🎦 Pan's Labyrinth full movie HD download (Guillermo del Toro) - Drama, Thriller, War, Mystery, Fantasy. 🎬
Pan's Labyrinth
USA, Spain, Mexico
Drama, Thriller, War, Mystery, Fantasy
IMDB rating:
Guillermo del Toro
Ivana Baquero as Ofelia
Sergi López as Captain Vidal
Maribel Verdú as Mercedes
Doug Jones as Fauno
Ariadna Gil as Carmen Vidal
Álex Angulo as Doctor
Manolo Solo as Garcés
César Vea as Serrano
Ivan Massagué as El Tarta
Gonzalo Uriarte as Francés
Francisco Vidal as Sacerdote (as Paco Vidal)
Juanjo Cucalón as Alcalde
Storyline: 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 the true princess and will never see her real father, the king, again.
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1080p 1920x1080 px 8563 Mb h264 10071 Kbps mkv Download
HQ DVD-rip 720x480 px 1725 Mb mpeg4 2028 Kbps mp4 Download
DVD-rip 528x288 px 701 Mb mpeg4 824 Kbps avi Download
Still trying to understand the Hype....
I watched this moving again last night for the 2nd time, and I still don't understand the Hype. I don't understand why people are calling this a "masterpiece". It is not even close. It is a very entertaining film, and the cinematography is beautiful, but the story is completely lacking. The war scenes are very brutal and gory, and the fantasy scenes aren't for kids, but overall all I can say is the ONLY thing I can figure out in this movie, is that the young girl didn't want to face the harsh reality's of war, and created this Fantasy world to stick her feet into throughout the film.. I don't see any "hidden-meanings" within this film at all. The girl is just a kid, and kids go off in fantasy worlds when they don't want to deal with harsh realities... nothing more to it than that.

The ending was pretty sad, but I was really really disappointed in the very end when she's at her "kingdom" - I mean, come on, hasn't this been done before??? Reminded me of the titanic ending when Rose meets Jack at the clock in the End...

This movie took 2 films, A typical war film and a Typical Fantasy film, and put it together.. and its a masterpiece? I'm sorry, I tried with this film, I really did... I just didn't see the Brilliance in it at all. I consider Kubrick's 2001: A Space Oddessey, a Masterpiece.. THIS isn't even on the same scale as that...

Pan's labrynth is entertaining at best, but not a masterpiece.
powerful story about the Spanish civil war - fantasy aspect the weaker side
I believe Pan's Labyrinth to be misnamed. Although it is a clever title, and there is a faun and a labyrinth, the fantasy world is actually a very small part of the movie, which is mostly about a sadistic Fascist (Sergi Lopez, excellent as Captain Vidal)hunting partisans in the mountains of rural Spain during the second World War.

To be sure, the main character initially seems to be the Captain's unattended step-daughter, Ofelia (Ivana Baquero). Ofelia and her mother have accompanied the Captain while Ofelia's mother is dealing with a difficult pregnancy. The woman is not important to the Captain, only his legacy is and he will risk the mother's life to obtain his heir. In the meantime Vidal is not above executing anyone who even seems to be remotely suspect of aiding his enemy. This is bad news for the house maid, Mercedes (Maribel Verdu, who is also excellent) and the local doctor, both of whom are covertly aiding the rebels.

Ofelia seems to be dealing with this frightening situation by retreating into a fantasy world. A faun (Pan, played by Doug Jones) informs her that she is actually a lost princess from an underworld kingdom, and must pass several tests to prove her worthiness.

Here is where the weakness of the film comes into play. Both the fantasy world and the real one Ofelia inhabits are well evoked, but director Del Toro does not devote enough time to the fantasy world to make it the main arc of the story. Instead most of the time and focus (at least two-thirds) are on the Captain, Mercedes and the Captain's hunt for the partisans and their conspirators. When Ofelia does enter the labyrinth her tasks are usually straightforward (getting a giant toad to swallow a magic stone, stealing from a monster) and seem a distraction from the real story of the sadistic captain and the brave housekeeper. In particular on one sojourn Ofelia disobeys the orders of the Faun and awakens a child-eating monster from which she has to flee. This is out of character for Ofelia, who is shown as being canny and smart until that moment, and the Faun's pronouncements following this seem perfunctory. In addition, the fantasy adventures do not seem to gibe in any logical way with the story - I did not see a connection between the giant toad or the pale man with the actions taking place in the film. If the fantasy world is supposed to be an allegory for the real world Ofelia inhabits, then the connections were too tenuous.

Another fault I found with the film is that it takes the ambiguity away from the fantasy scenarios. Ordinarily in this type of story, the reality of the dreamscape remains in question, leaving the audience asking whether the character is actually experiencing the adventure or just imagining it. Here Del Toro removes the ambiguity - the dreamscape can only be real, or else the filmmaker is lying. I felt this was a cop out. If the girl is escaping her nightmarish reality by retreating into a fantasy world, then making the dream world real is unfair to the audience. What does it mean that this defenseless little girl can actually retreat into a fantasy world as a moral to the story? And if the opposite is true, that the fantasy world was just fantasy, then Del Toro creates too many contradictions - Ofelia uses tools and devices given to her by the faun to escape real world situations, and they are found by other characters.

The last criticism is the actions of Mercedes when she gets a drop on Captain Vidal. (SPOILER ALERT) Mercedes is very aware of how sadistic and evil the Captain is. She has the gumption to stab him and has him helpless, so WHY DOESN"T SHE FINISH THE JOB? Her leaving him alive has both immediate and far-reaching complications for herself and Ofelia and left me gasping in disbelief. This leads to the trenchant finale, where Captain Vidal, who has been stabbed at least five times, pursues Ofelia into the labyrinth. I had questions about this as well. During this climax I doubted Vidal's ability to go anywhere due to the brutality of the stabbings, but here he is, pursuing the little girl with the baby. I also questioned his actions toward Ofelia. Although he is shown as evil, he is never shown as anything more than dismissive of Ofelia. I doubted that his intentions toward a little girl he could easily overpower would turn murderous.

The ending is gripping and sad, but by this point too many contradictions had distracted me, and the explanation of the end once again made me feel the director was playing unfair games.

This is a strong, evocative film. If it sounds as if I am picking nits, it is because there are too many inconsistencies, and a distracted storyline, to prevent me from calling it great. People will be talking about this movie a long time, and I urge you to see it.
Entartaining but not one of the very best movies from last year
When I heard first time about the movie made by the Mexican director Guillermo del Toro that was a mixture of many genres, including drama, fantasy, thriller, and fairy tale for adults that takes place in Spain of 1944 in two parallel words, one of unbearable bleak and horrifying reality, and the other of deliciously dark magic fantasy, I wanted very much to see it. I knew that the movie has been praised by many critics and has made hundreds top lists of last year, that it was nominated for countless awards including six Academy awards and it won three Oscars, and that it had received 20 minutes standing ovation at Cannes. The main reason for me was the fact that I love del Toro's earlier film, "The Devil's Backbone" (2001), the ultimate ghost story that goes beyond the genre and very successfully mixes horror, suspense, and coming of age during the war time story.

I hoped and expected "Pan's Labyrinth" to be as compelling, insightful, interesting, and engaging as "The Devil's Backbone" was. I finally saw "Pan's Labyrinth" couple of days ago and I was disappointed. The movie has an interesting concept, even if not original one. It brings to mind many famous works of literature and the earlier movies about the little girls escaping their dreadful realities of war or death of the loved ones or all sorts of abuse in the world of their imagination such as "Forbidden Games", "Spirits of the Beehive" (which "Pan's Labyrinth" tried to be but never was), the later also takes place in Spain during the Civil war, as well as "Wizard of Oz", "Alice in Wonderland", "Legends and Myths of Ancient Greece".

One movie that "Pan's Labyrinth" has been often compared to is Terry Gilliam's "Tideland", his fairy tale for adults, his "Alice in Wonderland meets Psycho" which also tells the story of an 11-years-old girl and her world of imagination. "Tideland" was released last year and was either ignored or hated by majority of critics and left many viewers puzzled and confused. I am not completely in love with "Tideland" but I found it much more interesting that "Pan's Labyrinth" in all aspects. The main difference between the two - Gillian does not present reality in his film in the simplistic way and does not divide his characters to devilish monsters or shining knights the way Del Toro does in "Pan Labyrinth".

I am not sure what the target audience for Del Toro's film is? Its story (the writer/director was nominated for the best screenplay and I found his writing the weakest and most ridiculous part of the movie) is so naive and primitive that you would think the movie was made for children but its shocking violence and horrifying tortures are not easy to watch even for adults. Another problem is with the characters. I know I should sympathize with Ofelia, and who would not feel empathy for an 11-year-old girl who had to live through the death of her mother and to confront her monstrous step-father but if frankly, her character is not very interesting. As for visual effects and cinematography, the film looks good but not especially spectacular or breathtakingly beautiful. Of five Oscar nominated films for best cinematography from last year, at least three seemed to be more interesting. Gilliam's "Tideland" that was completely ignored by the Academy, is always technically superb, visually arresting and much more impressive than "Pan's Labyrinth".

I should admit that at least one scene in "Labyrinth" was absolutely brilliant - dark and scary it came directly from Francisco Goya's terrifying painting, "Saturn Devouring His Children" and it was extremely imaginative. I would not go as far as calling "Pan's Labyrinth" a bad movie and give it one star. It is not bad; it is just not as great as I thought it would be. As for all the awards, "The Devil's Backbone" is much more deserving than "Pan's Labyrinth" and that's the film I would give a standing ovation to.
boring good guys, disgusting bad guys, impotent fantasy creatures, lovingly rendered torture effects
A fairy flies around the face of an enthralled, fairy-loving girl for the first time, and she just looks straight ahead, smiling vaguely. Giant black bugs crawl up her arms and she ignores them. A terrible monster sits quietly at a food-laden dining table but ehhhh she's hungry so no need to even keep an eye on it. BUT OH when a thing hits a guy hard in the face yes of course the face breaks and blood squishes through the ruptures and his dad cries out in anguish and tries to reach for him and then the guy gets a bullet and more blood squirts out and then the dad gets shot too and more blood squirts out. Etc. etc. for two hours. The message: Fantasy is irrelevant; guns are reality.
From the imagination of Guillermo Del Toro
Guillermo Del Toro is Mexican. I clarify this because I know it, and I assured the fact to a friend who watched "El laberinto del fauno" with me; but when the movie began with a Spanish accent, I doubted. And it's because Del Toro is obsessed with the Spanish Civil War, and we the adventures of little children in the midst of this important historical event (watch "El espinazo del Diablo"); but all of this comes from his obsession with fairy tales, those that are only for children.

But look at what he does: he invents the most infantile story of all, in a film that's everything except infantile. This is a double-edged sword; in fact, Del Toro is a double-edged sword himself. His obsessions come from when he was little, when he imagined creatures and monsters as part of his daily reality. He also has a photographic memory; these are all things that can as positive as they can be negative, and it is evidenced in his way of making cinema.

The man knows a lot about cinema: he has experimented with cameras since his teenage years; he studied make-up…This plays against him too, mostly in "El laberinto del fauno", which is one of the most technically perfect movies I've seen in my whole life. The impressive sound edition becomes present from the first minute; the images are exaggeratedly beautiful; the music is perfect, but only because it is directly connected to the plot.

All the particularities that can be found in this film's characters come straight from Del Toro; who wrote the screenplay of his fable himself. It is an enchanting script that commences with the telling of a simple fairy tale, revealing a main fact of the story immediately. We should remember something so fundamental, but this immersing quality of the script makes us forget. And it's not a complex screenplay, because it has its predictable points; but as we get lost in a world where reality and fantasy become one, we stop caring.

Reality can be so strong that sometimes we choose to escape. The images of this film are very strong, therefore the main character, Ivana, finds a magical world that keeps her constantly away from what's happening around her. And the point is not to ask ourselves if this 'magical world' is real, trying to analyze every moment to put them together and see if they fit. That's unimportant, because in this story there's nothing to resolve…But there's a lot to understand.

And I think that to really understand "El laberinto del fauno", you hace to understand its director. Del Toro's ability to bring incredible creations (from the same 'faun' to a monster with eyes in its hands) to us reflects the power of his imagination; maybe his only neutral quality. I think I'll never completely understand Del Toro, but I assume that his imagination is what makes him attractive to the people who work with him; and consequently makes them follow him anywhere.

In this aspect, "El laberinto del fauno" stands close to "Letters From Iwo Jima"; because just like Clint Eastwood in that film, Del Toro is an example of how crucial and predominant is the influence of the director in a cinematographic piece. "El laberinto…" is excessively long, but nobody cared; the actors become insignificant, as if the characters had taken over them (and not the other way round as it should be)…Everything seems to be part of a bigger unit: Guillermo Del Toro's vision.
A very good film.
The films darker topics (such as political violence, sadism and horror to some extent) were well balanced with fairy tale aspects, which gave it a more digestible and understandable way of exploring such heavy political topics. The cinematography, performances, makeup and visual effects were all so brilliant and helped ground the film as well as linking the fantasy to the harsh and brutal reality. The story itself was well written and very enticing as it did well to bring together both a very dark story with a very fantastical one, without it feeling too odd or one or the other feeling too out of place adjacent to one ever so different. Overall it was an extremely good film and definitely worth watching.
Panned Viewership be Damned!
Pan's Labyrinth eluded me for more than a decade now and now, I realize I've lived in a darker fantasy world without it.

What an incredible and sobering fairy tale that I originally pegged as based solely on FX and creative designs. Oh, no, it's much more than meets the eyes…to the hands.

In a disgustingly horrible Captain's household in 1944, a mother and daughter suffer right alongside the rebellion and a fantasy world of objectives in order to survive and fulfill destinies.

Really, that's all I'm giving. Tricky, my synopsis is as you really should appreciate this all on your own as there's more story here to fill two franchises. This is truly a must see.

And forget waiting as long as I did. Put up your hands and watch it now.


Final thoughts: While this movie can be analyzed to death, theorized to end friendships and studied in the best of film schools, I wrote one of my shortest reviews to date. I don't really have much more to say than I LOVED it, it was visually stunning and it should be viewed by all movie lovers and those adults trying to recapture their inner childhood innocence while understanding the connections to the world we, sadly, created.
A brutal fantasy movie, Kids should not watch it
I am wondering for who is this movie. Kids should not watch this movie because of it's brutal, explicit scenes!!! Adults... they can, but the attention to detail and those beautiful landscapes contrasts with some shocking scenes and in the end the overall impression I cannot say that is not one of an enjoyable movie. And one more thing, there is no beneficent entity that will ask you to sign or give your or others blood for a "higher purpose"(Eg. give some blood for the Deadly nightshade-Atropa belladonna-root) so... this is a mixed story with, I would say, many demonic creatures. As someone before me commented this is a beautiful but dark masterpiece.
Not for children
Pan's Labrynth deserves a spot as one of the greatest movies of all time, in and outside of its genre.

Many hearing of the movie's plot, its involvement with mythical creatures and a magical world through a child's eyes, might confuse this for a family fairy tale; I think, at times, I might have preferred that.

In actuality, Pan's Labrynth borders on horror. Ivana Baquero plays a young girl named Ophelia who struggles through a life rapidly spiraling out of control, one she as a child cannot influence. A sickly mother, a brutal step-father, and amidst a war in literally her own backyard, one can't help but sympathize with Ophelia's desire to escape. She finds just that opportunity within an entity, the Faun, straight out of the fairytale books she carries about with her. The Faun himself seems frightening, almost demonic, with a snake-like tongue that leaves you unsure of whether his requests of the girl are truly in her best interest.

Ophelia, desperate to escape into a world so like the fairy tales she's read, sets off through dangerous territories as the Faun's request. Yet, as dangerous as her quests are, her return home becomes a gradual descent into the brutal darkness of her own human people, leaving one to question just who is the real monster in the movie.

In the end, it all seems very bitter; it starts to seem that no one really cared about Ophelia to begin with. I found myself so wrapped into the movie that I felt my own heart-breaking despair. I kept hoping it would suddenly get better, that someone would rescue Ophelia and protect her from the darkness encroaching from every corner.

It's hard to say whether Pan's Labrynth truly had a happy ending. Losing the people who meant most to her, one was left behind, one last person who cared, and it seems no one in this story leaves without their wounds. The entire movie, from beginning to end, tugs at the darkest despair and deepest sadness you could only hope to avoid, with every happy moment tinged with poignancy.

I think, all in all, this is a very adult movie that a family can enjoy with some serious parental guidance; the horrors within are as fascinating as the wonders to come. The top-notch acting will draw you in and hold you despite any language barrier (cleverly overcome with subtitles) and when it's finally over, it's hard not to feel the shame, anger, and triumph, as if the trials were yours alone.
heavy propaganda couched in fantasy veneer
The high marks this movie has earned are well deserved on the technical side, but the real point of the whole thing seems to be yet another strong dose of "eeeeevil fascists are ugly nasty beasts and yay for the poor, noble communists fighting to survive their reign of terror" in our faces. Everything outside the labyrinth element of the movie is designed to convey that message, and that's the majority of the screen time.

This eye-rollingly one-sided presentation is the only way such topics are ever treated in the movies we see since WW2. It seems that the hot war ended but the propaganda war never did. Reality was rather different, so I have to dock the movie several points for that dishonesty.
📹 Pan's Labyrinth full movie HD download 2006 - Ivana Baquero, Sergi López, Maribel Verdú, Doug Jones, Ariadna Gil, Álex Angulo, Manolo Solo, César Vea, Roger Casamajor, Ivan Massagué, Gonzalo Uriarte, Eusebio Lázaro, Francisco Vidal, Juanjo Cucalón, Lina Mira - USA, Spain, Mexico. 📀