Pans Labyrinth
Jack Talbot
Pans labyrinth
1st scene, Ofelia goes into the labyrinth at night
Towards the start of the scene we see Ofelia make her way into the labyrinth. We are immediately given a high angle shot of the girl going past the tree of the labyrinth. This is to show that the girl is not in power, as the tree is directly looking down on her, as it towers above her. This could also have an extended meaning, being that the tree is a natural thing, this could mean that the elements of nature now have the power, instead of the humans.
As the girl lowers herself into the entrance of the portal, the camera rises, making the shot a bird's eye shot. This really emphasizes a feeling that the girl is being carefully watched from a distance. The cut from the bird's eye shot to the tracking shot of the girl walking down stairs is a fade. This slower cut may be to show the viewer that the movement and pace of the scene is gradual.
Furthermore, the girl contrasts massively in comparison to her surroundings. She is wearing white, and she is the visually brightest character in frame. The white could indicate purity and innocence, her age helps build on the point of curiosity, youth and naivety.
We are then given a mid-shot of the faun. This helps the viewer see what the faun looks like, and allows them to refer to the statues of him, embedded in the rock. Earlier shots of the labyrinth walls revealed statue representations of the faun. This method of subtle foreshadowing may have contributed to creating feelings of heavy anticipation of the presence of the faun.
The position of the fairies indicate that the faun has more power. As Ofelia is navigating the labyrinth, the fairies are circling her, helping her along the path. Once Ofelia has met the faun, they all surround him, meaning that they view him as a powerful figure.
We can tell the faun is very old as he moves differently to Ofelia. Ofelia moves normally as is smooth in the way she walks, and doesn’t hesitate or shake. The faun on the other hand, jitters, hesitates and is more static on movement. This less fluid form of movement is a clear indicator that the faun has been awaken from a long period of a lack of movement.
Due to the lowkey lighting of the rest of the frame, and the high key lighting of the two main characters, we can make a subtle thought that the faun's existence is all in Ofelia's head. If everything in that shot was real, there would have been more of an emphasis on making them visible. The fairies at this point are less focused on and are more heard than seen. This small yet effective detail may be a good hint to the viewer that this is situation is more of a construct of Ofelia's imagination than it is reality.
The fact that the faun suddenly disappears into the shadows and is untraceable after he's unseen is an even better indicator that he isn't exactly fully real, and he's just there in the girl's mind. If he was definitely real, we'd surely see evidence of his presence, for example, visible footprints and sounds.
The camera then zooms out as Ofelia comes to the realization that the pages are empty. This is to heavily emphasize that she is truly alone. All that is behind her is the pillar, (which is said to be the portal) and nothing else. The fairies are gone, which takes away the super natural element of the situation, further inferring that the situation was the stuff of fiction.
2nd scene Ofelia confronts the pale man.
Towards the start of this scene, the girl reads the instructions on how to defeat the pale man. There is clear notation of time. Time is hinted to lots in this film, especially from General Vidal and his constant use of his pocket watch. Time is also referred to when the doctor talks about the health of Ofelia's mother. Ofelia mentions that she must complete the task "before the last grain of sand falls".
As Ofelia opens the door into the pale man's realm, the camera zooms out dramatically revealing a corridor lit in red. This use of low key red colored lighting could have created some hellish imagery. Ofelia is lowering herself into this darker realm. This visual representation of the Pale man's lair is similar to what hell is said to be like. There is a subtle red lighting that is present, and is creating a certain emotion of danger. This makes the viewer feel a sense of anticipation and fear for Ofelia's safety.
Soon after, we are given a mid-shot of Ofelia entering the new realm and she turns the hourglass upside down. This builds in the aspect of time once more, showing that time itself is a precious thing and must be treasured. This effect is created when Ofelia looks back, giving a zooming in shot of the hourglass.
We are then given a long shot of the pale man at his table as Ofelia approaches him. He's sat at the head of the table, which indicates that he is in power and this kingdom is his domain. Furthermore, the main source of light, the fire, is from behind him. This may further indicate that that he is indeed the one with the power.
The pale man's domain creates a sinister feel. The Mise en scene does this by showing the paintings of the pale man. The pale man is seen eating children and dismembering them. This brutal depiction of the pale man makes the viewer anticipate what he'll do next and if he'll behave in the same manner towards Ofelia.
The close up of shoes is a dark hint towards the Pale man's past. We can only infer that the pale man has eaten many children, especially if he's made a mound that tall full of shoes. The camera then tilts up to Ofelia, hinting that she could possibly be next.
Expanding on the point of human consumption, the Mise en scene allows us to see the devouring nature of the place. The fire place is made in a way such that it is a distorted crooked mouth. This clever paly with the fire place ensures that the viewer knows exactly the theme here.
In addition, the table is full with food. This clever display of an abundance of food sort of mocks Ofelia, as in the human world, her food portions are rationed. Here, there is lots of fancy delicious food in front of her. Later on, she takes a piece of food. One of the rules of this place was that she couldn’t take food. This highlights the dangers of greed and temptation, as shortly after she is pursued by the pale man.
Once the key is in frame, it gives off a high-pitched ring. This is to show that it is very important in completing the task at hand.
The close-up pan shot of the hour glass then to Ofelia keeps a close constant reminder that time is of the essence. She's definitely under pressure from the pale man, so she needs to escape, but at the same time, she needs to be conscious of the sand pouring through the hourglass. This shot really focuses on the value of time and makes the viewer realize how little time we all have.
Pans labyrinth
1st scene, Ofelia goes into the labyrinth at night
Towards the start of the scene we see Ofelia make her way into the labyrinth. We are immediately given a high angle shot of the girl going past the tree of the labyrinth. This is to show that the girl is not in power, as the tree is directly looking down on her, as it towers above her. This could also have an extended meaning, being that the tree is a natural thing, this could mean that the elements of nature now have the power, instead of the humans.
As the girl lowers herself into the entrance of the portal, the camera rises, making the shot a bird's eye shot. This really emphasizes a feeling that the girl is being carefully watched from a distance. The cut from the bird's eye shot to the tracking shot of the girl walking down stairs is a fade. This slower cut may be to show the viewer that the movement and pace of the scene is gradual.
Furthermore, the girl contrasts massively in comparison to her surroundings. She is wearing white, and she is the visually brightest character in frame. The white could indicate purity and innocence, her age helps build on the point of curiosity, youth and naivety.
We are then given a mid-shot of the faun. This helps the viewer see what the faun looks like, and allows them to refer to the statues of him, embedded in the rock. Earlier shots of the labyrinth walls revealed statue representations of the faun. This method of subtle foreshadowing may have contributed to creating feelings of heavy anticipation of the presence of the faun.
The position of the fairies indicate that the faun has more power. As Ofelia is navigating the labyrinth, the fairies are circling her, helping her along the path. Once Ofelia has met the faun, they all surround him, meaning that they view him as a powerful figure.
We can tell the faun is very old as he moves differently to Ofelia. Ofelia moves normally as is smooth in the way she walks, and doesn’t hesitate or shake. The faun on the other hand, jitters, hesitates and is more static on movement. This less fluid form of movement is a clear indicator that the faun has been awaken from a long period of a lack of movement.
Due to the lowkey lighting of the rest of the frame, and the high key lighting of the two main characters, we can make a subtle thought that the faun's existence is all in Ofelia's head. If everything in that shot was real, there would have been more of an emphasis on making them visible. The fairies at this point are less focused on and are more heard than seen. This small yet effective detail may be a good hint to the viewer that this is situation is more of a construct of Ofelia's imagination than it is reality.
The fact that the faun suddenly disappears into the shadows and is untraceable after he's unseen is an even better indicator that he isn't exactly fully real, and he's just there in the girl's mind. If he was definitely real, we'd surely see evidence of his presence, for example, visible footprints and sounds.
The camera then zooms out as Ofelia comes to the realization that the pages are empty. This is to heavily emphasize that she is truly alone. All that is behind her is the pillar, (which is said to be the portal) and nothing else. The fairies are gone, which takes away the super natural element of the situation, further inferring that the situation was the stuff of fiction.
2nd scene Ofelia confronts the pale man.
Towards the start of this scene, the girl reads the instructions on how to defeat the pale man. There is clear notation of time. Time is hinted to lots in this film, especially from General Vidal and his constant use of his pocket watch. Time is also referred to when the doctor talks about the health of Ofelia's mother. Ofelia mentions that she must complete the task "before the last grain of sand falls".
As Ofelia opens the door into the pale man's realm, the camera zooms out dramatically revealing a corridor lit in red. This use of low key red colored lighting could have created some hellish imagery. Ofelia is lowering herself into this darker realm. This visual representation of the Pale man's lair is similar to what hell is said to be like. There is a subtle red lighting that is present, and is creating a certain emotion of danger. This makes the viewer feel a sense of anticipation and fear for Ofelia's safety.
Soon after, we are given a mid-shot of Ofelia entering the new realm and she turns the hourglass upside down. This builds in the aspect of time once more, showing that time itself is a precious thing and must be treasured. This effect is created when Ofelia looks back, giving a zooming in shot of the hourglass.
We are then given a long shot of the pale man at his table as Ofelia approaches him. He's sat at the head of the table, which indicates that he is in power and this kingdom is his domain. Furthermore, the main source of light, the fire, is from behind him. This may further indicate that that he is indeed the one with the power.
The pale man's domain creates a sinister feel. The Mise en scene does this by showing the paintings of the pale man. The pale man is seen eating children and dismembering them. This brutal depiction of the pale man makes the viewer anticipate what he'll do next and if he'll behave in the same manner towards Ofelia.
The close up of shoes is a dark hint towards the Pale man's past. We can only infer that the pale man has eaten many children, especially if he's made a mound that tall full of shoes. The camera then tilts up to Ofelia, hinting that she could possibly be next.
Expanding on the point of human consumption, the Mise en scene allows us to see the devouring nature of the place. The fire place is made in a way such that it is a distorted crooked mouth. This clever paly with the fire place ensures that the viewer knows exactly the theme here.
In addition, the table is full with food. This clever display of an abundance of food sort of mocks Ofelia, as in the human world, her food portions are rationed. Here, there is lots of fancy delicious food in front of her. Later on, she takes a piece of food. One of the rules of this place was that she couldn’t take food. This highlights the dangers of greed and temptation, as shortly after she is pursued by the pale man.
Once the key is in frame, it gives off a high-pitched ring. This is to show that it is very important in completing the task at hand.
The close-up pan shot of the hour glass then to Ofelia keeps a close constant reminder that time is of the essence. She's definitely under pressure from the pale man, so she needs to escape, but at the same time, she needs to be conscious of the sand pouring through the hourglass. This shot really focuses on the value of time and makes the viewer realize how little time we all have.
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