Director: Guillermo del Toro
Starring: Ariadna Gil, Maribel Verdu, Sergi Lopez

A scene from Pan's Labyrinth. (Courtesy photo)

Sometimes two movies become connected in my mind solely because I viewed them successively. I still remember watching Moonstruck and Broadcast News in the summer 1987, and wondering if I had ever seen two such marvelous films in a row. The same happened in 1993 when I watched The Piano and then, a week later, Schindler’s List. That occasion wasn’t quite so exuberant, but the impact was indelible. Now I’ve seen Children of Men and Pan’s Labyrinth back to back, and they’ll remain a kind of pair in my memory. These two films have something more in common than simply high quality. They are both made by Mexican directors in their absolute peak form. In fact Alfonso Cuarón, who directed Children of Men, also produced Pan’s Labyrinth. And writer/director Guillermo del Toro turns in a piece of work that laps his previous efforts.

In 1994 Spain, ailing pregnant Carmen (Ariadna Gil) and her 12-year old daughter Ofelia (Ivana Baquero) take residence in the estate of Carmen’s new husband, Fascist Capitán Vidal (Sergi Lopez). Capitán Vidal runs his household the same way he rules over his company and the local peasantry: proudly and ruthlessly. In this miserable environment, Ofelia’s only comfort comes from the head of the household, Mercedes (Maribel Verdú). Ofelia finds her escape when some very small fairies lead her into the stone labyrinth near the grounds. Inside she meets a faun (Doug Jones), who informs her that she is the reincarnated princess of an underground realm. If she is able to complete three tasks she will be able to re-enter the realm, and be reunited with her true family. As fantastical and grotesque as these three tasks turn out to be, they pale in comparison to the ugliness and tension in the real world. As Ofelia’s mother grows weaker, a rebel force lurks in the forest nearby, and Vidal takes ever more brutal charge.

In the end, the two separate worlds are beautifully connected, in ways that are far from apparent. Del Toro has managed to place a very affecting message inside his grim fairy tale. He also delivers a third act that doesn’t unravel – something he hasn’t managed in his previous directorial efforts. Del Toro has always possessed a creative eye. Even his for-hire Hollywood films—Mimic, Blade II—have worthy moments. But his two most personal and high-profile films, the American Hellboy and the Spanish Devil’s Backbone, fail to come through on their considerable potential. Pan’s Labyrinth is a triumph for del Toro. For its audacious blend of instinct and carefully, cruelly executed plot, it’s my choice as the year’s best screenplay.

Welcome a new villain to the pantheon. When Sergi Lopez first appears as Capitán Vidal, he comes off as nearly nondescript. One wonders if they’ll even recognize him from scene to scene. This delusion is quickly dispelled. Lopez plays Vidal with meticulous pride. This is a monster who truly believes in his job, and sees himself as an almost mythic figure. His Vidal is one of the most terrifying men I’ve seen on film. The rest of the cast is just as good. Young Ivana Baquera carries the film on her narrow shoulders, managing a role that would daunt the finest actors. And Y Tu Mamá También star Maribel Verdú is outstanding as the brave Mercedes. Any and all three should be vying for awards next month, but the language barrier has struck again.

I have only two gripes. The sound design, which is very deliberately executed, is often overzealous and downright inaccurate. And the level of violence, though always with a point, sometimes feels excessive. Even the most hardened movie watcher may have to turn away from a few of the grisly images. Understand that Pan’s Labyrinth is not for children of any age. This is a dark, dark fairy tale for adults. In my ranking of the now-attached pair, I’d take Children of Men over Pan’s Labyrinth – if only because it pushes mainstream filmmaking technique to another level. But both films are quite extraordinary, and the sudden prominence of these two directors is something to be reckoned with.

Alex Manugian lives in Sherman Oaks, California, and works for the Cartoon Network. He grew up in Groton and has reviewed movies for Harvard residents for many years.