Nina Legesse

Response Paper Week #1, Pans Labyrinth

In Pan's Labyrinth, curious Ofelia crawls into a fantasy when trying to escape the control

of an abrasive patriarch in an oppressive military regime. The story of ubiquitous corruption

begins the moment light hits the first scene and decorates the narrative. Through the devices of

contrast and visual symbols, the use of lighting and colour depicts the ways in which evil

manifests in both reality and fantasy by underlining the futility of escapism in the face of evils

relentless destruction.

Inventive colour schemes transform alongside Ofelias growing sense mortality. At the

outset, the mise-en-scne of every frame is painted in one of three monochromatic washes:

orange, blue and green, the two former separating the natural world from the fantastical. In the

historical reality of post-civil war Spain, a consistent colour scheme of hot orange dominates the

atmosphere, working with hard light to highlight every characters imperfections. The strong hue

suggests a connection with heat and foreshadows an impending, hot war. In contrast, Ofelias

fantastical realm is soaked in low-key lighting with a rich blue hue, suggesting mystery and

depth. This world is filled with potential growth, self-discovery, and freedom outside of Vidals

oppressive control. Unfortunately, this escape offers only a temporary freedom. Evil is seen

taking over when Ofelia enters the Pale Mans cave, which is doused in fiery orange tones and

high-key lighting, identical to its parallel scene where Captain Vidal sits as the imposing head of

the dinner table. Soon, the fantastical labyrinth loses its mysticism and draws Ofelia closer to

evils clutch.
 Nina Legesse

Throughout the film, moonlight is a key visual device and symbol used to animate

inevitable destruction in Ofelias fantastical world. In the first act, the motif of blue and the low-

key lighting are used exclusively in this realm. However, the symbolic moon undergoes a

transformation with evil as its driving force. Since the moon is lit by a reflection of the sun, it is

clear that the latter represents the inescapable solar world that Ofelia reflects onto her

imagination. After Ofelia accomplishes her first task, a scene follows wherein Vidal brutally

murders two innocent men outside in the moonlight. Now, the use of moonlight extends to the

brutal, real world. This alteration in the use of lighting and color scheme portend the two worlds

intersecting and losing their exclusivity at the hands of a powerful, external force. The last scene

shows Ofelias bright red blood, spilled from the real world, falling into a puddle in the labyrinth

reflecting the full-moon. Death, brought upon by the oppressive evil of Vidal, quite literally

portrays how evil taints the purity of moonlight.

Finally, it is crucial to note that in the middle, acting as a passage or purgatory between

fantasy and reality, there is an intermediate world hosted by the forest. Illuminated by natural

greens and other subdued, earthy colours, this wooded expanse introduces Ofelia to an intriguing

ambiguity intended to draw her closer to the opportunity of escape. However, when the army of

communist rebels bring war and rebellion into the forest, darkness and rain settle upon this plane

and Vidals evil manifests in the dark blue, sombre night. The mysticism and explorative

freedom of the forest are destroyed by blood and certain death. Vidals presence is directly linked

to the progression of evil, and he never fails to literally darken every doorstep.

All throughout, the fairy-tale of Pans Labyrinth presents a powerful darkness only

achievable by a skillful revelation of human evil. Thankfully, an orchestrated balance of lighting

 Nina Legesse

and colour tells an impressive story within itself while the protagonist discovers the omnipotent

presence of violence and blood in her life. Ofelia's expedition into the magical realm warns that

even in the most beautiful places, evil pollutes.