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Ofelia (Ivana Baquero) is a young girl in a remote mountain village in Spain in 1944 after Franco's ascension to power. To escape the upheaval and hardship her family faces (her father died in the war and her mother has been forced to re-marry to a despotic captain in Franco's fascist army), Ofelia creates a world in her mind, where she's guided by a ghastly yet kindly fawn creature.
The captain, it soon transpires, is more interested in the son Ofelia's mother is carrying than he is in either Ofelia or her mother. Mercedes (Maribel Verdú), the captain's considerate servant, and Dr. Ferreiro, the captain’s physician, are, it transpires, in league with the revolutionaries in the woods surrounding the army encampment. These resistance fighters are intent on liberating the rationed food and medicines they need.
As the increasingly manic and paranoid captain assassinates anyone who looks at him the wrong way with alarming regularity, Ofelia's secret quests set by the fawn creature to unlock the portal to another world become more and more urgent.
With its deft mixing of CGI and actual character scenes, political and social statement, Pan's Labyrinth has been referred to already as “The Citizen Kane of fantasy films.”
Film: Pan's Labyrinth - Special Edition
Release date: 28th February 2011
Certificate: 15
Running time: 119 mins
Director: Guillermo del Toro
Starring: Ivana Baquero, Sergi López, Maribel Verdú, Doug Jones, Ariadna Gil
Genre: Drama/Fantasy/Mystery
Studio: Optimum
Format: Blu-ray
Country: Spain/USA/Mexico
Film: Pan's Labyrinth
Release date: 19th November 2007
Certificate: 15
Running time: 120 mins
Director: Guillermo del Toro
Starring: Ivana Baquero, Ariadna Gil, Sergi López, Maribel Verdú, Doug Jones
Genre: Drama/Fantasy/History/War
Studio: Optimum
Format: Blu-ray
Country: Spain/USA/Mexico
Often revered as a landmark in contemporary world cinema, as well as establishing Guillermo del Toro as an international artistic force to reckon with, 2006’s Pan’s Labyrinth gets a presentational overhaul on Blu-ray courtesy of Optimum Releasing.
Set in Franco’s post-civil war Spain, the film revolves around Ofelia (Ivana Baquero); an 11-year-old girl obsessed with fairytales, much to the chagrin of her heavily pregnant mother Carmen (Ariadna Gill) and her new stepfather, Captain Vidal (Sergi López). Ofelia and her mother are relocated to Vidal’s rural mill-turned-military outpost so that he can be present for the birth of his heir to be.
As Vidal and his troops mop up the last pockets of leftist resistance hiding out in the nearby countryside, Ofelia befriends Mercedes (Maribel Verdú), one of Vidal’s housekeeping staff who’s secretly assisting the rebels, as well as a magical Faun creature (Doug Jones) that resides in a nearby and ancient labyrinth. The Faun informs Ofelia that she is the reincarnation of a lost princess from an underground realm and, in order to return as the kingdom’s heir, must complete three challenges before the next full moon…
Pan’s Labyrinth was very much a labour of love for its director, Guillermo del Toro (perhaps better known by some for helming the Hellboy films), who reportedly turned down multiple offers of lucrative Hollywood capital for fear of it compromising his vision. And while they say that love is blind, the film, though highly accomplished, is not without a few imperfections.
Visually, the film is a master class; the cinematography is assured yet not overly indulgent, gliding though scenes with an interesting mix of majesty and economy. This is further assisted with some very careful editing, using foreground objects such as trees and furniture to wipe from one graceful shot to the next, slipping from reality to fantasy and then back with breathtaking ease. Del Toro’s use of colour, light and, perhaps most importantly, shadow also lends the film further dark visual charm.
Performances are uniformly good, especially Baquero, who proves to be a child actor of incredible potential, and is convincing throughout, even if is the script does infrequently call for her to make some questionable/overly naïve decisions. Supporting roles are also brilliantly textured; Verdú’s Mercedes is executed with a quiet dignity, whilst López makes for a fine antagonist and an effective hate figure thanks to his character’s occasional flashes of sadistic brutality and altogether self-serving attitude. His legacy is all that matters to him, much to the detriment of his wife – a nicely pitched performance by Ariadna Gill; the controversial decision to transport her to the outpost so late in her pregnancy because “a son should be born where his father is.”
Production design is also astounding; from the subterranean labyrinth chamber, to the muddy dwelling of the Toad, to the lavishly haunting corridors and vestibules of the Pale Man’s (also played by Jones) banqueting room. The level of detail on show here should be the rule as opposed to the exception in filmmaking as, in all honesty, Pan’s Labyrinth looks and feels more original than it actually is, mostly because of its dedication to aesthetic.
The film is essentially a gothic fairytale placed in a real world setting that juxtaposes between the two, as Ofelia finds solace from the grim situation that has been thrust upon her. Many staples from that style of storytelling are present - there’s the picturesque, verdant and antiquarian locale, the young girl as protagonist, and wicked stepfather as antagonist. The inclusion of the Faun is a derived from Greek mythology, and the Pale Man’s banquet scene feels like a morality tale in itself about the perils of temptation, or a nod to Eve eating the forbidden fruit in the Garden of Eden.
Del Toro’s skill at being able to blend two seemingly incompatible iconographies – the gothic fantasy and the period war drama respectively – is highly commendable, and is one of the key elements to the film’s overall success. However, it’s interesting and rather surprising how little screen time is actually dedicated to Ofelia’s fantasy adventure (only about a quarter of the film in total) as it is frequently cast aside to further the wartime drama/resistance storyline. On one hand, this serves as a fine and dynamic counterpoint to Ofelia’s fantastical psychosis, placing the narrative in grim and dangerous surroundings, which evokes a quiet and necessary tension, as well as a compelling reason for Ofelia to retreat into such imaginative recesses. On the other hand, there are occasional moments that dwell on this aspect for too long, moving the story perilously close to the usual war/resistance genre pitfalls; personified with the usual self-righteous retorts of “why do you continue putting your life in danger for a lost cause?” and “as long as [insert antagonist’s name] is still in control, we will continue to fight,” etc.
Unfortunately, those who have a solid grasp on fairytale/fable mechanics will likely second-guess certain developments in the plot. There are also some lapses of logic present within the narrative. For instance, Mercedes gives her rebel comrades the only key to the outpost’s food and medical supply store, which they promptly raid. After distracting Vidal and his men by derailing a train, they storm the camp in a very loud and un-covert manner, using the key to access the store, and subsequently leaving the lock unfastened and undamaged - letting Vidal know instantly that there’s a traitor amongst his staff. Seeing as they went in all guns blazing – or did so as they were about to make their escape – they may as well have just forced the lock to avoid suspicion. There are also a couple of missed opportunities to cut short Vidal’s micro-dictatorship that pass by without adequate justification.
Another flaw with the real world aspect of the film is its use of computer assisted violence and blood effects to mixed results. Granted, the film’s occasional moments of brutal violence serve as another necessary counterpoint to the fantasy element of the story – a wakeup call, if you will – but also come across as detached and, at times, strangely unrealistic. The film’s first violent outburst – that showcases Vidal’s uncompromising ruthlessness by stoving in a farmer’s face with the base of a wine bottle – looks particularly false, and is the weak link in an otherwise visually strong piece of filmmaking. It’s a strange creative decision, considering the great effort that’s gone into the other departments, particularly the costume and creature effects, which provide many of the film’s most memorable moments. It’s ironic, and perhaps intentional, that the violent aspects of the real-world plot appear fake and fabricated when compared to the more organic, practical effects utilised in the fantasy-world.
As for the Blu-ray presentation, it’s more than satisfactory. Detail is marvelous, allowing the eyes to revel and fully indulge in the film’s wonderful production design with no noticeable technical faults (macro-blocking, aliasing, etc). Colour reproduction is also fine, and has even improved some of the special effects: the computerized blood, for instance, appears darker that it did on DVD, as does the Toad who lives under the tree, helping them to better assimilate with their live-action surroundings. The surround sound mix is also breathtaking.
Niggles aside, Pan’s Labyrinth deserves the majority of its accolades. A strong, confident opus filled with lush imagery and engaging performances, the film is a minor masterpiece of form – although the content sometimes suffers – and works as an apt showcase for del Toro’s filmmaking talents. Pan’s Labyrinth comes recommended. MP
Film: Leaving
Release date: 29th November 2010
Certificate: 15
Running time: 85 mins
Director: Catherine Corsini
Starring: Kristin Scott Thomas, Sergi López, Yvan Attal, Bernard Blancan, Aladin Reibel
Genre: Drama/Romance
Studio: Metrodome
Format: DVD
Country: France
Leaving’s subject matter of an affair between a disaffected, middle aged, middle class housewife and a younger, working class man sounds an over familiar tale, but there is an unexpected sting.
The apparent perfection of Suzanne’s life is superficial. Her elegant appearance, marriage to an affluent doctor and stylish home provide a tastefully minimalist mask for the emotional emptiness of her existence. Like many a fictional heroine before her, her identity is subsumed in her role as housewife and mother.
When workmen are brought in to construct a studio where Suzanne will pursue her new career as a physiotherapist, she grows close to one of the workmen, Ivan, and embarks on an affair with him. So far, so unremarkable, but the film takes a far darker path than the romantic escapism that might be the expected consequence of its premise.
When Suzanne leaves her family for her lover, her husband reacts violently, and uses his contacts and influence to cut off the couple from any means of earning a living. Driven to near starvation, Suzanne grows increasingly desperate, determined to stay with her lover at any cost. Familial relationships disintegrate and the norms of behaviour are disregarded, culminating in a dramatic denouement…
The film’s apparently romantic theme is belied by a pervasive austerity, in its dialogue, cinematography and its clear-eyed, unsentimental characterisation. The dialogue is fairly unremarkable, and there’s a banal ugliness to some of the scenes that seems deliberate – the tinny sound of a van door closing, or the shabby surroundings of Ivan’s flat. When scenes occur within a beautiful setting, these standout all the more, and they are all associated with Suzanne’s feelings for Ivan – contemplating escape together among the thickly wooded, majestic hills of Languedoc-Roussillon, or watching Ivan’s daughter playing in the sea as sunshine bounces off the waves.
The house of Suzanne’s white coat clad husband is bathed in a blue and northern light, which appears uncomfortably wintry and sterile in contrast to the warm sunshine associated with Suzanne’s lover. The initial scenes of the film, setting up the context of Suzanne’s family life, are interspersed with a blank black screen, and these moments seem to last fractionally too long, creating an uncomfortable sense of the silence and emptiness within the family. As Suzanne’s affection for Ivan grows, these blank interludes appear to diminish.
The role of Suzanne was created for Kristin Scott Thomas, and this gives some indication of the intentions of director Catherine Corsini. In the hands of a lesser actress, the film could have descended into the realms of TV drama, but Scott Thomas is one of those actors who can create a performance that is more than the sum of its parts, and Corsini obviously had this in mind when creating the role. Scott Thomas conveys typical French poise at the film’s beginning, so her transformation from chic to shabby is all the more shocking. Her portrayal of Suzanne’s blossoming affection for Ivan is warm and naturalistic, and she convincingly conveys the indignity that sexual obsession can bring about, a desperation and growing irrationalism which provokes our sympathy, as Suzanne’s behaviour plays havoc with the insincere politeness’s of bourgeois family life.
Scott Thomas’ compelling performance means that Corsini doesn’t have to use the sentiment of poetic dialogue or overblown cinematography to give the story its magnetism, with the result that the film’s depiction of the realities of marital infidelity is more realistic and disturbing than you would expect at its outset. Sergi Lopez, as Ivan, and Yvan Attal, as Suzanne’s husband Samuel, both provide excellent supporting performances. We’re denied the satisfaction of making black-and-white judgements on these characters as they are, unsettlingly, too subtly shaded for that. Ivan seems patient and affectionate, but we learn little of his past – Suzanne discovers that he has been in prison, but not why. Samuel’s reaction to Suzanne’s declaration that she is leaving him is frighteningly violent, and his continued persecution of her and her lover displays a vindictiveness that leaves no room for compassion. But this viciousness is tempered by earlier scenes in which Samuel shows a tender concern for Suzanne, and the humiliation of his situation makes his behaviour understandable, if still unpalatable at best.
There’s a pared down fatalism to the film which has echoes of classical tragedy, which looked with a similarly dispassionate eye at the loves and losses of the human soul. But despite – or because of – the film’s austere heart, and despite the fine performances of its cast, there’s something lacking in Leaving. When Suzanne’s actions become so desperate that in them you can see the seed of her self-destruction, it becomes increasingly hard to sympathise with her. Without that strong engagement with her character, and in the absence of any compensatory strength in Ivan or warmth in Samuel, you begin to feel distanced from the film. It ultimately substitutes subtlety for the grander gestures of sacrifice.
Leaving’s unexpectedly nasty edge renders its depiction of sexual obsession, marital infidelity and disintegrating family life compelling and disturbing in equal measure. Scott Thomas’ strong performance lends a truthfulness and warmth to the film, but the violently irrational development of her character fails to convince. A fine film rather than a great one. KR
Kristin Scott Thomas brings another extraordinary performance to the screen, with a role that has already earned her a nomination for France’s highest accolade for an actress – Best Actress at the Cesar Awards 2010. This is Kristin’s first French-speaking lead role since I Loved You So Long, which garnered high critical praise and earned over one million pounds at the UK box office.
Suzanne (Scott Thomas) is married to Samuel (Yvan Attal) with two children. When she decides to go back to work as a physiotherapist, it brings her into contact with a builder called Ivan (Sergi Lopez), an odd job man who has been to prison. The mutual attraction is sudden and violent. As Suzanne spirals out of control, she must decide between her family or living this all-engulfing passion to the full.
A stunning portrait of the destructive consequences that love can have, at the centre of which is a scintillating performance from Kristin Scott Thomas..
Film: Leaving
Release date: 29th November 2010
Certificate: 15
Running time: 85 mins
Director: Catherine Corsini
Starring: Kristin Scott Thomas, Sergi López, Yvan Attal, Bernard Blancan, Aladin Reibel
Genre: Drama/Romance
Studio: Metrodome
Format: DVD
Country: France
DVD Special Features:
•
Exclusive Cinemoi interviews with the cast and crew
•
UK Theatrical trailer
