Professional Documents
Culture Documents
Ashaka Mali
Prof. Cheatham
English 100
29 October 2015
In a Parallel Universe
Pan’s Labyrinth tells a story of a young girl Ofelia, caught amidst the cruelties of the
Spanish Civil War. The film begins with a close-up of Ofelia’s face with blood gushing up her
nose. As the blood gradually seeps up her nostrils, the camera closes in on her dilated pupil;
simultaneously the narrator orates, “Long ago in the Underground realm, where there are no lies
or pain, there lived a Princess who dreamt of the human world” (Pan’s). This opening statement
introduces the audience to Ofelia’s two conflicting worlds; the real world with the ongoing Civil
War, and her fantasy world. Bettelheim’s article “Fairy Tales and the Existential Predicament,”
further elaborates on this illusionary realm through its portrayal of her escape from reality into a
faun’s labyrinth. Bettelheim asserts that children appreciate fairy tales because it helps them
acknowledge and confront their obstacles in life, as Ofelia does in Pan’s Labyrinth.
Bettelheim states that “many fairy stories begin with the death of a mother or father; in
these tales the death of the parent creates the most agonizing problems, as it… does in real life”
(204). Similarly, Ofelia can easily relate to these tales in that, her father actually dies. Her mother
Carmen, is a helpless woman pregnant with Vidal’s child. Vidal is a cruel, cold-blooded
stepfather, an antithesis of her biological father. Mercedes, Vidal’s housekeeper, plays the role of
a fairy godmother because she guides Ofelia throughout her stay at Vidal’s supposed lair. Ofelia
and Carmen find themselves amidst the violent Spanish Civil War led by Vidal. Parallel to this
sadistic world is Ofelia’s world of fantasy and myths. Vidal wreaks havoc through death and
destruction. This hostile setting requires an escape from the brutality that resides there. Ofelia
finds this escape and is completely immersed in Princess Moanna’s tragic fairy tale. Princess
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Moanna, the daughter of the King of the Underworld, dies in her quest to visit the human world.
The faun, a figment of Ofelia’s imagination, convinces Ofelia that she and Princess Moanna are
one.
Furthermore, Bettelheim says that “the child fits unconscious contents into conscious
fantasy, which then enable him to deal with that content” (203). The transformation of insects to
fairies creates a bridge between the worlds that reflects the freedom of Ofelia’s creativity in
comparison to the vulnerability she experiences in reality. Hence, Ofelia created these fairies
from her subconscious mind and fits them into her conscious daydream. Moreover, the faun, a
part of her subconscious mind, convinces her that she is Princess Moanna by showing her a mark
on her left shoulder, which is a part of her conscious fantasy. Additionally, the faun gives Ofelia
the Book of Crossroads, which shows Ofelia her future, and gives her tasks. Ofelia creates these
images from her dormant mind and connects them to the facts she is acquainted with.
Bettelheim claims that “When the unconscious is repressed and its content denied
entrance into awareness, then eventually the person’s conscious mind will be partially
and stepfather rebuked her from reading fairy tales, thus ceasing Ofelia’s immediate solace.
However, Ofelia mind was free to imagine and she therefore created a world of her own. In this
fantasy, she is Princess Moanna.To acquire her throne, she has to fulfill three tasks before the
full moon, as per the faun’s requirement. Every time she comes across an obstacle in reality, the
faun appears and presents Ofelia with a task. She receives her first task when she is forced to
attend a dinner party in a dress she does not want to wear. The task was to retrieve a gold key
from a giant toad’s belly, which she accomplishes. However, she ruined her pretty dress and
fancy shoes. In doing so, she was unable to attend the party which was what she wished for all
along. When the second obstacle came her way, she was assigned a second task. This challenge
required her to retrieve an ornate dagger from the lair of the Pale Man with a delicious feast laid
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before him. Despite being advised to keep away from the tempting food, Ofelia eats two grapes
from the large feast thereby awakening the Pale Man. Her failure to complete the second task
propels the faun to shun her. He says, “The moon will be full in three days. Your spirit shall
forever remain among the humans. You shall age like them, you shall die like them, and all
memory of you shall fade in time. And we'll vanish along with it. You will never see us again”
(Pan’s). As a result of this major setback in her fantasy world, her reality crumbles too. Her
mother’s health severely deteriorates, as she writhes and screams in agony while giving birth to
her son. While doing so, she dies a painful death. Furthermore, Ofelia is locked in her bedroom
isolation” (206). Locked away and powerless, Ofelia is shattered as she lost yet another parent,
her freedom to live. Fortunately, the faun visits her again and decides to give her one last chance.
He asks her to fetch her brother and bring him to the labyrinth. He said, “We need him” (Pan’s).
The audience may see a pattern here. The faun appears and presents Ofelia with a task every time
she is distressed. The faun can be a figment of Ofelia’s fantasy who helps her deal with her real-
life problems effectively. It is proved that the faun is Ofelia’s imagination when, in the labyrinth,
Vidal cannot see the faun conversing with Ofelia. Hence, throughout the movie, the audience is
shown the realities and cruelties of war with the child’s vision of fairies and happy endings.
Ofelia neglects the real world as she rebels against her mother’s wishes (and does not attend the
children know that the source of much that goes wrong in life is due to our very own natures- the
propensity of all men for acting aggressively, asocially, selfishly, out of anger and anxiety.
Instead, we want our children to believe that, inherently, all men are good” (204). Carmen wants
her daughter to believe that Vidal is a good person even though, deep down she knows that he is
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not. Here, the viewers see an adult refusing to accept the truth. Carmen wants to believe that
Vidal is good because that is the only way she can reassure herself that they are safe under
Vidal’s administration. Hence, she needs Ofelia to believe that too. Carmen tells Ofelia, “The
captain has been so good to us... Please, Ofelia, call him father. It's just a word, Ofelia, just a
word” (Pan’s). This shows that Bettelheim’s article not only applies to children, but to adults as
well.
Finally, Bettelheim affirms that “fairy tales pose the dilemma of wishing to live
eternally” (206). Ofelia is the perfect example to support this point because though she wishes to
live, circumstances cause her eventual heroic death. She saves her brother from the faun’s
demand to sacrifice the “blood of an innocent” (Pan’s) but in turn gets shot by Vidal. As she lay
there dying, drops of Ofelia’s blood opened the portal to the Underworld. The next scene shows
Ofelia emerging as the princess in a golden throne room. She is welcomed by her mother and her
father. This shows that Ofelia’s imagination was so powerful that even as she was dying, she
lives eternally in her fantasy world with the parents she dearly loved.
One may say that Ofelia is finally home after dying in the mortal world. Logically
speaking, Princess Moanna’s fairy tale was simply an out, to validate her realistic state.
Mercedes was her constant support in the mortal world, but in contrast, the faun was her guide in
her fantasy world. For those who believed in Ofelia’s fantasy, “the Princess returned to her
father's kingdom… she reigned there with justice and a kind heart for many centuries… she was
loved by her people. And… she left behind small traces of her time on Earth, visible only to
Works Cited
Bettelheim, Bruno. “Fairy Tales and the Existential Predicament.” Dreams and Inward Journeys.
Eds. Marjorie Ford and Jon Ford. New York: Longman, 1998. 203-07. Print.
Pan’s Labyrinth. Dir. Guillermo del Toro. Perf. Ivana Basquero. New Line Home Entertainment,
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2006. DVD