Set during Franco’s mopping up exercise after the Spanish Civil War, Guillermo Del Toro’s Pan’s Labyrinth is one of the wonderful part, dark fairy tale that, in a metaphor for Spain itself, teeters on the dreamscapes of corruption, violence and the death of innocents. This film is definitely not for young Streamate ladies. 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 he 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 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.