extreme long-shot, displaying this child’s size in a much more serious, dangerous world. Once the protagonist has fully climbed into this strange world, many non diegetic moans/a breath can be heard in the distance, symbolising a creature lurking here. In addition, the mise-en-scéne of the red walls, and checkered floor symbolise danger and rage, foreshadowing the upcoming terror that is soon to occur. Another example of mise-en-scéne is the light blue outfit that the girl wears clearly shows how she does not fit in with the rest of this realm, and doesn’t belong there.

Furthermore, when Ofelia enters the moan circular room containing the infamous ‘Pale man’, the room is reminiscent of the dining room with Vidal at the head of the table, seen later on in another scene of the movie. Also, this shows how this creature, feared by children, can be compared to the captain. It could be argued which world is worse due to the brutality of Captain Vidal’s orders and acts of violence, and the horrendous realism of some of the creatures and monsters in the fantasy realm. As Ofelia walks up the table, a mid shot tracks right and follows her from the opposite side of the treats, fruits, and other exotic foods that fill the dinner, symbolising greed. These bright colours of gold and yellow also contrast greatly to the rest of the room, drawing attention to the colours and possible taste of the many foods displayed. As a close up of the creature is seen for the first time, a sudden non-diegetic note plays, causing the viewer to feel disturbed. This creepy atmosphere is further created by the silence of the scene, only allowing the diegetic sound if the crackling fire behind the monster to be heard. In addition, the constant theme of circles is shown once again by the three plaques of artwork on the ceiling above the monster. A panning shot moving left displays the brutality and carelessness of the Pale Man as he slaughters children, with non-diegetic screams of children heard in the background to apply a certain realistic sense to the clip. An extreme close up follows of a large pile of children’s shoes in the corner of the room, this shot pans up to a long shot of Ofelia to show the fear and worry on her face. As well as this, the pile of shoes (mise-en-scéne)can be symbolic of a similar distressing location. When the holocaust occurred in Auschwitz during World War 2, piles of shoes, glasses, and other belongings were collected due to prisoners having to take off most of their clothes before entering the gas chambers. This horrible event left reminders of the people’s lives after their death, and is silently placed into the film via these dirty, ancient shoes to display a similar type of horror. Watching the motion of true for the first time, I thought of this event as soon as I saw the shot. 

As the fairies guide Ofelia to open the correct lock on the wall, she suddenly changes her mind and chooses another one, this decision is just another example out of many where disobedience is shown in the film where a character does not comply with what they are asked to do. Many themes surround Pans Labyrinth such as circles, mentioned earlier, and shown here when the protagonist unlocks the small box with a circular motion. Straight after his, the camera cuts to a close up of the hour glass, reminding the audience of the theme of time. This directly links to Vidal’s watch, constantly shown by extreme close ups in the film to represent the theme of time. 

Vidal’s Death

After Vidal shoots Ofelia in cold blood, ending the circular motion to the film, he takes his new born son from her hands and wanders out from the Labyrinth. The cooler tones of the environment and the blue shades on the mazes walls signify how the captain is cold hearted, and how there is a painful, heartbreaking atmosphere. (linking to Ofelia’s death) As he reaches the exit of the Labyrinth, he stops, as the camera pans in to an extreme close up, showing how he knows exactly what is going to happen due to the regret and guilt shown on his bloody face. A forward tracking shot follows from behind Vidal, revealing a crowd of people with the blazing fire of the base lit behind them. This burning shows how everything has been taken from the captain. His wife, his men, and his post have all been destroyed, and now the only thing that remains to be killed is him. The non diegetic main theme for the movie plays at a much slower tempo as the character also moves slowly with careful steps towards the crowd who he has hurt so much. A tracking shot moves right following the captain, but instead behind several people in the crowd, giving the viewer the feeling that every single set of eyes is on him. 

As he comes face to face with a Mercedes and her brother he moves the baby away from his heart and says (‘my son’) offering them it to care for him as he already knows he will not be able to. A series of relaxing guitar notes play as soon as Mercedes touches the blanket the innocent child is wrapped in, and as it quickly cuts back to Vidal, a series of more dramatic notes play. This shows how the music is matching the emotions of both characters, one being proud and powerful, while the other is torn and weak. As Mercedes exclaims how the child won’t even know Vidal’s name, her brother shoots him below the eye, causing a stream of blood (this mise-en-scéne here symbolises tears from the captain) runs down his face. A long shot occurs with the crowd of people lowering their weapons as well as the non-diegetic sound lowering in pitch to symbolise the fall of a leader.