Pan's Labyrinth Task

Pan’s Labyrinth                                                                                                

“With reference to two scenes from ‘Pan’s Labyrinth’, explore how cinematography and mise-én-scene create meaning”

Pale Man Scene: 53:04 - 59:41

The mise-en-scene and the lighting techniques in this scene are really bold and different, contrasting well to visually create the different worlds (the real and the fantasy world) which Ofelia leads us through. The contrasting colours also represent the strong conflict throughout the film. For example, the cool tones and low-key lighting in the real world represents the facist regimes that Spain were under during the time period, but also showing how dull the real world is compared to Ofelia’s fantasy world, this is demonstrated most prominently throughout this scene. The dark and eery feel towards the real world, and generally speaking, the whole films aesthetic, reflects on Del Toro as an auteur. This also shows in his work as film such as "Hellboy" and “Crimson Peak” have similar colour schemes, aesthetics and the way that mise-en-scene is used very constantly throughout all of his films.   

Initially in the opening scene of the sequence, the mise-én-scene in Ofelia’s room has a low-key lighting which consists of cool tones of green and blue, an effect which is demonstrated throughout the shot. The lighting creates meaning as the constant low key lighting and the added change in colour tones has connotations to death, illness and shows that all the characters are under control by Captain Vidal and his fascist regime.

The genre of the film is a fantasy, however it is also an example of a non stereotypical fairytale. The theme of disobedience runs throughout the entirety of the film as the characters don’t follow the set rules to a typical fantasy story. This also makes the plot of the film more unpredictable as it does not have the same format as a typical Walt Disney created fantasy film, which is stereotyped by the concept of having an uplifting storyline and happy endings. 

In “Pan’s Labyrinth,” there are many intertextual references from other films, stories or fairytales, however there is a reference to two characters within the film itself; The Pale Man and Captain Vidal. When Ofelia explores the chamber discovering the Pale Man sat at the end of the table (with the open fire place behind him) this draws comparison to Vidal as he is sat in the same position later on in the film in the real world. Both characters are presented as greedy as both tables have mass amounts of food on each one, this gives the impression that they are giving themselves more and rejecting the needs and standards of others. More obviously shown by Vidal as he in control of the food rations for others but the rules do not apply to himself at the dinner party. The link between these two characters suggest that the product of fascism turns you into a creature, almost unrecognisable, becoming the Pale Man or something very similar. Other references link to the Holocaust, representing the systematic genocide of an entire religion such as the pile of children’s shoes from all the Pale Man’s previous victims. The mise-en-scene also shows the victims being eaten in the form of paintings, influenced by Francisco Goya’s work, more specifically inspired by the painting, “Saturn Devouring His Son”.  

Ending cyclical scene: 1:40:13 - 1:44:12

When Ofelia reaches the Fawn with her brother, whilst running away from Vidal, she disobeys the rules again that the Faun had set her by not handing her brother over. The editing is shot-reverse-shot, showing the conversation between both characters, however they are shot at different camera angles. Ofelia is filmed from a higher angle, making her look smaller (as she is lower down) as she is a vulnerable child whereas the Faun is shot at lower angle as he is taller and, in this scene, he is angry showing he is intimidating towards Ofelia as she has gone against his instructions once again.

 As Captain Vidal finds Ofelia, the mid-close up shot shows his reaction when he sees Ofelia talking to no one instead of seeing her talking to the Faun. Despite Ofelia drugging Vidal, this may not be why he cannot see the Faun. There is the possibility that the fantasy world is all in Ofelia’s head as she perhaps uses it as a distraction to cope with the living conditions she experiences from being controlled by Captain Vidal, and the other issues in her life. This is an interesting concept and is all down to personal preference and independent thoughts about what is happening in this scene. The contrast in visuals are shown by the change in shots between each character (shot-reverse-shot) to visually compare the different experiences they are witnessing.

 Due to Ofelia’s actions and disobedience, the Faun leaves and as soon as he does, Vidal enters the shot, taking the baby. The only diegetic sound in the scene is the desperation of Ofelia’s voice when her brother is taken from her. Vidal points his gun towards her. With no mercy and with no emotional connection with Ofelia, he shoots her, creating a diegetic gunshot sound and a close up of Ofelia’s face as the event occurs. It is obvious Captain Vidal doesn’t care about Ofelia as there was no dialogue or conversation between the two characters, only actions. Also his facial expressions were the same throughout the scene, shown in a mid shot. As Vidal walks away, Ofelia reveals the blood from her gun shot wound on her hand. The contrast between the strong red of the blood and the usual dull, cool toned and low-key aesthetic of the real world, emphasises the event of the shooting to be traumatic as it creates an initial shock for the audience as they see so much blood and Ofelia is only a child. The close up of Ofelia’s face also captures the shock and disbelief. Soon, she falls to the ground recreating the opening scene of the film, creating a cyclical effect but this time showing the whole backstory of how all the events occurred.   

As the Captain walks away from Ofelia, the camera is behind him, showing what is in front of him. The camera follows him, gradually dollying towards him, revealing a crowd of Spanish rebels. Also in this shot, the use of pathetic fallacy as the weather reflects on the events in the scene showing the conflict between the Spanish and the historical context, but also reflecting on the previous events of Vidal shooting Ofelia. The sky varying in colour, a mixture between the cooler toned and low-key lighting and the bolder, warmer and more saturated colourful lighting usually found in the fantasy world. The lighting creating multiple meanings as the colours representing the end to the fascism and controlled regimes and also the joining point of both worlds were through Ofelia. The sound is diegetic of Vidal’s footsteps, walking over to the rebels handing over his son.    

More intertextual references demonstrated in this scene of an obvious reference to “Alice In Wonderland,” shown through Captain Vidal and his obsession with time, drawing similarities to the white rabbit. Vidal checks his pocket watch and requests the Spanish rebels to tell his son what time he died. The theme of disobedience is demonstrated once again as the rebels decline his request and shoot Vidal straight through his face. 

Throughout “Pan’s Labyrinth,” cinematography, lighting and mise-en-scene are really significant as they create meaning through the on going themes and physical features of eyes and mouths, plus other aspects including secrets and disobedience. The context of the film and when it was set is important as it contributes to the style of it, making it another reason why the film is as effective as it is. The film also breaks the traditional concept of a stereotypical fantasy story and makes it much more than a fairytale, resulting in a film with a moral and references to re-enforce the message implied. Using the techniques of cinematography, lighting and mise-en-scene to create meaning, the film is made to feel as authentic as possible and emphasises the messages and themes throughout the duration of the film.