Pan's People
Went to the cinema for the first time in ages, to see Pan's Labyrinth with pmarrow and T. If you haven't seen it yet, it certainly is an intriguing and remarkable film. I came away feeling very glad that I'd seen it, but also quite glad that I won't now have to see it again. I seem to be becoming more and more of a wimp when it comes to grimness and grue, both of which are present in generous quantities. But the whole thing is a work of such terrific skill, inspiration and resonance that you shouldn't let that put you off, even if (like me) you have to cover eyes and ears at a few places.
From the trailers and other pre-publicity I'd got the idea that it was mostly a fantastical thingy of young girl traipsing through surreal-tinged underworld. Actually though the real-world plot, in which she and her mother fall under the control of a captain in Franco-era Spain, has a lot more screen time. But I was hugely impressed by the way that the two strands of plot work together to reinforce and to counterpoint each other's development and the messages the viewer can take away. This really is the most amazingly skilful bit of plot construction -- I can't think of any other film that comes close to being as good at marrying together two such worlds. There have been interesting bits in several of del Toro's previous films, but nothing up till now to make me suspect him of genius.
Other things: the acting is understated but of the excellence required to sustain the story; the setting, lighitng, design etc are fantastic; the real-world torture, beatings, masacres etc are grim (it's shocking to think that these people were still running Spain when I was a kid, and Brits were happily going there on holiday); the fantasy-world images and effects are mostly powerful and effective; and the plot all basically makes sense and ties upnicely.
I'll have to start going to the pictures more often if they're all gong to be like this!
From the trailers and other pre-publicity I'd got the idea that it was mostly a fantastical thingy of young girl traipsing through surreal-tinged underworld. Actually though the real-world plot, in which she and her mother fall under the control of a captain in Franco-era Spain, has a lot more screen time. But I was hugely impressed by the way that the two strands of plot work together to reinforce and to counterpoint each other's development and the messages the viewer can take away. This really is the most amazingly skilful bit of plot construction -- I can't think of any other film that comes close to being as good at marrying together two such worlds. There have been interesting bits in several of del Toro's previous films, but nothing up till now to make me suspect him of genius.
Other things: the acting is understated but of the excellence required to sustain the story; the setting, lighitng, design etc are fantastic; the real-world torture, beatings, masacres etc are grim (it's shocking to think that these people were still running Spain when I was a kid, and Brits were happily going there on holiday); the fantasy-world images and effects are mostly powerful and effective; and the plot all basically makes sense and ties upnicely.
I'll have to start going to the pictures more often if they're all gong to be like this!