Pan's Labyrinth
The cinematography used within the scene where by Ofelia is being pursued by Vidal into the titular labyrinth, has several different effects upon the audience and on the story as a whole. For example, the low key lighting found within the scene helps to convey the suspense and mystery of the fate of the baby and or Ofelia's fate should Vidal catch up to our protagonist before she can complete the fawn's plan. The low key lighting also helps to convey the idea that the three of them have entered the fantasy realm as similar lighting is also used when Ofelia is inside the labyrinth and whenever the fawn is around. This lighting can also be found within Ofelia's trials, which could suggest that Vidal is the final beast that she must concur before she can leave the single minded and fascist world that she had had to endure throughout the film and her life, and finally enter a world without prejudice and wonder. Almost like her afterlife as it were. This possible interpretation of the lighting's purpose during shots is especially apparent through usage of the extreme long shot found in the scene just before Vidal enters the labyrinth after seeing Ofelia bound into the darkness as an inferno engulfs the background helps show that Ofelia and Vidal are leaving reality and are preparing to enter the fantasy realm. It is also as though Vidal is leaving all he knows of his world behind him as he pursues Ofelia, the only thing that echoes within his mind most likely being that of the fate of his son and thus the fate of his family's name.
The film then uses a graphical match cut to behind the enraged juggernaut as he plunges into the darkness that consumes the labyrinth like an ocean of mystery. As he dives further into the cryptic catacombs, the camera pans upwards focusing upon a face that has been carved into the archway. It's eyeholes empty like bottomless pits. The shot cuts and switches to a tracking shot, following Ofelia as she dashes through the cramped labyrinth like a rat in a maze. Once she leaves the shot, the camera pans to the left and then tracks Vidal as he chases his prey like a mad hound. Match action cuts help progress the sequence as Ofelia dashes through the maze followed by the infuriated Vidal as he frantically stumbles through the maze. This chase proceeds until the walls of the labyrinth shift and churn like ancient tentacles releasing their grip upon their prey.
As she passes through the newly formed exit, the vines latch a hold of one another like the hands of two lovers. The new exit has once again been sealed together as though it was a wall of stone. The camera pans to the left as we see Vidal stumbling through the woods like an intoxicated buffoon. He reaches the dead end. He soon lunges back into the darkness that he had just broken free of as he attempts to retrieve his son from the labyrinth he was unwillingly brought into by his own sister in order to accomplish some unknown goal. The scene then cuts to Ofelia as she stares gormlessly at the wall she passed through, her mind now at ease due to her narrow evasion of her pursuer. Her attention is then snatched from the wall by the fawn, yelling for the girl like the howl of a wolf in the dark of the night. The scene cuts to behind Ofelia as she strides towards the creature, as though the thought of being with a tall and intimidating beast is more appealing than to be caught by a man who radiates an aura of authority, rage and, strangely, calmness, like a force of nature, rather than a regular man. The fawn strides forward, towering over Ofelia like a skyscraper as she holds her brother close to her, as though she already fears his safety around the fawn as the full moons rays shine upon her, as though God himself has seen her fate and is offering her an escape from the pain she will endure. Ofelia notices the glistening dagger, shining in the very same light that bathes her, yet radiating in it as though it was clad with armor of the heavens. The following shots are reaction shots of which focus upon ether the fawn or Ofelia as the fawn explains his intentions for the boy, how he only requires a pin prick of blood in order to transport them to Ofelia's kingdom. Once the fawn discovers that Ofelia does not intend to surrender her brother, the last thing she had to remember her mother by, to allow her to go to a kingdom of fantasy. The scene then changes to a reaction shot of the fawn, disgusted by the foolish child's decision to protect her brother over returning to her home that she left behind so long ago. After the fawn and Ofelia argue about her decision, the scene switches to an over the shoulder shot, as we see the intoxicated Vidal enter the scene. Once he notices this, the fawns attitude changes, suddenly acting as calm as a spring river rather than that of an ocean plagued by a storm. The fawn disappears off screen as Vidal wanders over to our protagonist, the camera panning to the left as he moves closer. Vidal clutches Ofelia's shoulder and turns her to face him. He holds his son within his arms as he removes him from Ofelia's loving embrace. He steps back as the scene changes to a reaction shot of Ofelia and then to a medium long shot as Vidal pulls out a gun and fires a bullet into Ofelia. She begins to stumble around, her blood growing thinner by the second as Vidal begins to exit the labyrinth. She stares at her hand, her blood coating it like a velvet blanket as it shines in the great moon's light. She collapses, her hand lying above the pit she first found the fawn in. Her eyes fixated on that same hand as it lies beside her and as she breathes heavily, both in shock and to try and survive, as she slowly begins to leave this mortal realm and reach the paradise she desired to get to.
The film then uses a graphical match cut to behind the enraged juggernaut as he plunges into the darkness that consumes the labyrinth like an ocean of mystery. As he dives further into the cryptic catacombs, the camera pans upwards focusing upon a face that has been carved into the archway. It's eyeholes empty like bottomless pits. The shot cuts and switches to a tracking shot, following Ofelia as she dashes through the cramped labyrinth like a rat in a maze. Once she leaves the shot, the camera pans to the left and then tracks Vidal as he chases his prey like a mad hound. Match action cuts help progress the sequence as Ofelia dashes through the maze followed by the infuriated Vidal as he frantically stumbles through the maze. This chase proceeds until the walls of the labyrinth shift and churn like ancient tentacles releasing their grip upon their prey.
As she passes through the newly formed exit, the vines latch a hold of one another like the hands of two lovers. The new exit has once again been sealed together as though it was a wall of stone. The camera pans to the left as we see Vidal stumbling through the woods like an intoxicated buffoon. He reaches the dead end. He soon lunges back into the darkness that he had just broken free of as he attempts to retrieve his son from the labyrinth he was unwillingly brought into by his own sister in order to accomplish some unknown goal. The scene then cuts to Ofelia as she stares gormlessly at the wall she passed through, her mind now at ease due to her narrow evasion of her pursuer. Her attention is then snatched from the wall by the fawn, yelling for the girl like the howl of a wolf in the dark of the night. The scene cuts to behind Ofelia as she strides towards the creature, as though the thought of being with a tall and intimidating beast is more appealing than to be caught by a man who radiates an aura of authority, rage and, strangely, calmness, like a force of nature, rather than a regular man. The fawn strides forward, towering over Ofelia like a skyscraper as she holds her brother close to her, as though she already fears his safety around the fawn as the full moons rays shine upon her, as though God himself has seen her fate and is offering her an escape from the pain she will endure. Ofelia notices the glistening dagger, shining in the very same light that bathes her, yet radiating in it as though it was clad with armor of the heavens. The following shots are reaction shots of which focus upon ether the fawn or Ofelia as the fawn explains his intentions for the boy, how he only requires a pin prick of blood in order to transport them to Ofelia's kingdom. Once the fawn discovers that Ofelia does not intend to surrender her brother, the last thing she had to remember her mother by, to allow her to go to a kingdom of fantasy. The scene then changes to a reaction shot of the fawn, disgusted by the foolish child's decision to protect her brother over returning to her home that she left behind so long ago. After the fawn and Ofelia argue about her decision, the scene switches to an over the shoulder shot, as we see the intoxicated Vidal enter the scene. Once he notices this, the fawns attitude changes, suddenly acting as calm as a spring river rather than that of an ocean plagued by a storm. The fawn disappears off screen as Vidal wanders over to our protagonist, the camera panning to the left as he moves closer. Vidal clutches Ofelia's shoulder and turns her to face him. He holds his son within his arms as he removes him from Ofelia's loving embrace. He steps back as the scene changes to a reaction shot of Ofelia and then to a medium long shot as Vidal pulls out a gun and fires a bullet into Ofelia. She begins to stumble around, her blood growing thinner by the second as Vidal begins to exit the labyrinth. She stares at her hand, her blood coating it like a velvet blanket as it shines in the great moon's light. She collapses, her hand lying above the pit she first found the fawn in. Her eyes fixated on that same hand as it lies beside her and as she breathes heavily, both in shock and to try and survive, as she slowly begins to leave this mortal realm and reach the paradise she desired to get to.
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