Guillermo Del Toro, the director of Pan’s Labyrinth, and Neil Jordan, the director of The Company of Wolves, use the idea of imagination to escape reality. The movies depict the heroines, Ofelia and Rosaleen using imagination to escape the real world’s despotism. In Pan’s Labyrinth and The Company of Wolves, Ofelia and Rosaleen utilize ire to invent a whimsical world that mirrors the oppression of their physical world and momentarily provides them with control. But, ultimately their minds become a source of enslavement for them.
In Pan’s Labyrinth, Ofelia’s anguish becomes beneficial for her when she constructs a realm of magical creatures. Ofelia is abused by her fascist step-father, ...view middle of the document...
Del Toro’s directs, “And it is said that the Princess returned to her father’s kingdom and that she reigned there” (Pan’s Labyrinth). Ofelia’s alteration gives her internal and external power.
Del Toro utilizes body language, lighting, Biblical and cultural history to illustrate Ofelia’s alteration. While lying on the floor covered with blood, Ofelia surrenders herself to the underworld, and allows the transformation to take its course on her. According to movies such as Mel Gibson’s The Passion of Christ and Nicholas Ray’s Kings of Kings, Jesus’s legs are close and his arms are extended when he is handed to his mother, Mary (The Passion of Christ, Kings of Kings). Ofelia’s body position parallels to Jesus when he slowly dies on the floor. While her blood continues to drip, the blood fills each ring encircling the stone. This scene is an analogy to Mesoamerican culture. Mesoamericans venerated their gods with sacrifices. Similar to Mesoamericans, Ofelia is a sacrifice to the underworld. When she is reincarnating the lighting changes and tiny lights appear around her, indicating her reincarnation has been fulfilled. Now, that she is Princess Moanna, the lighting is vivid. Before the lighting was dark, depicting the misery that surrounded her. Furthermore, Ofelia’s clothes are red when she is reincarnated. The color red demonstrates the power she has obtain. Moreover, Ofelia’s red shoes parallel to Dorothy’s red shoes in Victor Fleming’s The Wizard of Oz (The Wizard of Oz). The director uses internal sources within the movie itself as well as external sources to detail Ofelia’s transformation and power.
Ofelia envisages a fantasy world that reflects the same antagonists that she encounters in her real life. In both worlds, other characters employed Ofelia as a tool to achieve their purposes. Firstly, in the real world, Mercedes, a house keeper’s intentions seem caring, but they are far from them. Mercedes knows Ofelia is deprived from attention from her parents; she utilizes this information to gain Ofelia’s trust. Ofelia says, “You are helping the men in the woods, aren’t you?” Mercedes replies, “Have you told anyone?” Ofelia responds, “No, I haven’t. I do not want anything bad to happen to you” (Pan’s Labyrinth). The housekeeper has gained Ofelia’s trust and now is able to cover her treason from Captain Vidal. Secondly, Ofelia’s mother also uses Ofelia for her convenience. In the beginning of the movie, Carmen is against Ofelia believing in fairy tales. She believes Ofelia is wasting her time. Later in the movie, she asks Ofelia to tell her brother fairytales to calm him down. Carmen sees fairy tales unacceptable for her daughter, but useful for her son. Thirdly, in the magical realm, the faun uses her to bring tranquility back to the underworld and the King’s agony of not having his daughter.
Similar to the real world Ofelia lives in, her magical world also has the smell of death.
Ofelia is surrounded by war and death. Her step-father...