Pan's Labyrinth Opening Scene Analysis

 The first thing heard in Pan's Labyrinth, before anything is shown onscreen, is a lullaby being hummed. On a first viewing, this could be seen as due to the fairy tale, storybook like nature of the film, however, after seeing the film in full, the audience know that it is also what Carmen hums to Ofelia as she dies at the end of the film. Immediately, this hints that many of the events of the film, specifically the fantasy elements, may not be real, but instead imagined by the child protagonist; this theory is also justified by the fact it lingers on a black screen means that this opening scene is from Ofelia's perspective as she dies, as her eyes are shut, and begins to repeat the events of the film back to herself. This is quickly juxtaposed by the text that follows, which explains the political situation in Spain in the time that it's set. The film then shows Ofelia, laying on the floor, breathing heavily, and being held, likely by her mother, as the lullaby is still hummed; again, on first viewing, this does not explicitly show or state anything, perhaps implying her fear due to the nightmarish, dreamlike qualities of the fantasy aspects of the film, but after seeing the film in full, the audience know that this also depicts her death later in the film. This shot features cold lighting, which is the lighting often used in the scenes set in the Underworld, immediately blurring the line between Ofelia's fantasy and reality. The camera tilts and zooms into Ofelia's face as the film begins to explain the story of the princess from the underworld. The fact that the camera zooms in on her face suggests that this story may be internal, imagined by Ofelia; however, this can also be read as implying Ofelia is the princess of the underworld that is spoken of. 

The Underworld is presented as cold, harsh and devoid of all life, potentially representing the way that many people view death. The exposition delivered by monologue explains the story of a "princess who dreamt of the human world", the harsh, gothic appearance of the Underworld make the real world look inviting in comparison. The first thing shown in the "real world", with the exception of Ofelia's death, is are the decaying, old ruins of a Church. This looks very reminiscent of what was displayed in the Underworld, and I think purposefully so, but due to the warmer lighting, looks far more inviting and comforting, despite it's connotations of death and eerie atmosphere. I view this as a visual metaphor for the death of faith; as this is shown, the narrator explains that the princess forgot who she was when she arrived in the human world, as she becomes grounded, causing her body to die in the Underworld. This can also be read as the adults' belief in fantasy dying out as they are much more acquainted with the harsh reality of the time period and hence not believing and dismissing Ofelia throughout the film, or as the fascist government of Spain at the time weaponising religion to oppress and suit their interests.

The first time Ofelia is shown in Pan's Labyrinth is when she is in a car with her mother, reading fairy tales. Much like the princess from the Underworld, she is shown dreaming of another world. Carmen, however, opposes this, telling her that she's "too old to be filling her head with such nonsense." It is quickly established that Carmen is ill, as she begins coughing, and get Ofelia to ask the driver to stop. As Carmen gets out of the car, she is shown as pregnant, which is further established when she tells Ofelia that her "brother is not well". As soon as the car stops and everyone gets out, despite her mother's illness and requests for Ofelia to wait, Ofelia is quick to wander off, further establishing her adventurous spirit. As she wanders off , Ofelia finds a rock on the ground, despite it looking an ordinary rock, as if she knows that it has a purpose, and as she turns around a corner, finds that it fits as the eye of a mysterious, ancient stone statue. As she does this, an ambient, droning, ominous noise plays, which questions whether this is reality or Ofelia's fantasy, as it is the first use of non-diegetic sound in the film since the opening voiceover. As she does this, a large flying insect emerges from the statues mouth, as if it has been released by Ofelia. She watches the insect as it flies away, before she is interrupted by Carmen, who has come to find her. Ofelia tells her "I saw a fairy", but is ignored, and instead lectured for getting her shoes dirty. This shows that Ofelia's whimsical, fantastical, childlike way of thinking gives her access to much that the "grounded" worldview of the adults in the film have lost touch with and forgotten. Carmen then tells Ofelia: "When we get to the mill, I want you to come out to greet the Captain. I want you to call him father. You have no idea how good he's been to us. It's just a word, Ofelia. Just a word." This establishes not only where Ofelia and Carmen are travelling to, but also each of their attitudes to it. Carmen is accepting of this, but the fact she must lecture Ofelia on this shows that Ofelia is rebelling against it.

As soon as Ofelia and Carmen arrive at the mill, Captain Vidal immediately feels Carmen's pregnancy bump, barely acknowledging Carmen herself, only saying her name. As soon as Carmen steps out of the car, he insists that she sits in a wheelchair, and despite her refusal, uses threatening behaviour such as whispering in her ear to convince her of this. Despite her mother's lecture, Ofelia must be told once again to greet the Captain upon arrival. Oflelia hesitantly and slowly gets out of the car, clutching a pile of books with her right hand, and silently outstretches her left hand to Captain Vidal. The Captain rejects this by grabbing her hand and telling her that "it's the other hand". This represents the Captain's distaste for fantastical narratives such as those among Ofelia's pile of books, and also his obsession with order, and tradition, such as the idea that the left hand is the "wrong hand" to offer when shaking someone's hand, immediately establishing that he is a fascist. During this, the Captain is shot from a low angle from Ofelia's perspective, to show that he has an intimidating and imposing hold over her, both as an adult, and as a man. All of these interactions depict Captain Vidal's fascist masculinity to an extent that is somewhat caricatured; due to his obsession with having a son, and his disregard for and exertion of power over Ofelia and Carmen.