"Pan's Labyrinth" is one of the greatest of all fantasy films, even though it is anchored so firmly in the reality of war. On first viewing, it is challenging to comprehend a movie that on the one hand provides fauns and fairies, and on the other hand creates an inhuman sadist in the uniform of Franco's fascists. The fauns and fantasies are seen only by the 11-year-old heroine, but that does not mean she's "only dreaming;" they are as real as the fascist captain who murders on the flimsiest excuse. The coexistence of these two worlds is one of the scariest elements of the film; they both impose sets of rules that can get an 11-year-old killed.
"Pan's Labyrinth" (2006) took shape in the imagination of Guillermo del Toro as long ago as 1993, when he began to sketch ideas and images in the notebooks he always carries. The Mexican director responded strongly to the horror lurking under the surface of classic fairy tales and had no interest in making a children's film, but instead a film that looked horror straight in the eye. He also rejected all the hackneyed ideas for the creatures of movie fantasy and created (with his Oscar-winning cinematographer, art director and makeup people) a faun, a frog and a horrible Pale Man whose skin hangs in folds from his unwholesome body.
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Ofelia encounters a strange insect looking like a praying mantis. It shudders in and out of frame, and we're reminded of Del Toro's affection for odd little creatures (as in "Cronos," with its deep-biting immortality bug). The insect, friendly and insistent, seems to her like a fairy, and when she says so, the bug becomes a vibrating little man who leads her into a labyrinth and thus to her first fearsome meeting with the faun (Doug Jones, who specializes in acting inside bizarre costumes). Some viewers have confused the faun with Pan, but there is no Pan in the picture and the international title translates as "Labyrinth of the Faun."
The faun seems to be both good and evil; what are we to make of a huge pile of used shoes, especially worrisome in the time of the Holocaust? But what he actually offers is not good or evil, but the choice between them, and Del Toro says in a commentary that Ofelia is "a girl who needs to disobey anything except her own soul." The whole movie, he says, is about choices.
The film is visually stunning. The creatures do not look like movie creations but like nightmares (especially the Pale Man, with eyes in the palms of his hands). The baroque organic look of the faun's lair is unlike any place I have seen in the movies. When the giant frog delivers up a crucial key in its stomach, it does so by regurgitating its entire body, leaving an empty frog skin behind. Meanwhile, Vidal plays records on his phonograph, smokes, drinks, shaves as if tempting himself to slash his throat, speaks harshly to his wife, threatens the doctor and shoots people.
Del Toro moves between many of these scenes with a moving foreground wipe -- an area of darkness, or a wall or a tree that wipes out the military and wipes in the labyrinth, or vice versa. This technique insists that his two worlds are not intercut, but live in edges of the same frame. He portrays most of the mill interiors in a cold blue-grey slate, but introduces life tones into the faces of characters we favor, and into the fantasy world. It is no coincidence that the bombs of the rebels introduce red and yellow explosions into the monotone world they attack.
Cinematography is a vital aspect of great filmmaking. Without a strong director of photography with a point of view, a film can be somewhat lacking even if every other aspect of the movie is firing on all cylinders. Film is a visual medium after all, and great cinematography has the power to transport audiences to a new world, to put audiences in the shoes of a character, or to even relay a theme using visual metaphor.
1. The Witches (Roald Dahl): Fighting the undead is hard when you're a mouse and an old lady.2. Narnia: no, really (duel prompt continuation)3. Matthew Swift: Learning Magic (when Matthew was Robert Bakker's ward)4. Vorkosigan: just another day at the office (Miles, this is all part of my cunning plan)5. Harry Potter: Side Effects May Include (Voldemort/lava lamp, His brain was swirling like a toad)6. Hamlet, the business of good government7. Pan's Labyrinth: lost in the forest (There's no need to build a labyrinth when the entire universe is one.)8. Chronicles of the Kencyrath: watch my back (Jame & Graykin)9. Animaniacs: Naptime (The Warner Brothers (and Sister), sometimes they don't cause mayhem)
THX is a motion picture quality certification system (despite being branded as a "sound system" until 1997) founded by Tomlinson Holman and George Lucas in 1982 (in turn was then-owned by Lucasfilm Ltd. until June 2002, when spun-off as its present-day company - THX Ltd.), named after the first film Lucas directed, THX 1138. The first THX film was 1983's hit movie Star Wars: Episode VI - Return of the Jedi. THX officially stands for "Tomlinson Holman's eXperiment". THX certifies fine-tuned home theater equipment, TiVo DVRs, and some PCs. They have previously certified physical media such as VHS, LaserDisc, DVD and Blu-ray (and HD-DVD; Brave Story in Japan and Pan's Labyrinth in France only) until around late 2012, as well as video games until 2010. In 2006, THX ran a contest for fans of the logos to create their own. You can see the winners of that contest here. Previously owned by sound card manufacturer Creative Technology, THX was acquired by gaming peripheral manufacturer Razer on October 17, 2016.
Trailer: We start in front of the fictional Springfield Aztec Theatre, complete with a film marquee with the text "SISKEL & EBERT: THE MOVIE" on it, with "TWO THUMBS UP" - SISKEL & EBERT" below it (a reference to the show Siskel & Ebert [later At the Movies], hosted by movie critics Gene Siskel and Roger Ebert). We then cut to many Simpsons characters in theater seats, including Homer, Marge, Bart, Lisa, and Abe (Grampa) Simpson. The light dims and then brightens a bit. Then we cut to the movie screen, then a white screen with "THX" on it (not the same as the other trailers, obviously to avoid any legal trouble) appears, with "SOUND SYSTEM" and "THE AUDIENCE IS LISTENING" under it. The Deep Note shakes the theater/cinema, as we see several moviegoers including Hans Moleman coil back in their seats. Chaos then ensues, with Moleman's glasses breaking, another man having his teeth shatter in a close-up shot, an exit sign exploding, the ceiling beginning to crumble and fall, and a man's head exploding (a reference to the 1981 horror film Scanners). After the chaos, we cut back to the screen as the audience cheers for the logo. The theatre screen fades to black and we then cut to Grampa (voiced by Dan Castellaneta) who, presumably hard of hearing, yells "Turn it up! TURN IT UP!".
Availability: Might have been common in THX-certified theaters during its heyday, but it can be found on most Pixar movies on DVD, such as Toy Story, A Bug's Life, Toy Story 2, and Cars (the last THX-certified Disney DVD as no other format of Cars uses THX), as well as some THX demo DVDs and the DVDs that come with all three editions of the book DVD Demystified by Jim Taylor. According to the THX Ultimate Demo Disc, the 1998 "The Audience is Listening on DVD" disc and the insert on the THX Picture and Sound Optimizer disc, this trailer was released in time for the film Independence Day.
Trailer: On a black background, we see out-of-focus movie clips on a THX logo. Some of these clips include Star Wars: Episode I, Alien and Jurassic Park. The logo then starts to shine as the blue outline from the Broadway trailer appears around the screen and the words "CERTIFIED CINEMA" appear under the THX logo. Everything except the blue outline fades out and is replaced by the THX website URL on the top, copyright notices on the bottom and the phrase "20 Years of Making Great Movies Come Alive."
Then, the mayor says, "Kinda losing you...", causing Horton to drop the THX logo, and he appears while shouting "How about this?! If I get up real close, can you read me?!" knocking the mayor off-screen, then followed by the Deep Note. Horton then turns to the audience laughing, winks, and then goes off-screen. The THX logo shines as usual. Then the screen transitions to a message reading "THE AUDIENCE IS HEARING" (spoofing the "The Audience is Listening" motto, with "HEAR" in the same font as the movie). On the side of the screen, we see the mayor peek out of the side of the screen, with his clothes blowing.
Availability: Rare. Can be found on the THX Calibrator disc, 3D movies in cinemas and 3D Blu-ray releases, like the 3D Blu-ray of Avatar (to date, the very last certified THX home media release with logos on it) and the theatrical premiere of Tron: Legacy.
Trailer: A large purple smoke cloud explodes on the screen, and the camera zooms out to reveal a nebula. We continue to zoom out through the space-like background as a mountain range appears below. The mountains then appear reflected in a waterdrop on a dragonfly's wings. The dragonfly beats its wings in slow-motion clearing the waterdrops, and flies through a new background, featuring some plants that appeared in the "Amazing Life" trailer. The camera dips down into a pool of water and emerges to reveal a city at night, as a helicopter flies past. The city is revealed to be inside a snowglobe on a table of various items. The camera pans back to reveal two similar tables with blue holographic domes on them. Then, Tex appears from the left and flies to a table in the front and loads up a similar holographic dome over the table and flies off. The camera continues to zoom out, revealing that Tex is aboard a star cruiser of some sort. The ship makes a light-speed jump, and the camera pans through the space station the ship was docked at. It is then revealed that the space station is in the shape of the THX logo, which becomes a more traditional silver color. The space background fades to blue, and then everything gradually fades out. 2ff7e9595c
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