ISP Week 6: Pale Man sequence- Pan’s Labyrinth Essay – European film.
This essay will reflect the film form elements and context of the Pale Man sequence in Pan’s Labyrinth. This sequence was made to reflect the extreme fascism and hubris power of Franco’s rule during the Spanish civil war shown through a fantasy world and the perspective of young girl Ofelia in which she seeks comfort in her beloved fairy-tales, which leads her to the underworld of the Pale Man. In the film, we learn about sacrifice and as she discovers to possibility of a new magical kingdom in which she has to complete three tasks, where she comes face to face with the Pale Man, in order to discover her fate whilst caught up in Captain’s Vidal’s fascist regime.
In terms of light used in cinematography, low key blue light is used to represent the real world which Ofelia lives in, suggesting how the Spanish civil war has made Spain a place of misery and pain, instead of warmth and goodness. After Ofelia enters the chalk door to the fantasy world, we are met by a burst of high key golden yellow colour, perhaps implying the alternate world is full of wealth and happiness. This is complimented by the fire in the background showing warm yellow and red colours. In contrast to this the red colours of the banquet are used to represent blood and danger, reflecting the greed of the Pale man and therefore Franco. In terms of camera used in cinematography the camera uses a point of view shot inside the keyhole emphasising how Ofelia chose to open the left keyhole, suggesting her disagreement of Franco’s right-wing views. As well as this the camera uses a tracking shot of Ofelia running along the corridor, stressing how the times is running out and creating a build-up of tension. Another way the camera creates tension is the extreme close up of Ofelia’s hand against the chalk fizzing, suggesting realism and that it’s not just in her imagination.
In terms of mes-en-scene within the Pale Man sequence in Pan’s Labyrinth the use of the large table holding the feast, which is similarly seen in the shot with Captain Vidal in the same position, suggests the comparison and alikeness of the two characters’ fascist and restricted views. Within the feast we also see red fruit across the table. The use of fruit symbolises the fruitiness of Ofelia, specifically using a pomegranate to represent fertility, however in contrast could be seen as red to show upcoming danger. In the sequence, the pile of grey shoes in the corner of the room demonstrates the extent of the brutality in the holocaust, representing the result of right-wing fascist political views, suggesting a contrast between binary opposites death and innocence. Also in terms of mes-en-scene fallopian imagery is used to signify Ofelia’s transition from girl hood to women hood, suggesting how it is a coming of age story.
In terms of sound used in the sequence, close sonic perspective is used to show the constant heavy breathing of Ofelia as well as the sound of the key in the keyhole and the dagger’s blade. This increases emotional intensity, which emphasises their importance. As well as this in the scene we hear the sound of crying and screaming children, suggesting how Ofelia is being haunted by her imagination, as we don’t know whether she can hear it out loud or if it’s just inside her own head. Similar to this the Pale Man makes an animal-like sound of a pig squealing, suggesting how he is being compared to something not human. This later becomes muffled and distant as Ofelia closes the door to the fantasy world leaving a mechanical like heartbeat, reflecting Ofelia’s exhaustion and intense emotions.
In terms of performance, the Pale man appears to have thin, translucent skin, reflecting the starvation and famine people faced in the Spanish civil war. As well as this the pale man is seen eating the female fairies, which is an allegory for Saturn devouring his children. The misogynistic ways of the pale man are shown to represent Vidal, further suggesting a comparison to Franco. The fact that female fairy was killed by him, demonstrates Vidal’s’ hatred towards women and presents them as weak and helpless. In contrast to this the Pale man can also be seen as stiff, repulsive and, due to his lack of sight, disabled, suggested when at first he takes a deep gasp of breath to show how he has been awakened from a long rest and therefore feels week.
In terms of editing, the sequence uses continuity editing to suggest the fast pace at which the events of the scene happen, building up in tension to the turning point of the awakening of the Pale man. Also, the scene uses parallel action, focusing on the hour glass, to emphasise how Ofelia’s time is running out, recognising that it is life or death situation. Included in this are action/reaction shots showing the stiff and abnormal moments of the Pale man and how Ofelia responds in order to carry out her task and not fall into his trap. Also at the beginning of the sequence cross fades are used to transition from a close-up shot of Ofelia to an establishing shot of the archways along the corridor, showing gothic and church-like architecture.
In terms of Del Toro’s aesthetics, the use of the specific colour tones of blue, yellow and red demonstrate the change in setting from the real world to the fantasy world. The fantasy world, where the Pale Man lives, is presented through a high key golden yellow aesthetic, appearing as if in Ofelia’s imagination. A similar image is seen at the ending scene of the film after Ofelia’s death where she is reunited with her parents. This also links to the gothic church-like architecture used within the scene further suggesting how the Pale man a symbol of the Catholic church. Del Toro contrasts this with the redness of the food upon the feast to suggest the danger of the food which acts as a warning for awakening the Pale Man. In comparison to this, Del Toro uses a low-key blue coloured lighting to suggest the darkness and misery of the real Spain and how it is overcome with a depression due to Franco’s fascism.
In terms of social, political and cultural contexts within the Pale Man sequence of Pan’s Labyrinth, culture and religion is explored through the use of the Pale Man’s appearance. Within the mes-en-scene of the sequence we see the Pale Man’s hands covered in blood with slits in for his eyes. This has connotations around Spain’s religion at the time as it symbolises the stigmata suggesting how the catholic church has the blood of innocents on its hand, further criticising Catholicism. Del Toro also explores social issues as we see references to famine and greed presented in the form of the Pale Man. This clearly becomes a social issue in the sequence as Ofelia eats from the feast after being sent to bed without any dinner. Later Captain Vidal is seen enjoying a feast, similar to the Pale man who has a whole table of food to himself, making reference to Franco’s greed and selfishness. Because of this the Pale man is used as a figure to represent both the results of undernourishment in Spain, as well as the thoughtlessness of rulers. In terms of political context within the sequence, the cruelty of the fascist regime is emphasised with reference to the pile of grey children’s shoes reflecting the significance and Del Toro’s outrage of the holocaust. As well as this Del Toro’s political views are explored as Ofelia chooses the frailer older-looking left key hole instead of the middle of right hand one. This was to suggest how Franco’s right-wing ideology overpowers the other political views and will soon take over as the other ways of life slowly break down and fall apart.
In conclusion, Del Toro uses the grotesque and repulsive nature of the Pale Man to convey the effects of Franco’s fascist regime, specifically emphasising the political issues involved in the Spanish civil war. Del Toro uses a Ofelia to represent the younger generation and how they will face the consequences of the fact ideology across Spain. Throughout the Pale Man sequence, we see aspects of political, social and religious views used to show the control and influence of Franco’s views. Elements of realism are used to encourage the audience to question whether this is real or just taking place in Ofelia’s extravagant imagination.
( 1425 words)
Emma Coe Film Studies 