Josh Medlock Pan s Labyrinth: Paper # 2 The scene takes place in Act III of the movie Pan s Labyrinth.

It is one of the final scenes of the movie. The scene is on the 21st chapter and starts 1:43:40 into the movie. This scene is shot using a blue camera lens to give everything a blue tint. Ofelia has just kidnapped the captain s newborn baby, as per the faun s orders. ANALYSIS The scene begins with a full shot (CINEMATOGRAPHY) of Ofelia running with her new born brother into the labyrinth. Ofelia runs towards the camera and then off it, to be followed by Captain Vidal staggering after her (MISE EN SCENE). Captain Vidal runs towards the camera following the same path as Ofelia (MISE EN SCENE). Even though Captain Vidal is shown far away from the camera, it is still a full shot because when Ofelia and the Captain come into focus, the camera is a full shot distance (CINEMATOGRAPHY). During this shot, gun fire and fighting can be heard as ambient sound (SOUND), and background music plays (SOUND) throughout most of this scene. The background shows the encampment the two characters are coming from in flames (MISE EN SCENE). When Captain Vidal makes it to the camera, the movie cuts to a full shot, reverse angle (CINEMATOGRAPHY) of him running directly away from the camera, towards the labyrinth. The camera tilts up to focus on the labyrinth entrance archway as Captain Vidal runs around the corner, off the screen (MISE EN SCENE). The music (SOUND) changes tempo after both characters move into the labyrinth. The camera cuts back to a full shot (CINEMATOGRAPHY) of Ofelia running towards the camera and around a corner, again followed by Vidal who makes the same maneuvers. As it shows Ofelia and Captain Vidal running, you can hear the sound of them breathing heavily (SOUND). After Ofelia runs off the screen, the camera pans (CINEMATOGRAPHY) to the left where she started to show the captain (MISE EN SCENE). The camera cuts to a medium full shot (CINEMATOGRAPHY) of Ofelia running towards the camera, again followed by

Josh Medlock Vidal (MISE EN SCENE). The same heavy breathing sound is coming from both the characters (SOUND) and the camera moves with Captain Vidal, most likely using a dolly (CINEMATOGRAPHY). The camera is most likely on a dolly because making a track in the narrow corridors with characters running past and with the camera would be difficult. The camera cuts to a medium full shot (CINEMATOGRAPHY) of Captain Vidal continuing his pursuit. As he runs, he shakes his head and makes a sound of exhaustion (MISE EN SCENE / SOUND). It then cuts to a medium shot, reverse angle (CINEMATOGRAPHY) of the captain running away from the camera. The audience can see Ofelia running around a corner ahead of Vidal, out of focus (CINEMATOGRAPHY). The Captain seems to be losing steam as he runs because he staggers and has to lean on the walls with his arm as he runs (MISE EN SCENE). He even has to stop to catch his breath (MISE EN SCENE). The movie cuts away (EDITING) to a medium full shot (CINEMATOGRAPHY) of Ofelia still running, with the camera moving with her, most likely using a dolly (CINEMATOGRAPHY). After the cut away, the movie then turns back to Captain Vidal, still against the wall, using the same camera techniques. He catches his breath and starts running again. The camera cuts back to Ofelia running towards the camera in a medium full shot (CINEMATOGRAPHY), the camera is still moving with her on using a dolly (CINEMATOGRAPHY). And then cuts to a full shot, reverse angle (CINEMATOGRAPHY) of Ofelia running into a dead-end (MISE EN SCENE). Ofelia desperately looks around for an escape, when suddenly, rocks moving around can be heard (SOUND). Behind Ofelia, the labyrinth walls are pulling apart, creating a path for her to travel. She turns to see this new opening and then runs through. After she runs through, the walls close back the same way they opened (MISE EN SCENE). After the walls close back up, the camera pans to the right to show Captain Vidal who seems to be breathing heavier (SOUND). He looks around in confusion and turns around and heads in the direction he came (MISE EN SCENE). The next shot cuts to a full shot (CINEMATOGRAPHY) of Ofelia with her back turned towards the camera. As soon as the cut happens, the faun tells Ofelia to come over to him (SOUND). After the faun says his

Josh Medlock line, the background music (SOUND) stops and Ofelia turns towards the faun and the movie cuts to a full shot (CINEMATOGRAPHY) of Ofelia facing the faun. The last two shots were sound bridged (SOUND) by the faun s dialog. Ofelia walks around the hole in the ground, with stairs that lead to the faun s lair, to the faun. The camera moves towards the faun and Ofelia, most likely using an air-born track (CINEMATOGRAPHY) since it moves over the hole in the ground. The camera moves around the two characters until it reaches an over the shoulder view (CINEMATOGRAPHY). Quiet music starts to play in the background (SOUND). The faun talks about the task at hand (opening the portal), when Ofelia stops him to ask why the faun is carrying a knife (SOUND). Her dialog bridges (SOUND) the next cut to an over the shoulder, medium shot (CINEMATOGRAPHY) of the faun s front and Ofelia s back. The faun clutches the knife closer and runs its hand over the blade, which makes a snikt sound (SOUND). In these shots with the faun, ambient sounds (SOUND) from the faun can be heard. They sound like wood being moved or large tree branches moving. The faun explains to Ofelia, they must offer the blood of an innocent to open the portal (SOUND). It then cuts to an over the shoulder, medium shot (CINEMATOGRAPHY) of Ofelia front and the faun s back. And then back to the shot before that, of Ofelia s back and the faun s front, as he starts to explain only a drop of blood from the baby is sufficient. The camera cuts away (EDITING) to Ofelia, and then back to the faun, using the same camera techniques described in the last shots. As they converse, there are seven shots double cutting (EDITING) back and forth between the faun and Ofelia, using an over the shoulder (CINEMATOGRAPHY) view with sound bridges (SOUND) using the dialog. There are three reaction shots (EDITING) of Ofelia while the faun explains the baby s role in this situation. The final reaction shot (EDITING) shows Ofelia shaking her head at the faun s words. On the final cut in this seven shot conversation, the faun utters a sound (SOUND) of anger and bends down towards Ofelia. This shot is using a low angle (CINEMATOGRAPHY) to show the faun towering over the girl. The next shot cuts to a close up (CINEMATOGRAPHY) of the faun s face and continues with close ups as it double cuts (EDITING) between the two character s faces.

Josh Medlock As Ofelia speaks, it shows a reaction shot (EDITING) of the faun. After the three cuts, the next cut is bridged (SOUND) by the faun s dialog and shows a medium full shot (CINEMATOGRAPHY) of Ofelia clutching the baby tighter. It cuts to an over the shoulder, medium shot (CINEMATOGRAPHY) of the faun with a dumbfounded look upon his face after Ofelia says she will not give up her new born baby, even to become princess. After showing the faun s reaction, it cuts back to the shot of the faun s shoulder and Ofelia s front. In the background, out of focus (CINEMATOGRAPHY), Captain Vidal stumbles on the scene. The camera cuts to a medium full shot (CINEMATOGRAPHY) of the captain as he stops to lean on the wall and look at Ofelia (MISE EN SCENE). The captain wipes his face with his wrist using his hand that holds his gun (MISE EN SCENE) as the faun and Ofelia still converse off screen (SOUND). As the captain wipes his face, the camera zooms (CINEMATOGRAPHY) in slowly. The camera cuts to a point of view, full shot (CINEMATOGRAPHY), using Captain Vidal s point of view, of Ofelia talking to herself. The camera cuts back to Captain Vidal in a medium shot (CINEMATOGRAPHY) looking strangely at Ofelia. Then the camera cuts to a medium close up (CINEMATOGRAPHY) of Ofelia and then cuts to a medium close up (CINEMATOGRAPHY) of the faun, who seems to have calmed down. It then cuts to an over the shoulder, medium full shot (CINEMATOGRAPHY) focusing on Ofelia, with the faun s shoulder and Captain Vidal in the background, both of which are out of focus. Captain Vidal walks towards Ofelia and the faun backs out of the camera s view (MISE EN SCENE). Captain Vidal walks into focus (CINEMATOGRAPHY), puts his gun away and places his hand on Ofelia s shoulder. The camera uses a match cut (EDITING) using the captain s motion of turning Ofelia around to reveal an over the shoulder, medium shot (CINEMATOGRAPHY). The camera uses a high angle (CINEMATOGRAPHY) to show Vidal towering over Ofelia. After Ofelia is turned around, the baby makes a quiet cry (SOUND) and Captain Vidal takes the baby from her. Another match cut (EDITING) using the motion of the captain taking the baby is used to show a medium shot (CINEMATOGRAPHY) of Vidal. Captain Vidal looks closely at the baby and inspects

Josh Medlock it (MISE EN SCENE) as the camera cuts from Vidal to Ofelia in a medium close up (CINEMATOGRAPHY). Ofelia turns to where the faun was standing and back to the captain while she breathes heavily (SOUNDS). Ofelia says: No which bridges (SOUND) to the next cut of Captain Vidal using a medium full shot and an over the shoulder view (CINEMATOGRAPHY). This next shot shows Captain Vidal pulling his gun back out and looking grimly at Ofelia. He aims the gun at her, cocks it (SOUND) and the camera cuts to a close up, reaction shot (CINEMATOGRAPHY) of Ofelia. The gun shot is heard (SOUND) and a flash of light (MISE EN SCENE) is seen on Ofelia; the music changes tempo (SOUND). Ofelia looks like she is in great pain and the camera cuts to a medium shot (CINEMATOGRAPHY) of both Ofelia and Captain Vidal. They turn away from each other as they walk in separate directions. Ofelia stops and holds her hand in front of her face. Her hand is covered in vibrant red blood (MISE EN SCENE). She puts her hand back down as Captain Vidal walks out of focus (CINEMATOGRAPHY) and off the screen (MISE EN SCENE). Ofelia takes a few more breaths before she falls off screen (MISE EN SCENE). A match cut (EDITING) is used as Ofelia falls into the next shot, onto the ground (MISE EN SCENE). Her hand falls beside her, over top the hole leading down to the faun s lair (MISE EN SCENE). Ofelia pants and struggles to breathe as she looks at her bloody hand and holds her other hand over her wound. The camera cuts to a new scene. INTERPRETATION In the first shot, the background is vibrantly colored orange and red to show the chaos that is going on in the encampment. The music shows that action is happening and tries to build tension as Captain Vidal follows Ofelia into the labyrinth. When the camera tilts up to the archway, it shows that they are going into this magical area of their world and that they are somewhat out of control of the unfolding events. The music changes when it cuts back to Ofelia to further be able to add tension. At first, the distance at which Captain Vidal the camera is shown following Ofelia is far away but gets closer, showing he is

Josh Medlock catching up on her. Heavy breathing can be heard from both characters to show their exhaustion, although Vidal s panting seems to be louder because he has been drugged. Captain Vidal stops many times and even shakes his head trying to shake off the drugged state Ofelia has put him into. The next part of the scene is a conversation between the faun and Ofelia. The sounds the faun makes are to show how old it is as well as try to represent he is made out of earthy materials. When the faun runs his hand across the blade and makes the sound, the sound is meant to show the audience how sharp the blade is. During the conversation, it cuts many times to show the audience Ofelia s reaction to what the faun is saying. Her face seems to be less and less enthusiastic about the faun s plan as it tells her she must offer the baby s blood. At first, the distance used to show their conversation is a full shot but gets closer as they get more engulfed in the conversation. When the faun gets angry; the camera, again, zooms in to show the emotion on the two characters. The camera also uses a low angle to show the faun s assumed dominance over Ofelia. It shows Ofelia s fear much more clearly when a close up is being used. As the conversation progresses, the camera backs off the two to show Ofelia emotionally distancing herself from the faun because she is scared. When the Captain enters the shot, he wipes his face and eyes because he is confused by what he sees. The camera uses a point of view shot to show what he sees. They show Ofelia talking to herself to make the audience realize no one else can see this creature. This absence in the captain s eyes makes the audience wonder if Ofelia is making everything up and imagining all the magical creatures she has come across. When all three characters are shown in the same shot, only Ofelia is in focus to show her reactions. The faun backs out of the shot and Captain Vidal walks into focus. This most likely symbolizes Ofelia s return to the real world and the deadly reality of her situation. The camera uses a high angle to now show the captain s dominance over Ofelia. The look the captain gives Ofelia is a look of hatred and anger, while the look he gives the baby when he is inspecting it is worried and almost loving. The

Josh Medlock camera does not show the captain shoot his gun. The camera shows Ofelia to make sure the audience sees her entire reaction to the gun being pointed at her. Another reason to focus on Ofelia s face and not the gun or where she is shot is somewhat the same as when murders appeared in German expressionism films: it leaves the murder to the audience s imagination. The two people part ways after he shoots her to show the end of their connection to each other. After Ofelia s mother died, the only tie she had to Captain Vidal was her baby half-brother, now that connection has been severed because the captain took the baby with him. After the gun shoots, the music changes to focus on Ofelia s pain and to make the audience sympathize with her. A blue tint has been used to film this entire scene for two reason. Firstly, the blue shows the emotional state the audience should be in. The audience is supposed to be worrying what will happen to Ofelia and be questioning her safety. Another reason to use the blue tint is to be able to accentuate other colors, such as the fire in the background in the beginning of the scene as well as the blood on Ofelia s hand and wound. The blood looks extremely vibrant and seems impossible to overlook. The blood is important to the story as it is what actually opens the portal to Ofelia s kingdom. It is important to note that Ofelia, even though she was just shot, she still stands. Somewhat showing that the captain has not won just yet. It also shows Ofelia s character: she is extremely brave for her age and even after being shot, she does not give up. Ofelia never screams or cries during this scene even though her life is being threatened. She struggles to breathe and stay alive while most young girls would probably fall over and die pretty quickly. Even after she falls over she still continues to cling to life and does not actually die until Mercedes returns to sing her her final lullaby.