When people ask me what my favorite movie is, I usually respond with “Vertigo,” the classic suspenseful film directed by Alfred Hitchcock. But one time somebody asked me a follow-up question: What is your favorite modern film? I really hadn’t put too much thought to this question. But the first film that immediately came to mind was Guillermo del Toro’s “Pan’s Labyrinth.” Something about this film, whether its haunting soundtrack, its fantastical setting, or its absolutely breathtaking imagery, just seems to leave a deep impression on me whenever I watch it. I would honestly consider it among the greatest movies ever made. When it came out, in 2007, the reception of the film by critics was much the same as my own. Although a film produced in Mexico, and with dialogue entirely in the Spanish language, it was nominated for 6 Academy Awards: Best Art Direction, Best Cinematography, Best Makeup, Best Original Score, Best Original Screenplay, and Best Foreign Language Film. It eventually won the awards for the first three categories. To even the smallest fan of movies or other art forms, I would highly recommend it.

“Pan’s Labyrinth” concerns two interlocking stories. The beginning of the film introduces a fairy tale. A long time ago, there was a princess named Moanna that ruled over a kingdom in the underworld. Curious about the world above, she decided to travel to the surface. Once she got there, though, she was blinded by the sun, which also erased her memory. Eventually, she became sick and died. However, her father, the king, believed that one day the soul of the princess would be reborn in another. For centuries, he searched the world for her return. The second story, which takes place in the “real” world, concerns the aftermath of the Spanish Civil War, in the year 1944. Rebel groups are starting to rise against the now-fascist government. One of these groups is held at bay by Captain Vidol (Sergi Lopez), who is a firm believer in fascism. Ofelia (Ivana Baquero), a young girl, travels to this remote location with her mother Carmen (Ariadna Gil), who is pregnant with Captain Vidol’s son. While exploring a labyrinth one day, she meets a goat-like creature with horns, called a faun (Doug Jones). The creature believes her to be the legendary Princess Moanna, and instructs her to complete three tasks before the moon is full. If she is successful, she will be allowed to one day join the underworld again, where she could rule as she once did. The remainder of the film coincides these two stories: Ofelia attempts to complete her three tasks, while Captain Vidol and his regiment hold off the rebel groups.

So is the fairy tale story real, or just a fabrication of Ofelia’s very vivid imagination? The answer is never revealed. If one were to meticulously analyze the film, there could be evidence found for either side. But, in the end, the truth is insignificant. More importantly, all of the fantasy elements of the film have a symbolic value when they are seen next to the scenes concerning Vidol and his regiment. An example is the first task which was given to Ofelia to complete. She was told to destroy a monstrous toad that lived underneath a tree. In engorging himself, the toad was surviving at the expense of the tree. The very next scene concerns Vidol and his group discussing the practice of rationing out small portions of food to the people who lived in town, in order to prevent the possibility that the rebels hiding in the mountains would receive some. Ironically, while discussing this, the relatively small group is currently enjoying a massive feast. Comparatively, the group is similar to the monstrous toad that Ofelia has been assigned to destroy. In this way, it appears that Ofelia has created a magical world in order to escape from the brutality surrounding her.

And the word brutality is an understatement, specifically with regards to Captain Vidol. The role is masterfully played by Sergi Lopez, who has managed to create one of the most black-hearted, evil personas that I have ever witnessed. He possesses not even the slightest ounce of human decency, and will beat a person to death if there is even the slightest possibility that they are an enemy. At the same time, the movie also possesses a sort of childlike innocence, especially when we see the world through the perspective of Ofelia. The character was originally written for an actress of about 8 years old. But when the director saw the audition of the 10-year-old  Ivana Baquero, he was driven to tears. He then re-wrote the character to be slightly older, as he knew she was perfect for the part. With wide-eyed wonder and fascination of the world around her, it is hard not to be caught up in the mystical beauty of the forest and the labyrinth through Ofelia’s eyes.

In an age of CGI-driven special effects, the producers of “Pan’s Labyrinth” decided to instead use a combination of make-up and animatronics to create their effects. As a result, it is sometimes difficult to tell what is real and what is not, which is significant since the movie is meant to blur these two worlds. The soundtrack to the film, which consists largely of variations of a lullaby, also contributes to this haunting atmosphere. Afterwards, by just listening to a few lines from this motif, the entirety of the film comes flowing back.

“Life isn’t like your fairy tales. The world is a cruel place.” Said by Carmen, this quote is meant to break Ofelia of her naiveté. It also summarizes one of the main questions that the film presents: Is the world a place of compassion and beauty, as Ofelia sees it, or is it one that is heartless, possessing nothing but suffering and pain? The end of the film seems to present both sides. It is in some ways uplifting, yet is also so sad that most viewers would have difficulty not shedding a tear. Perhaps there is no real answer to this question. The world is indifferent, and life goes on, regardless of the terrible things that might happen upon it. “Pan’s Labyrinth” is a true work of art, whose grandeur I predict will only increase with the passing of time. With the possible exception of some films in the classical era, it has no equal. Don’t miss it.