by The Film Blogger

Created on: September 10, 2009

Guillermo Del Toro has always been a director of profound, eloquent vision. Even Hellboy, a decidedly average effort for an auteur such as Del Toro, held in its possession a unique visual style, and as evidenced by his latest picture, has led onto more grandiose and certainly more accomplished efforts - El Laberinto Del Fauno, or Pan's Labyrinth.

The narrative arrives in the heart of war-torn Spain, in which a young girl by the name of Ofelia (Ivana Baquero) is drawn into a fantasy world, where a faun-like creature offers her the title of princess if she can complete three goals for him. Set against this back-drop of warring Spain, the film cuts between Ofelia's journey, and the events surrounding her family, including her step-father, a brash, callous general.

To simply deem Pan's Labyrinth to be an end-of-year treat is an understatement. Going in with fairly high expectations following its endless, near-universal praise, the film still manages to meet, and in many respects, exceed audience furore. The film takes a little while to build, sure, but once it does, it becomes firmly rooted, as the viewer is, in an edge-of-your-seat, intense, emotional rollercoaster of an adventure.

The only real worry with the film is that it almost appears to be marketed towards children, and believe me when I attest that this is in no way a film to be viewed by youngsters. The violence, whilst not gratuitous, is abundant, and fairly graphic (one scene with a broken bottle is unforgettable in its brutality). Whilst children obviously will not be admitted to this 15-rated film, more concern lies with the fact that audiences may dismiss the film as a fluffy film for children, and thereby it will be largely ignored, when in fact, it is a mature, startling depiction of subsistence in a time of war. Given its Golden Globe and Oscar fare, however, hopefully the film will not become resigned to such fates.

Guillermo Del Toro is, if not anything else, an extremely competent visual director. The style employed here cannot be faulted; it is incredibly unique looking, from the lush Spanish landscapes, to the terrifying monsters that plague the labyrinth. The visual effects, the cinematography, and Del Toro's own eye for beauty aid in immersing the viewer into his world, and become absorbed in this utterly enthralling tale, no end.

The performances are also surprisingly top-notch. The cast will be largely unknown by English-speaking audiences (other than perhaps Maribel Verdu, of Y tu mama tambien

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