It's difficult to talk about the characters in Pan's Labyrinth without also mentioning the themes. If you see theme as the story's DNA, as it has been called, and you look at each character and their actions you will see that they're all built from that same DNA. The primary theme of this film is obedience vs. disobedience and making the right choices. This is something that is close to del Toro's heart and he has talked about it in interviews and specifically mentioned this as a theme for Pan's Labyrinth. Here are my thoughts on some of the characters. Carmen makes choices that will eventually kill her. The first time we see her in the car, she points out that the fairy tales that her daughter love so much are “nonsense” and that Ofelia is “too old to be filling” her head with them. This has multiple meanings: the primary being that Carmen herself has given up on any childhood imagination and hope. It's not merely age that separates mother and daughter; it is adult vs. child, reality vs. imagination. She married Vidal for reasons we're not entirely sure about, but we can guess. It's something she feels that Ofelia wouldn't understand. She has to protect her children and does what a mother think is right. When Vidal discovers the mandrake root, Carmen follows his orders and reprimands her daughter. She throws the mandrake root on the fire and immediately gets sick and dies. She obeyed Vidal in every step of the way and paid the price for it. The Doctor disobeys Vidal. He gets shot but dies a righteous man. This scene reminds me of Kostoyed (Klaus Kinski) in Doctor Zhivago who as a chained prisoner proclaims he is the only free man on the train because he spoke the truth. In his mind he is free. The fact that he's being sent to the gulag is secondary. Same with the Doctor. He signed his own death sentence but it was worth it. It's better to die standing up than to live on your knees. “To obey without thinking just like that. Well – that's something only people like you can do, Captain.” he says. It can't get any clearer than that. In the interview I linked to yesterday, del Toro talks about choices and how we always have a choice, no matter what. We can get jailed or hurt or even die from those choices, but we still have a choice. Vidal is the character with the story goal – to continue his bloodline. This is the dramatic question that will be answered by the end of the movie – will he succeed in his goal or not? I can't think of a better character to show this story argument of obedience vs. disobedience than a Fascist, and a better backdrop than Fascists vs. Rebels. How perfect is that? Talk about making choices and blindly following rules. The scene with the hunter father and son is interesting. Yes, they were hunting rabbits like they said, and Vidal killed them for seemingly no reason, but del Toro also put anarchist literature in their backpack: “No God, No Government, No Masters”. In Vidal's mind that made them guilty and he probably would have killed them anyway even if he had discovered the rabbits. The scene shows that Vidal is convinced he is right. In his mind he is the good guy, fighting for his utopia of a “clean” Spain – he's not just a psychopath, there's a reason for his actions. But to make him an even deeper character, del Toro also shows Vidal doubting himself just a bit: the scene with him shaving and slicing the razor across his own reflected image in the mirror. He is human after all. And that makes him even more of an evil presence. The Fascists were humans, not monsters. That's the reality and it makes this story so much more powerful. The scene at the dinner table with the Mayor is again underlining the theme of the story: “We're all here by choice.” says Vidal and they all raise their glasses. They choose to be Fascists. They blindly obey a ruthless dictator. We all have a choice. Ofelia obeys the Faun on her first challenge. This is a new world for her that she is desperate to be part of. This is her escape from the brutal reality. On her second challenge, she disobeys the Faun and eat the grapes. She also makes her own choice of which lock she should open. She doesn't listen to the fairy. On her third she disobeys the Faun and in turn makes the right choice. She dies but lives on in the Underworld. She was liberated. You can kill her in real life, but that one glimmer of hope and imagination will live on. You can't kill that. Disobedience led to success. If you watch this film with the theme in mind, you'll see that everything is built from that same idea. This is an argument that the author is making. What happens when we blindly obey? What happens when we question authority? This is what del Toro set out to explore. This is what he wanted to tell us with this story. That's why the setting, the characters, the theme, and the story structure feels so organic and inseparable. It all melds together perfectly. It all came from the same place and del Toro carefully chose each and every element of the story to express his message and to create meaning. There's so much more to explore in this film of course. I didn't even mention the fantasy aspect of it or several of the other important characters. But I believe that unless we explore the root of this story and we try to understand why del Toro made the choices he made, we will miss out on the fact that he created a work that has real meaning and that's why this film will be remembered for generations to come. It's not just a magical tale. It is so much more.

Don't know if this comes under character, but... reading the script, it struck me how sexless the story is. Mercedes has a brother with the rebels, where in many stories she might have had a lover instead. Carmen's pregnancy is so delicate that her marriage to Vidal is also sexless. I wonder how deliberate this was, and why the choice was made (if it was a choice)...

Teddy, that is a fantastic analysis. Seriously, just terrific. As usual, I'm pressed for time and I will definitely follow up with some comments on your thoughts, basically an expansion of your thoughts because I agree with you on all fronts. Two little things now: (1) As I noted previously, I was surprised in reading the script how prominent Vidal's story is, as I just don't remember it all that much from the time I watched the film, probably because I was so caught up in Ofelia's predicament and journey. But a great way to find new layers of meaning in PL is to look at through the eyes of Vidal as a Protagonist (a point you note in your comments). Indeed there is a whole section toward the end of Act Two with the ruse by the rebels and the assault of the soldier's HQ where Ofelia is barely present, the attention shifts almost entirely to Vidal. He is a fascinating counterpoint per this theme of obedience and disobedience to Ofelia. And also as you note, how perfect in that regard he is a Fascist. (2) Re Ofelia's journey, I just want to draw people's attention to this line from the Faun to Ofelia on P. 23: "But we have to ensure that your essence is intact, that you have not become a mortal." In my view that speaks to the heart of her character's metamorphosis journey, one that causes her to confront, then claim her 'essence.' Of course, I use the phrase "core essence" when speaking about the idea of a character getting in touch with their authentic self, so I was quite struck by that. But more on that later, I leave everyone with that idea to ponder Ofelia's psychological journey. Again great stuff, Teddy.

Teddy, extraordinary. Though, I see things a little differently, regarding the theme and the whys about the characters but there's absolutely no right or wrong and yours is very interesting indeed. For me, the main theme is that you will always have options to fight a war, whether you are an oppressed woman (Carmen), a brave revolutionary (Mercedes, Doctor, Pedro) or an innocent child (Ofelia), with Vidal being the huge antagonist to all of this (hence his big role). And I believe that he wanted to evidence the power of fantasy and imagination in such a dark real world and that's why I believe the Ofelia - Labyrinth is the main plot line. The film begins with a mystic stone and a magic insect which turns out to be an actual fairy; ends with the magic underworld, princesses etc. And can we really tell that Vidal doesn't see the Faun because some requirement of pureness ? What if nothing of that happened and Ofelia was only creating a world to escape the horrors of war ?

Vidal really is the key character. Creating a terrifying villain that is nonetheless compelling and human is very difficult, but Del Toro succeeds brilliantly. Teddy has already touched upon the political and philosophical motivations that make him rise above caricature, so here's some "personal" details that make the character special: 1) The broken watch sub-plot -- my favorite part of which is that Vidal actually DENIES (during dinner) that his father even owned a watch. In fact, he doesn't even want to discuss his father and his military exploits. Just like Ofelia, Vidal has also suffered (in his own way) from the loss of a father and is following his family destiny. 2) His relationship with Carmen. While the marriage is basically utilitarian (a son for Vidal; survival for Carmen), Del Toro is careful not to make him a total monster of a husband. Instead, notice the "polite" cruelty he displays in front of guests (pg. 42): VIDAL Please forgive my wife. She hasn't been exposed to the world. She thinks these silly stories are interesting to others. 3) The stomach-turning self-stitching scene. As vicious a killer as he is, you have to admit that he's no chicken-hawk wimp. I won't use the word "admire," here, but he does seem to live up to his own cruel standards. 4) His death scene. Del Toro answers the question: "What DOES induce fear and horror in our murderous villain?" VIDAL Tell him -- MERCEDES No. He won't even know your name. Mercedes's words are Vidal's last and most painful wound. He face goes pale.

*HIS face

I think we can say Vidal is the key character although he is not the main character. He is the antagonism himself, so of course he must be a key. The best your villain, the best your protagonist. When I watch Inglorious Basterds, I get the feeling that Col. Hans Landa is carrying the conflict himself and to some extent, that is true. He his such a brilliant villain that we can't help but build our expectations in what his he going to do next more than what his Aldo Raine's next move. At least this is how I feel it. I still think this is more about Ofelia.

* on what he is going to do next

The strength, power, depth, emotional detail of Vidal as antagonist struck me as I read. Everything revolved around him. For me, Ofelia took refuge in a detailed fantasy world wherein she found solace and eventual safety. The hurdles of her initiation in the fantasy sequences reminded me that Del Toro is Catholic. For me, there is something very Catholic about the world of the labyrinth. Part of the puzzle for Ofelia - who were the mentors? Who could she trust? Who were the tricksters? In the fantasy world, they were all tricksters until she crossed various thresholds. Mercedes, the Doctor - the audience knew they were mentors to Ofelia, in some sense. But she did not know she could trust them really. In terms of theme, I keep going back to thinking about how people survive fascism, how they transcend harsh political realities could crush them completely. Note: I have never seen Hellboy or Hellboy II. I plan to watch them or read them soon. Great work on this, Teddy! Your insights are fascinating.

Congratulations to Scott for his Blog partnership with The Black List. This is great and well deserved for Scott. And great for original screenplays and the screenwriters all over the place who consider great writing and aspire to create their own.

In contemporary films, often the antagonist dominates the narrative. It feels to me that since, perhaps, Silence of the Lambs there has been a shift in the paradigm in terms of this balance. Audiences seem to thrive with more conflict, with more heightened and vivid, complex antagonists. Thoughts anyone?

Joe, that is a great point: Both Ofelia and Vidal have strong shadow dynamics related to their respective fathers. While both are absent, they are present emotionally and psychologically. I think it's fair to say that Ofelia's father represents a 'positive' energy, at least one to which she wants to remember and eventually reconnect, while Vidal's father represents a 'negative' energy, one that taunts him every second of every day (another layer of meaning related to the watch). Might one of the dynamics at work in Vidal's relationship with Ofelia be her presence - a child who desperately loves and misses her father - reminds him of how much he hates and regrets his father, a possible contributing factor to his disdain for her. It occurs to me that Vidal's father / his presence, represented as a sort of eternal aspect in the watch -- timeless? -- makes the ending even more meaningful and deeply ironic: "He won't even know your name" completely vitiates any opportunity that Vidal's legacy will live on as his father's did. What a thought to have as death escapes him! Meanwhile, of course, Ofelia happily reunites with her father [and mother]: One death leads to Unity, the other to Destruction.

Tom, I don't know if you're a fan of "Dexter," but each year they introduce a new Nemesis, and part of their appeal is how conflicted and complex they are. They almost have to be in order to provide enough fodder for the writers to explore and audience to be teased by over the course of 12 episodes. Besides aren't Nemesis characters more fun to write? I asked this question the other day on the blog -- which do you prefer to write: Protag or Nemesis -- and the overwhelming majority selected Nemesis.

Coming back to the idea I touched on earlier in this thread, what about Ofelia's metamorphosis? The metaphors I prefer to use in exploring that dynamic in a story, ones I think are most apt, are these: Disunity to Unity. What are Disunity elements for Ofelia at the beginning of the story: * She is separated from her father as a result of his death. * She is being relocated from her home to a new place. * She is being asked to replace her real father with a faux father in Vidal. * Even the presence of her baby brother keeps her at an arm's length from her mother's comfort and love which she so needs given her current life circumstance. And then there is this [P. 23]: "You are Princess Moanna, daughter of the King of the underworld." Per the Faun, Ofelia isn't Ofelia, she is a Princess from the underworld. Each of these Disunity elements imply the need for resolution. In a story, whether the Protagonist achieves that unity is up to the discretion of the writer and the activities of the characters. In "Pan's Labyrinth," I would argue that Ofelia does achieve a state of Unity, albeit through death: She separates herself from her faux father, reunites with her father, reunites with her mother, and reclaims her rightful position as Princess. That is all about change. But what about metamorphosis? What sort of transformation of the psyche does Ofelia experience? For that, I suggest we go back to the line I mentioned earlier: “But we have to ensure that your essence is intact, that you have not become a mortal.” This goes directly back to Teddy's point re obedience and disobedience: At first, she obeys the Faun (the first challenge with the Toad). And she tries to obey her mother even if she can't Vidal. But then comes the second task in which she disobeys the Faun by eating the grapes. Then Ofelia sees the repercussions of those who disobey in the world of mortals: The Doctor dies, Mercedes is caught, she herself is upbraided by Vidal. And yet when confronted with the choice of the third task -- what to do with her baby brother -- she chooses to disobey the Faun [P. 93]: "You will give up your throne for him?" As soon as she commits to that, Vidal's bullet strikes Ofelia and she begins to die. But then when she is reunited with her parents in the underworld, her father the King tells her this [P. 95]: "It was your blood and not that of an innocent that made you worthy of the throne. It was your last task. The most important one... and you chose well, your Highness." Through her act of disobedience toward the Faun and choice to keep her brother with her, Ofelia proves that she has not become a mortal -- follow orders as Vidal's contingent does -- but rather she has claimed her "essence" of that of the Princess and the underworld, thereby ensuring her transition there. So once again, we are smack dab in the middle of Jungian territory, where Ofelia's journey of individuation causes her to confront key aspects of her psyche, surfacing her "essence" which manifests itself in the power of her choice to disobey, an exhibition of her metamorphosis.

The comment thread has mentioned Mercedes as a mentor character but I wonder if we might even consider her as a protagonist, with Ofelia the narrator of Mercedes’s journey. This is absolutely a stretch, I agree. Ofelia and Vidal are the two major players. But Mercedes’s journey is heroic in its own right and also contains a strong psychological element. At the very least, Mercedes’s journey inspires Ofelia, and she learns how to be strong in her own quest. In a sense, Mercedes, though not the hero of the script, is Ofelia’s hero, and Ofelia is doing her best to emulate Mercedes. Ofelia cannot completely comprehend the trials that Mercedes confronts - as Carmen says, “when you’re older, you’ll understand.” But she creates a world that she understands and which allows her to play the hero. In terms of Ofelia narrating the story, consider the order of the following events. #1 - Mercedes earns Ofelia’s trust and reveals she might know a little something about magic. This shows Mercedes is someone to look up to, someone who might understand things on Ofelia's level (pp 10) #2 – Ofelia realizes that Mercedes is helping the rebels – or at least performing some act of disobedience against Vidal. (pp 13) #3 – Ofelia sees Mercedes reveal a hidden paring knife. (pp 29) #4 – Mercedes hands the bodega key to Vidal. (pp – 32) Haven’t seen the movie in several years, but since on page 33 Ofelia is walking from the mill can I make the assumption that she witnessed the exchange? The bodega is next to the mill. #5 – Ofelia defeats toad and nabs the key (pp 37) #6 – Mercedes delivers items to the rebels. This delivery, while in itself was successful, leads to Vidal discovering that the Doctor and Mercedes are helping the rebels. #7 – Ofelia nabs the gold dagger, but her mission also failed because it led to the death of two of the fairies (Stutter and Doctor?). My theory falls apart here because how could she know that Mercedes delivery would have such terrible implications? #8 – Mercedes learns Stutter has been captured (pp 66) #9 – Ofelia gets chewed out by Faun and learns she failed in the second task (pp 70) #10 – Mercedes and Ofelia are captured (pp 82). For Mercedes this is the All is Lost moment. #11 – Mercedes stabs Vidal and escapes (pp 85) #12 – Ofelia escapes the attic (pp 88) #13 – Mercedes reunites with her brother (pp 87) #14 – Ofelia reunites with her brother (pp 90) Mercedes also has psychological factors that might make her an interesting protagonist but the strongest and most obvious is that she is living a double life and that must be reconciled. There are also some very strong sexual undertones to the Vidal/Mercedes relationship. Debbie Moon's comment above is correct in that there is no typical sexual backdrop, specifically no positive sexual storyline. But there is a very strong negative one, in my opinion. Vidal touches Mercedes on more than one occasion. I really got the feeling that there was something beyond the typical master/servant relationship, and not in a good way. Also, consider the very specific violence “brutal thrust – from the inside out” Mercedes inflicts on Vidal during her escape. I think there is something much more personal going on than the typical Rebel vs. Fascist scenario.

So far, this is the best script and analysis session we've had. You can read my breakdown here

Very nice discussion this week. Thanks to everyone for great comments and breakdowns. I wanted to comment on something that both Anna and Diogo mentioned. It's important to note that even though the Rebels achieve success by the end of this film, history tells us that their victory was local and probably short-lived. The Rebels may have defeated Vidal and this group of Fascists, but Franco ruled Spain for another thirty years. It gives the ending yet another layer of meaning and makes it even more bittersweet. Ofelia's death serves as a great metaphor. The way Vidal was trying to root out the Rebels and stop them from getting supplies is mirrored in Ofelia's struggle with the real world and Vidal and Carmen trying to kill her imagination and individuality. The rations handed out by the Fascists could be interpreted as thoughts and ideas handed out by the authorities as well. Here. You can only think this. We decide what and how much. Fall in line. Don't think for yourself. Until her very last moments, Ofelia rejects adulthood and she rejects reality. That idea of individuality and rejecting authority serves as an inspiration for the surviving characters of this story. Her growth as a character comes from that same place. She learns to think for herself and make the right choice by not listening to anyone who is trying to tell her what to do or sway her in any direction. The ideas live on. Just like Ofelia lives on in the afterlife.

Living under Fascism for a long time - I think there is an element of how people survive wherein they escape into their own world, live their lives on their own personal terms. The Labyrinth and its creatures and their tasks and rules allowed Ofelia to create an order of things apart from the harsh realities of her stepfather's world.

Great to read everyone's thoughts about this script and film. You have posted such intriguing ideas about Pan's Labyrinth.