I don't see very many Mexican movies which I think are great.Though I would never own Pan's Labyrinth, I do think this is a great one, deserving all the recognition that it got, and I'm very impressed, and even proud that the movie is Mexican.The story is very simple, yet it embraces several different themes with class, and style.It is, essentially, a children's story set in Spain during World War ll, and centering around Ofelia (Ivana Baquero), a lonely little girl who's mother is carrying the child of a fascist named Captain Vidal.Vidal could care less about his new wife and stepdaughter, and focuses solely on the child whom, he is certain will be a boy.Because it is a difficult pregnancy, the mother is forced to stay bedridden, and Ofelia is placed in the care of Mercedes (Maribel Verdu), a caring woman who quietly despises Vidal, and has been secretly plotting against him.Then, one night, Ofelia follows a fairy into a labyrinth on her stepfather's estate.There she meets a Fawn (Doug Jones) who tells her she is a Princess, the daughter of a great King in an underground land, and that she must pass three tests if she is to return to her Kingdom, and be reunited with her true family...Ofelia agrees, but trouble looms on the horizon, as rebels that have gone against the Nazi regime, unite against Vidal, and the three tests (which seem to Ofelia to be simple) could ultimately destroy her.This movie is enchanting, and strangely soothing.It's a fairy tale with depth, told from several points of view, and which comes up for air every once in a while to reflect on tyranny of the Nazi regime. Ofelia's mother, who's probably going to die in childbirth. Mercedes, who would like nothing better than to see Vidal dead. And Vidal himself, who's determined that his legacy should live on through his son.A really, really terrific movie. A masterpiece, I dare say, by Guillermo del Toro. Quiet, thoughtful, and mesmerizing.Originally, Review #67

Oh boy, how I hate this movie! I have heard so many good things about it, then the high rating on Imdb. I guess who thinks this movie is "magical" and "great" also thinks Game of Thrones is the best thing ever. There is not much magic, but there is torture and violence that makes you want to vomit. I was disturbed and disgusted. Let me tell you, I have seen many horror movies with lots of blood and violence, so it takes a lot to make me feel like this. I give it 3 stars, because the cinematography wasn't bad, the lullaby played at the end was beautiful. The whole atmosphere had something special. I can see why people are somehow captivated by this very dark tale. But that doesn't mean that the movie deserves the high praise. I honestly thought the charcters were pretty cliche. The weak woman who marries a general because she needs financial support for her and her daughter. The general was a spanish Hitler. Then the rebels and the housemade who helped them. I didn't think there was something new or intriguing about the war story. They dragged it out too much. The whole story about the princess and the labyrinth had more potential, I was looking forward to that. I give this movie credit for creating the creepiest monster I have ever seen on televison. Unfortunately I cannot give more than 3 stars for this torture porn movie that disguises itself as a thought provoking fantasy tale for adults.

Second viewing: My appreciation only grows. Interpretations-1st interpretation: Ophelia's world is real- happy ending.If this interpretation is valid, we deal with themes of war and disobedience. Here, Pan's Labyrinth serves as an allegory against the totalitarian regime of Fascist Spain, symbolized by Vidal. Vidal is represented in the fantasy storyline by the Pale Man; they both sit at the end of the table at the feasts, and they are both violent and cruel. Furthermore, the Pale Man is an allegory to "Saturn Devouring his Son" by Fransisco Goya, as both Cronus and the Pale Man eat the heads off of their victims first. If Cronus represents the Pale Man, and the Pale Man represents Vidal, and Vidal represents Fascist Spain, Del Toro implies that Fascist Spain is just as cruel as Cronus; like how Cronus devours his own sons, Fascist Spain kills their own people.2nd interpretation: Ophelia's world is her imagination- tragic ending (or is it? Some might say that she was better off dead than having to live with her terrible hardships).If this interpretation is valid, we deal with themes of self-deception and how reality and fantasy can coexist. Here, Pan's Labyrinth explores how Ophelia creates a fantasy for herself to deal with the harsh realities of war. In this case, we can interpret the final fantasy sequence as Ophelia's imagination, her creation and the world she wished to live. Besides, you can tell she is still alive, as Del Toro shows her lips quiver right after the fantasy sequence.Observations-*The film features many smooth cuts, which Del Toro hides with trees and black screens. This could imply how reality and fantasy intertwine, supporting the second interpretation. BUT smooth cuts never go from fantasy to reality or reality to fantasy, only fantasy to fantasy or reality to reality. This could suggest the first interpretation, where reality and fantasy are separate.*Vidal sees the monster under the bed, which supports the 1st interpretation. Yet at the same time, he does not see the faun at the end, which supports the 2nd interpretation. But again, Vidal has just consumed some kind of poison, so it may be his hallucinations in which he does not see the faun.*Del Toro never cuts away from the violence, emphasizing the brutality of war.*Cinematography is magnificent- dark, gloomy, blue colors in reality sequences to depict its dreariness, while bright, vibrant reds and oranges to depict enthusiasm. In the final scenes, the reds of blood and explosions stand out because the blues have become so common with the eye. Del Toro consciously had the blood and explosions to stand out to emphasize the violence of war.*Notice how Del Toro establishes tension between Ophelia and Vidal; When Ophelia shakes with the wrong hand, Vidal points it out, forming an uneasy tone between them. This first encounter between the two main characters in their respective storylines is vital for their relationship in the future scenes, especially the climax.Bottom line is, both interpretations are valid, and Del Toro utilizes both of them to deliver both of their respective themes.As magnificent as this film is, there may be authenticity flaws. For example, why didn't Mercedes kill Vidal after she escaped? Is she still obedient to Vidal? Then why did he directly disobey his order at the end when Vidal asked to tell his son the time of his death? For me, it's clear why Del Toro left these authenticity flaws: to drive the story forward. Attempting to patch these flaws would've been at the expense of pacing, and the audience's engagement is more important than plot holes.After all, these flaws are more or less hidden; visible only to those who know where to look.

At this point I think the problem is mine. Anytime a new Del Toro movie comes out, I think that finally I'll like this one. But no. None. Never.