Kira Moore

Explore how meaning is created through mise-en-scene and cinematography in 'Pan's

Labyrinth'.
The meanings created by cinematography and mise-en-scene in Guillermo Del Torro's 'Pan's
Labyrinth' are generally in regards to the reality of fascist Spain and the fantasy world Ofelia
constructs for herself. The meanings being that fascist Spain is an oppressive place to live in
and that the fantasy world may not be just a fantasy.
The first truly strong exploration of both these meanings is in the 'Pale Man Scene'. This is the
second task Ofelia must complete if she is to take back her throne as princess of the
underworld. This scene opens with a close-up of a fairytale-like book. The mise-en-scene of this
entire shot is easily comparable to the opening of many fairytale films (generally produced by
Disney). Henceforth the meaning of fantasy and reality begins to be explored. After Ofelia
completes the instructions to get to the Pale Man's lair there is a dolly out shot of her looking
through the door she has made. This both shows Ofelia as small and the child she truly is and is
comparable to the rabbit hole in 'Alice in Wonderland'. There is also a close-up of the hourglass
Ofelia uses. This theme of time is seen throughout the film but is also comparable to the theme
of time throughout 'Alice in Wonderland'. This is an intertextual reference typical of the post-
modern genre Del Torro generally uses. This means the audience will already have hindsight on
some of the issues within the film as they are approached from a familiar perspective. Hence
the difference between fantasy and reality is blurred even through the subtlety of intertextual
references.
The mise-en-scene is first eluded to in this shot through the door. The first we see of the Pale
Man's lair is red. Red walls, red pillars and red floors. This immediately connotes danger and
blood. This is carried through in a tracking shot as Ofelia reaches the Pale Man's table. All the
food is red and that her head is level with all this food connotes that she is something for the
Pale Man to eat. This is confirmed in the pan shot of the paintings of the Pale Man eating
children. This shot is accompanied by the sound of children crying and screaming. This is not
loud and has an echoed effect making it unclear as to whether it is diegetic or non-diegetic. This
blur in the line between what is real and what is not for the characters in the scene lead me to
connect it to the viewer's perspective on the entire film. It is as though Del Torro points out how
it is hard to discern what is real and what is not in the film, for the characters as well as the
viewer. This is perhaps to give the viewer a unique perspective on the meaning behind the film.
If a child has to alter their own reality to function what does it say about the conditions of real
life? Especially when the fantasy isn't pleasant.
Once Ofelia notices the Pale Man she picks up his eyes. Eyes are a recurring motif in 'Pan's
Labyrinth' especially in connection with mouths. The fireplace behind the Pale Man also has
eyes and a mouth as do the locked doors Ofelia has to open to complete the task. This is all an
extended metaphor for what it is like to live in fascist Spain. You see all these atrocities being
committed (the holocaust etc) but you can say nothing for fear of death. This is furthered by a
close-up shot of a pile of children's shoes with a fire in the background. A near direct reference
to how they burned Jews and piled up their shoes during this time. In Ofelia's fantasy world the
mouths are always open meaning that in her mind everything should be said. Hence the
meaning of life in fascist Spain is explored. This is furthered through a mid-shot of the Pale Man
at the head of his table. This is framed in nearly the exact same way as a shot of Vidal at the
head of his banqueting table. This foreshadows Vidal as a cold-blooded killer and presents
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those who believe in fascism as monsters and monsters are the leaders and the meaning
behind fascism.
Another key theme in 'Pan's Labyrinth' is disobedience. This is first seen when Ofelia chooses
the left locked door instead of the centre one that the fairies point her towards. She has
previously been told to let the fairies guide her. The close-up of the key and of the door she
unlocks makes this seemingly superficial disobedience seem weighted. That this shot is also
then cross-cut with a close up of the hourglass again adds to the importance of disobedience
here. This again is an exploration into what it means to live in fascist Spain, you mustn't disobey
again for fear of death. It is a very oppressive way of life, so oppressive even a child seeks
escape from it by means of a fantasy world. Again, this fantasy world is highlighted by a point of
view shot from within the door Ofelia opens. It gives us another image from 'Alice in
Wonderland' where she is too big to fit through the door she has opened. The presence of the
'Eat Me' table is also evidence of this, temptation is also important as she has been told not to,
but does. Again, disobedience but here we see it punished as it would've been in fascist society
because disobedience leads to rebellion.
There is a close-up of the Pale Man waking up which pans up to his face. There is a prolonged
close-up of him putting his eyes into his hand. This too is perhaps a metaphor for life in fascist
Spain as the Pale Man can either see or do, never both at once. There are the people that see
but cannot do (those not in power) and the people that do but cannot see (those in power). After
this point, the editing speed up and tension is created. Because Ofelia has disobeyed she is in
danger; this foreshadows her demise towards the end of the film after her final defiance.
The fairies attack the Pale Man who easily catches and eats them leaving blood around his face
and on his hands. This grotesque image and use of mise-en-scene is a marker of Del Torro as
an auteur, but also highlights how horrifying reality must be to Ofelia. In order to escape she
creates a fantasy that is just as horrifying. However, it is eluded to that she considers this place
better as the lighting is always warm and orange whereas in the 'real world' the lighting is cold,
low-key and harsh, often with a cold blue tint. It is better to be hunted by a child-eating monster
than live in fascist Spain. Therefore, the meaning created here is that fascist Spain is such a
truly unbearable place to live in nearly anything is better.
At the end of this sequence Ofelia is almost trapped and has to stand on the very top of a chair
causing it to wobble precariously. The combination of the close-up with a shallow depth of field,
so we see only the figure of the Pale Man approaching, with the mise-en-scene of the chair
creates the meaning of this fantasy. The way she precariously wobbles to me was metaphorical
for her grasp on reality. She is very close to falling completely into this fantasy but escapes just
in time.
Another sequence these meanings are explored in is the end sequence where Ofelia runs to
meet the Faun in the centre of the labyrinth with her brother. However, this sequence focusses
more on the meaning of whether what Ofelia sees is real or truly just in her head. There is first a
mid-shot of Ofelia finding a dead end and the labyrinth moving around her to give her a clear
path to the Faun. This shot then pans to Vidal running into the same dead end. This suggests
the labyrinth really did move around Ofelia and that it isn't all just in her head.
There is then a two shot of her with the Faun and disobedience is again presented. There is a
low angle shot of the Faun asking for Ofelia to hand over her brother. Here the low angle shows
the Faun has all the power but she still disobeys. As aforementioned this explains life in fascist
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Spain. However, Vidal then enters the centre of the labyrinth while Ofelia talks to the Faun.
There is a point of view shot from Vidal of Ofelia and no Faun. At first glance this made me think
that it had all been in Ofelia's head but then again Vidal has been heavily drugged at this point
making me doubt his perception. Here we see how the meaning of fantasy and reality and the
difference between them is explored. Del Torro deliberately never gives me a clear answer as to
whether what Ofelia has been through is real or not.
After her disobedience, the Faun then disappears too and Vidal takes Ofelia's brother away
from her. The last thing she say is "No.". The last thing she does is disobey and she is killed
bringing the entire meaning of fascist Spain to a close. At this point Vidal has blood on his
clothes, mouth and hands. The same as the Pale Man did. He has also now become a child
killer too which brings the meaning of power in fascist Spain to close too. Vidal leaves the
labyrinth to greet a group of rebels that have destroyed his base. There is a close-up after he
hands his son over of his request for them to tell the story of how he died. He is disobeyed with
a clear "No. He won't even know your name.". In the end those that could previously only see,
not speak or do win. There is then an extended close-up of Vidal being shot. Grotesque as with
the Pale Man. The monsters don't win.
There is then a cross fade to a mid-shot of Mercedes finding Ofelia who has been shot. There is
a close-up of the blood on Ofelia's hand dripping into the hole that is the centre of the labyrinth.
This hole also comparable to the rabbit hole in 'Alice in Wonderland'. There is then another
close up as the same warm lighting as in the Pale Man sequence lights Ofelia. This transitions
to a shot of Ofelia in red shoes before the thrones of the underworld. The mise-en-scene of the
red shoes is another comparison to fairy tales this time being 'The Wizard of Oz" where it is also
never made clear what is real and what is not. Another intertextual reference as a mark of Del
Torro as an autor and of the post-modern genre.
Therefore, through mise-en-scene and cinematography the meaning of life in fascist Spain is
created as oppressive and cruel and the meaning of fantasy and reality is presented as never
truly being separate.