Pan’s Labyrinth 2006 123movies

Watch: El laberinto del fauno 2006 123movies, Full Movie Online – In 1944 Falangist Spain, a girl, fascinated with fairy-tales, is sent along with her pregnant mother to live with her new stepfather, a ruthless captain of the Spanish army. During the night, she meets a fairy who takes her to an old faun in the center of the labyrinth. He tells her she’s a princess, but must prove her royalty by surviving three gruesome tasks. If she fails, she will never prove herself to be the true princess and will never see her real father, the king, again..
Plot: Living with her tyrannical stepfather in a new home with her pregnant mother, 10-year-old Ofelia feels alone until she explores a decaying labyrinth guarded by a mysterious faun who claims to know her destiny. If she wishes to return to her real father, Ofelia must complete three terrifying tasks.
Smart Tags: #fairy #maze #spain #labyrinth #hiding #woods #strong_female_character #magical_realism #baby #princess #faun #forest #stabbed_in_the_chest #monster #sacrifice #fear #mercy_killing #dark_fantasy #strong_female_lead #spanish_civil_war #female_protagonist

Find Alternative – El laberinto del fauno 2006, Streaming Links:

123movies | FMmovies | Putlocker | GoMovies | SolarMovie | Soap2day

Ratings:

	8.2/10 Votes: 668,255
	95% | RottenTomatoes
	98/100 | MetaCritic
	N/A Votes: 9304 Popularity: 45.474 | TMDB

Reviews:

A fey, beautiful and dark masterpiece
Set during Franco’s mopping up exercise after the Spanish Civil War, Guillermo Del Toro’s Pan’s Labyrinth is a wonderful, dark fairy tale that, in a metaphor for Spain itself, teeters on the edge of nightmare dreamscapes of corruption, violence and the death of innocents.

This film is definitely not for young children. Although the fantasy sequences are gorgeously realised, and are fairy tales in the truest sense (in that they are dark, fey, dangerous and violent), most of the story (about three quarters of it, in fact) exists outside of the dreamland, in the even more frightening (and sometimes shockingly violent) world of a real life struggle of ideas and ideology.

Sergi Lopez is excellent as the brutal (and possibly sadistic) Falangist Captain tasked with routing out the remaining leftists from the woods and hills of Northern Spain. Into this precarious situation come his new wife (a widow of a former marriage, who is carrying his son) and his stepdaughter Ofelia (played to absolute perfection, by the then 11 year old, Ivana Baquero).

Uncomfortable with her new surroundings, suspicious of her stepfather and desperately concerned about the worsening condition of her mother, Ofelia uncovers a strange alternative world, and the chance to escape forever the pain and uncertainty of her everyday life.

Thus the film alternates between the world of Civil War Spain and the increasingly bizarre, dark and frightening world of the Pan’s Labyrinth. As the twin plots progress, they intertwine, with the tasks of Ofelia becoming the choices faced by a Spain at the crossroads. The poignancy of the film lies partly in the fact that the victories of the child are reflected so starkly by the failures of the adult world.

Apparently Pan’s Labyrinth won a 20-minute standing ovation at Cannes, when it was shown. This may be a little bit over the top. I suspect when the furore has died down some will choose to swing the pendulum back and criticise it for its more obvious faults. Much of the film is derivative. There are few ideas in the film’s magical dreamworld that haven’t been seen before. There are also few ideas in the film’s depiction of the Civil War that can’t be read in Satre or Orwell; can’t be viewed in Picasso’s Guernica; or can’t be watched in Land and Freedom.

For all the evident truth of these observations, to accept them would be to entirely miss the majesty of Pan’s Labyrinth, which doesn’t lie in its originality but its absolute mastery of execution. People will watch Pan’s Labyrinth in a way that most won’t watch Land and Freedom. In doing so, they will also discover a world of fairy tales which existed before Disney sunk its claws into them: a dangerous world, where nothing is as it seems and every step is a possible death – a place which may leave even adults shivering under the duvet, part in terror, part in wonder. And all this backed up by the finest cinematography I’ve seen.

The only real faults I am prepared to allow for this film is a slight tendency (particularly at the end) for a Narnia-like moralism, and the fact that the faun is, perhaps, is not quite wild enough! These are eminently forgivable, though. This is easily the best film I’ve seen this year, and a must see on the big screen.

Just magical
I saw the film at FrightFest in London a couple of days ago, and was pretty well sure I’d be seeing something special – but I ended up seeing a film that is downright extraordinary. Brutal but beautiful, magical yet earthy, it has a remarkable cast, with standout performances all round.

A special mention must go to Sergi Lopez, whose ‘Captain Vidal’ is indeed one of the most sadistic film creations ever seen. Yet he manages to make the audience understand why he is the way he is … an astounding performance. Maribel Verdu’s quiet but rebellious housekeeper is one of the strongest female roles I’ve seen in many a year, and she is supported by a wealth of talent. Young Ivana Baquero is surprisingly self-assured as 12-year-old Ofelia, and I especially liked her almost Alice-like approach to the magical creatures she encounters in the labyrinth. The icing on this warped fairy tale is Doug Jones, who gives a towering performance – and in this case literally, as well as figuratively – as the guardian of the labyrinth, a faun, full of grace and charm and latent menace. Although dubbed, his Spanish is perfect (Jones speaks not a word of the language), and his physical presence is incredibly powerful as his character teases, cajoles and harries Ofelia to fulfil her tasks. He also plays the devastatingly creepy and disgusting ‘Pale Man’ – a creature that almost equals Vidal in his terrorising habits.

But the cast is just one facet of this gloriously photographed film, with Javier Navarrete’s hauntingly simple score weaving itself into the fabric of a film perfectly edited and written. The brutality of post-Civil War Spain contrasts with the world of magic to which Ofelia is drawn, yet everywhere she goes she has choices to make. In fact the film is about choices, good and bad, and one discovers that no matter how desperate a situation becomes, a choice is always available – although that choice may mean one’s death. The film is violent – very violent, but each moment of brutality, although graphic, has a purpose – nowhere is it gratuitous.

I loved it – as I knew I would – and if the Oscar voters don’t give this film at least a nod for Best Foreign Language Film next year, then I will know that they have lost any sense of reason or comprehension. Because this film is truly a masterpiece, and Del Toro’s greatest work to date.

Other Information:

Original Language es
Runtime 1 hr 58 min (118 min), 2 hr (120 min) (Finland), 1 hr 52 min (112 min) (Toronto International) (Canada)
Budget 19000000
Revenue 83258226
Status Released
Rated R
Genre Drama, Fantasy, War
Director Guillermo del Toro
Writer Guillermo del Toro
Actors Ivana Baquero, Ariadna Gil, Sergi López
Country Mexico, Spain
Awards Won 3 Oscars. 109 wins & 115 nominations total
Production Company N/A
Website N/A

Technical Information:

Sound Mix DTS, Dolby Digital, SDDS, Dolby Surround 7.1
Aspect Ratio 1.85 : 1
Camera Arriflex 435 ES, Zeiss Ultra Prime and Variable Prime Lenses, Moviecam Compact, Zeiss Ultra Prime and Variable Prime Lenses
Laboratory Image Film S.A., Barcelona, Spain
Film Length 3,282 m (Portugal, 35 mm), 3,300 m (Finland)
Negative Format 35 mm (Kodak Vision2 200T 5217, Vision2 500T 5218, Vision 250D 5246)
Cinematographic Process Digital Intermediate (2K) (master format), Spherical (source format)
Printed Film Format 35 mm, D-Cinema