"When myth incarnates in the waking world...”
by C. S. Thompson
Guillermo del Toro’s Pan’s Labyrinth operates on two levels at the same time. On the one hand it is the story of Ofelia, a lonely little girl in post-Civil War Spain, who has been carted off to a rural military outpost where the Spanish Maquis are waging guerilla warfare against her Falangist stepfather’s tiny garrison. On the other hand it is the story of the Princess Moanna- the very same girl- who must find her way back to her true home in the Underground Realm, the beautiful fairyland from which she is unknowingly exiled. A mysterious and more than a little sinister faun (the “Pan” of the title) guides young Ofelia through the tasks she must perform to prove that she really is the reincarnation of the lost Princess Moanna, and that her life in the human world has not rendered her unfit to return home.
Ofelia’s stepfather is a sadistic fascist, a war criminal and torturer who loves only the unborn son his ailing wife is carrying, and then only as a symbol of his own masculinity. Though unfailingly correct toward his wife in the old school sense, his coldness and distance toward her create an air of constant tension. His attitude toward Ofelia develops from disdainful to murderous as he discovers her sympathy for the Maquis, and her intentions of running away with his newborn son after the death of her mother.
You can read the entire article here, when you visit C.S. Thompson's blog, Night Wandering: Myth, Magic and Religion.