Guillermo del Toro is a master filmmaker, whose films explore the unknown, the fantastical, and the supernatural. Many of his films defend the outcasts and the bizarre, undermining commonly-held expectations of good vs. evil and appearances vs. reality, ultimately deconstructing binaries and playing with genre tropes. Pan’s Labyrinth and Crimson Peak share similar themes, both in terms of writing and visual cues, imparting the same moral at the end of each story.
Pan’s Labyrinth
One of my all-time favorite films, Pan’s Labyrinth, complicates popular fairy tale tropes—specifically, undermining characters’ face-value. In Marvelous Geometry: Narrative and Metafiction in Modern Fairy Tale, scholar Jessica Tiffin notes, “Lack of physical or circumstantial detail in the fairy tale thus goes hand-in-hand with a more profound effect, the simplification of morals and principles to the point where any conflict is dealt with in terms of absolutes—the hero, heroine, magical helper opposed to the villain, monster, or competing hero” (14).
Because fairy tales simplify people, the tales can then simplify morals. Tiffin says, “Unlike other forms of prose narrative, the fairy tale has no real interest in human subjectivity or psychological characterization of the individual. Like the events of fairy-tale narrative, characters are rendered down to essentials, described in terms of one or two defining characteristics” (14). By essentializing characters in terms of good and evil, fairy tale characters (and by extension, readers of fairy tales) know who’s good and who’s evil. The heroes and villains are readily apparent as such in both description of their attributes and appearance. Typically, good characters are beautiful, charming, and charismatic, while villains often have physical flaws, sometimes driven by jealousy of the more “beautiful” hero/heroine. It is this pattern within the fairy tale genre that del Toro critiques. While del Toro heavily prescribes to a good/evil binary, the good and evil characters are not readily identifiable by appearance.
One instance in which Pan’s Labyrinth overtly places itself in conversation with fairy tales is when Ofelia tries to determine if she has, in fact, encountered a fairy. A strange-looking insect follows Ofelia home and Ofelia asks it, “Are you a fairy?” Skeptical, she holds up one of her fairy tale books that showcases a dainty, humanoid fairy with wings, wearing delicate clothes made out of leaves. Ofelia points to the picture she says, “Look. This is a fairy.” Upon viewing the illustration, the brown, strange-looking insect transforms into a traditional-looking fairy, like the one in Ofelia’s book. When Ofelia first sees the insect, she’s frightened, but once she sees the fairy transform she realizes that the fairy’s form, whether humanoid or insect-like, is arbitrary. Ofelia decides to trust the fairy based on its actions instead of its appearances, seeing the value in withholding judgments based on physical cues.
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