Pan's Labyrinth scene analysis
We next see a shot reverse shot that reveals the content of the book, followed by narration. The diegetic sound creates a spiritualistic aura and mimics a storybook. We see the usage of jump-cuts of Ofelia drawing the chalk door. The bright white contrasts with the mise-en-scéne (e.g Set/costume are cold-toned) and shows the contrast between the fantasy and reality during the Spanish Civil War.
Once the camera shows the perspective of Ofelia from inside, there is a light. This shows the warmth of this fantasy in contrast to the cold 1940s. This is combined with the camera zooming (reveals room), the scene uses a cross dissolve to show the set. This contrasts with how during the 1940s Spain didn't have a monarch. The red lighting shining on the setting and mise-en-scéne creates a sense of danger - possibly foreshadowing.
Once the camera shows Ofelia from the outside's perspective, we are reminded of the tones and low-key lighting used to mirror 1940's Spain. The use of warm and cold lights makes it seem welcoming.
Next we see a shallow depth of field as Ofelia walks along the hall, the sunlight shines on the opposite side of the frame, opposite to Ofelia. Her clothing is a dusty green which can be seen as being natural, directly contrasting with the harsh lights.
The rule of thirds is used when we see the Pale Man. A tracking shot is used, showing the food. This mirrors Vidal's dinner. This can also contrast 1940s life in Spain. The food seems ripe, however the usage of red signifies danger. In the next cut, we notice the fire behind the Pale Man, linking back to Vidal.
The next shot shows a shot reverse shot of Ofelia looking at the murals of the Pale Man eating and killing children. The painting gives off a Greek aura due to the style.
We see a jump cut to show the pile of shoes on the floor. The dull greys of the old shoes has contrast with the rest of the mise-en-scéne, as the colour seems drained like the children being drained. This is also a close link to the Holocaust, this is similar to the shoes/clothing that belonged to Jews.
When Ofelia looks towards the wall presenting the keyholes, there is a warm light shining mostly to the side of her (from the fire) and it appears like a backlighting. This could be creating a pure aura to represent her innocence, and it could also be to create a dramatic atmosphere.
When the camera points to Ofelia, we can still see the Pale Man highlighted in the background, when there is low-key lighting on her. The placement of the two characters is important as Ofelia takes the centre, but the Pale Man appears behind her left shoulder. This could represent the 'Devil on the shoulder'.
When Ofelia takes out the key, ringing can be heard seemingly radiating off of the key - this shows the power and importance within the fantasy wold. The constant use of keys can also be an intertextual reference to Alice in Wonderland.
When she goes to put the key in, we see the use of a shot reverse shot again to show her realisation and a tracking shot follows her hand into the correct hole.
We jump cut to see the hourglass reaching half way, and we can only hear the grains of sand falling to the bottom. This creates tension as she is running out of time.
When Ofelia pulls out the dagger from the hole, we hear a moment of music that seems eerie.
As Ofelia walks back towards the table, we see a shot of her eyeing up the food on the table, this creates foreshadowing. Once she then looks at the food, we hear a twinkle sound in the background to mimic the interest. The food she looks at is associated with royalty - which we know she is. The fairies begin to warn her, but she wafts them away. The fire is shining behind her, showing the danger she will be in.
Once she takes the grape and eats it, the camera zooms in on the Pale Man, a suspenseful music playing in the background followed by the sound of glass breaking once the Pale Man's hand moves. The non-diegetic sound creates a sense of worry and danger. More cracking can be heard with intense music. Once he looks around, orchestral music plays loudly, showing the danger and fear people would be feeling as they look him.
When Ofelia takes another grape, we can see the Pale Man staggering in the background while she is distracted. The use of the framing to show the upcoming danger creates a tense atmosphere and can link to fascists with rebels.
The next cut is a back and forth reaction shot of Ofelia watching the fairies trying to defend her, and once the Pale Man starts to eat the fairies, we see Ofelia realising what she has done by rebelling too much and the orchestral music grows louder which builds up the tension.
The camera jumps to Ofelia running down the hall, and the Pale Man looks around for her. Her running contrasts with the monster staggering and screeching after slowly while also building up tension.
The camera jump-cuts to the hourglass and then the shift of focus goes to Ofelia running. This cut is used to show Ofelia's reaction to being too late. This technique is used again for a reaction shot, and then when she turns her head the Pale Man is in focus.
The Pale Man staggers slowly towards her (creating tension). The camera then jump cuts to both of their feet - Pale Man walking down the hall, and Ofelia balancing on the chair. This creates a sense of danger because of the higher risk. As he walks down, we get a shot of Ofelia's feet with the Pale Man in the background, this enhances said danger.
As the man gets closer, the music grows intense. The camera shows Ofelia making a new door, and Pale Man grows nearer. She is crawling out with her feet dangling - showing vulnerability.
Last minute, she closes the door and escapes, the colours are blue and cold, and mirrors the calm and quiet atmosphere of the room. The peace is interrupted from the Pale Man banging on the other side and the scene ends.
Comments
Post a Comment