The Reel Rejects - PAN'S LABYRINTH (2006) IS A PERFECT WORK OF ART!! MOVIE REVIEW!

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Starting point is 00:00:22 19 plus Ontario only. Please play responsibly. Concerned by your gambling or that if someone close, you call 1866-3-3-1-2-600 or visit comixonterio.ca. I think we've hit all the marks. Let's jump on into this thing and, yeah. Behold some cinema. Let's do it. Oh, my goodness, gang. We have braved the labyrinth.

Starting point is 00:00:51 We have witnessed the fall of at least a certain pocket of tyranny. Yeah. Made it to this point in the video. First off, big thank you to the folks over at Prepper. They've been cranking away. A lot of stuff, you know, coming out of this camera and into their machinery, and we appreciate them for helping us get this up on YouTube and visible for you guys.

Starting point is 00:01:12 I feel like it goes without, it should go without saying, but we don't love to censor things. It's not our bread and butter. We'd throw them up uncut if we could, but, you know, to get that stuff visible on YouTube, it takes a lot of finagling. We appreciate their help with that very much. Also, you could leave a like on the video.

Starting point is 00:01:28 that would be grand and also also subscribe and hit the notification bell and when you subscribe ring the bell ring no bell it was worth the redundancy i got to figure out a better segue to segue you into the segue all right and also if you haven't been listening to this in podcast foreign please leave us five or however many stars rating i don't have to influence you you are pure of heart you know what to do anyhow how are you feeling i'm i'm good this movie was It was great. This was pure cinema. This was real magic.

Starting point is 00:02:02 It really was. This was a whole lot of things. And it's an interesting bit of a rosetta stone because there's, having seen other Guillermo del Toro joints, you can see elements that will go into further solidifying what we now know to be like his style. But this is a really fascinating blend of, yeah, the fantasy elements we know him for. And also like a really effective wartime period piece. Yeah.

Starting point is 00:02:28 like a real effective drama that never sacrifices itself on behalf of the fantasy and the fantasy never seems to sacrifice itself on behalf of the drama. Like it goes away for a while, but it's appropriate to the story. We got much to talk about with a movie like this, but I feel like a lot of your guys' questions will, you know, kind of guide us through the major things there are to say. And then we can throw out any stray points at the end. So let's hop in. Thank you to our patrons, our royal rejects, for Stoke and the Fires of the Convo. Mark Leach

Starting point is 00:02:57 Thank you for chiming in Who Sorry Still in the afterglow What is your take on the ending of this Brilliant movie Do you believe that the fantasy world exists Since he actually transcended

Starting point is 00:03:10 Or do you believe like me That it was all a coping mechanism To help her deal with the awful reality She lived And the ending was just a hallucination She was having while she died Depending on which one you believe determines whether you could see

Starting point is 00:03:24 This as a happy or sad end I actually I disagree I think they're both happy because let's let's say that you don't believe in heaven in heaven it's just a way that she was coping but at the end that's what she really saw right you see the bright light and you follow it and apparently you feel good and whether that's reality or not I believe that that's how she actually felt even if she doesn't end up in that place that we saw I still feel as though for her it's a happy ending it's sad for us because she died but at the end I still feel whether she ends up in that place doesn't matter to me because at the end she got that like to follow the like type of a vibe that's how I view it yeah I would agree I feel like it's it's bittersweet obviously because you don't expect we're accustomed to movies where this might not happen or whether like a studio note would mandate that like all the soldiers had a medic and they were able to save her and whatever else.

Starting point is 00:04:28 But I think this functions really well on both levels. Like it's a lovely fairy tale and you can take it that way and then you can accept it as her transcending into this kingdom. I think if you're if you want to take it at face value as a fairy tale, I think you

Starting point is 00:04:43 can. I think if you're just religious in general or you have some idea of an afterlife, you can kind of blur the lines there. Or if you want to because of the fact of the book end of the movie where you have her on the ground, the blood's like trickling up in reverse, and then you have the whole movie in between that and the very end

Starting point is 00:05:01 where we return to that shot, and, you know, she moves on to the next realm. You know, you could say that this is all the dying hallucination and the sequence of memories and whatever else, and I think all of them work nicely, and it's like you can look at it from all those angles, and it's compelling. Like, I think that's the mark of something that's really well conceived

Starting point is 00:05:21 and really well articulated is like, they kind of all work if you want them to, at least here and now in this moment, like, none of them seem to cheapen the other for the sake of one function. Like, they all just kind of work nicely within this.

Starting point is 00:05:38 And I think, yeah, it manages not to be completely sad because, you know, she still triumphs in a way. You know that she is still kind of at peace now. And it's really sad, but, you know, she has, like, you know, gone through this,

Starting point is 00:05:55 coming of age journey and she's done something that has some level of impact even if it's a small you know addition to you know the resistance and and you know life flourishing in the world so yeah I mean I think they're all valid for sure yeah Eric Horstman thanks for chiming in buddy hope you're doing well I can imagine you being a cool fawn man and that actually ties into your question Eric says okay since Mr. Mark Leach beat me to the real question easy one for you. Is the fun good or evil or

Starting point is 00:06:30 maybe somewhere in between? I mean, I think he's good from what we saw at the end. I think that he is meant to be there to be a challenge that she has

Starting point is 00:06:47 to get over even though he was like, listen, it's one prick for the kid and she's like absolutely not. And that that was like the test that he was putting her through. I think the test, you know, not great, but I think he's good because we do see at the end where, you know, he's like, you did the right thing. You were actually needed.

Starting point is 00:07:08 We needed your blood. We didn't want you to give up your brother's blood to be here. That was the mark of like whatever he said, like a good person, let's say. So I would say good. I don't really think evil because of everything he told her to do. do I was scared at first but she did get the key and the little thing underneath mom's bed didn't make her feel better and when it was thrown in the fire it got a lot worse and then yeah I think good yeah I think there's ultimately it sure seems like generally probably an all right guy

Starting point is 00:07:50 if the kingdom is to be believed in you know how they describe it here yeah yeah yeah yeah yeah i i i do like a lot that uh you get to wonder that and that there is a certain sinister quality to that character and yeah at times in the performance and both physically and in the voice performance uh there is warmth at times and there are other times where yeah it seems just a little bit sinister but you can't tell and it's nice to put you it's a nice way to put you into her shoes and her perspective and to get you playing on your own instincts and stuff and yeah it's like I too enjoyed this back and forth of like, at first, he's like, okay, here, these are the rules.

Starting point is 00:08:34 You can't, like, with the tape, the whole thing with the feast. She's like, you can't eat anything. Your life depends on it. You know, this is crucial. And, you know, she fails that test. They give her the other chance, but when it counts, like the really important test is, you know, the test at the end. And it's that, yeah, that level of instinct.

Starting point is 00:08:50 And I feel like, you know, you need a character who can carry out this. kind of twisted, you know, test on somebody, and I get this feeling just as a fantasy world that, like, all the characters kind of have some degree of their own free will, even if they're acting part of, you know, some kind of ritual or game, or if they have some kind of realm that they occupy in this spiritual space, this otherworldly place. So, yeah, generally good, but I think, yeah, there's at least a certain element of sinisterness that is. obviously intentional but yeah he seemed like an all right guy and and two that was fun because like this does carry on the tradition of a lot of fairy tale type stuff and so like there is uh you know

Starting point is 00:09:37 like you do have that mr tumness thing of like oh the fun like of course this is a classic trope of these kinds of you know odyses or there's like alison wonderlandy stuff about it and uh and yeah like mr tumness kind of inspires trust immediately instead of play on that have it be more of like Is this a Grimm's fairy tale? Yeah. Is this going to be a cautionary tale about trusting this guy? Yeah, totally. Hunter Preston, how do you think it handled its graphic violence

Starting point is 00:10:05 and balance with the rest of the movie? I think it did a nice job of it. I mean, I really didn't think, here's the thing. When it got graphic, when we are seeking vengeance on that guy, I wanted more and more and more. I was like, ripped the other side of his face. I'll watch every single bit of it because I was just like, hell yeah, versus some of the, some of the other stuff when we see like the resistance dying and being hurt. I don't think that it was just being graphic for graphics sake, aka tear fire two.

Starting point is 00:10:42 I'm saying this is coming in here to be like we're showing what a monster this guy is. this is real stuff this is what he really did to this guy's hand stuff like that it didn't it didn't bother me um in balance with the rest of the movie because it's just showing a true story like truly what's happening in the lives of these of these people um and i think uh if there was even less of it it wouldn't have like hit us as good as when she rips his mouth open you wouldn't feel as freaking good But if we hadn't seen all that stuff that came prior, that just really revs it up for us. Yeah, it really enhances the horror and some of the catharsis because, yeah, like the movie has a really nice balance of things. And it's not a movie that's like filled with action, filled with gore or anything like that.

Starting point is 00:11:38 But when violence is happening, like, it's a fascinating blend of kinds of movie because it's a war movie in part. And I feel like one thing more movies often do is they'll show you some kind of maiming or violence that is like unique and arresting. And this movie does that, you know, like the torture on the guy with the stutter or especially when she's stabbing him kind of slowly and it's very personal. And yeah, she's got the knife in his mouth and it's it's grounded in a way and a wound like that is like not something you're used to seeing. And it is stuff like that. Like you're saying the reaction, sometimes it's something like that. It's like way more squirmy and unsettling than like, you know, someone getting hacked up with a chainsaw or whatever.

Starting point is 00:12:22 Right. And I think that this nicely in its like flipping of an Alice in Wonderland, we rewatch that. And I was like struck with the idea of like, oh, this is like a kid going through like a coming of age journey just about how like you can't just do nonsense all the time and you need a little bit of structure in your life. And like this is the version of that where it's like, hey, fairy tales are great and all, but it's a harsh, bleak world out there.

Starting point is 00:12:44 And you got to fucking grow up. and at least do something about it. And so, yeah, like, the violence is really striking when it's soldiers, you know, battling each other, when it's not even physical. Like, the, what's his name, Vidal, like, the guy, the main villain guy is, like, so... Everything he does is violent.

Starting point is 00:13:08 Like, his whole demeanor is violent, and everybody around him seems to be under this grip of his influence and just his... his, you know, constant, you know, adherence to this pride and this just sort of completely, I don't know, like harsh, manly, like my father and I'm carrying around his death clock all the time. So, like, yeah, you get stuff that's in the fantasy realm that looks really cool and really beautiful. And then you get this really intimate stuff with, like, the mother bleeding when, you know, she's about to give birth and all that. there's so much and it really does it's fascinating because like there is really harsh gore and yet it doesn't feel like a super gory movie no no I absolutely

Starting point is 00:13:57 agree and I think it's rather poetic that the world is so harsh and we do see these graphic things that she dies at the end or it's like well you're kind of released from all of this you didn't it was really hard for her living there in the first place. I mean, it was so terribly sad when you see her hugging her mom and saying, please, can you take me away from this place? You know, I hate it here.

Starting point is 00:14:22 And the next thing mom says is, you know, this world, you've got to grow up. Like, you don't understand yet that how harsh this world is. Yeah, and this is probably, to some degree, for your protection, even though it's a very harsh and probably

Starting point is 00:14:37 very damaging place to be. And so, yeah, there's tons of violence in other contexts and so yeah then the more or just like things like the eyeball like that that is one of the most you know again probably memorable recognizable images that guy and too i guess we should also talk a little bit about the creature stuff because there is a lot of paralleling or at least you can without it being like a million percent obvious you can draw these parallels between the different creatures and people on screen and and i love that you have this multiple layers of like there's the war happening. There's

Starting point is 00:15:13 the kind of, there's what's happening inside the house of the people there who are trying to resist from like literally within and giving, you know, information. And then you have this little girl who is going on both a fantastical journey and, you know, finding

Starting point is 00:15:28 keys and unlocking things and you know, completing this ritual by the full moon. But you've also got her living beneath all of this really adult context and like sort of getting acquainted with. it and she's fighting a fight you know she's involved in this war scenario of sorts but in the most personal level just if you want to take the most literal reading of just her as a little girl

Starting point is 00:15:54 like yeah i feel like the fantasy stuff is her trying to cope with reality and like doing little things she can with what little she understands about what's going on to try and get out of and maybe alleviate some of the harsher aspects of this situation yeah and so yeah like there's so much like violent context tied up in the drama and the actors are all really terrific and like the performances, the effects like everything and it's too a movie like has tons of really elaborate and beautiful creature work

Starting point is 00:16:25 and design and yet that's not like most of the movie you know and nothing feels like you didn't get enough or you got too much of it and I really respect that they ended in a place as tragic and bittersweet as they did and it's fascinating to me at this movie for as hard I was sitting there in the middle going

Starting point is 00:16:45 you know what for as like heavy as the context here is they're good at making it not feel too bleak and then at that point it got very dark and very heavy and yet by the end that's not the main flate like most wartime movies are movies where you're like I don't need to

Starting point is 00:17:00 watch this again or I would watch it around like Memorial Day or something like that but not like I could watch this again in a whole different way and the heavy stuff is there but at not like the main thing I associate. Whereas like if you're thinking about like watching saving private riot again or something, you're like, that's going to be a heavy. Totally.

Starting point is 00:17:18 Whereas, yeah, like this without being too saccharin is a beautiful fairy tale and a beautiful like real life coming of age period piece of sorts. Totally. And a bunch of other stuff. Jarvie Marcel Mendez Santos. Thank you for chiming in. Did it feel weird when you started watching and everything was spoken and told in Spanish? Even though you know Guillermo del Toro's other films are your normal films in English.

Starting point is 00:17:42 How did you guys feel? I didn't feel any which way about it. I kind of liked it. It was just watching like a foreign film that's really good. I watch stuff with subtitles, though, a lot. So I honestly, I didn't even. I liked it because I'm trying to learn more Spanish and I was trying to think like, oh, which words do I recognize?

Starting point is 00:18:04 I was sitting here thinking, how cool would it be eventually to get fluent enough that you could just watch the movie without a subset? Yeah, yeah, yeah. It's really nice. Like I love, especially for an international director and with a lot of success in Hollywood, I love stuff like this where it's, yeah, in maybe their native language or in a different language. And I always, you know, I'll watch a lot of stuff with subtitles just so I make sure I catch all the details anyway. But, yeah, I actually enjoy slipping into the world of a film in a different language and kind of the, your brain goes into a different rhythm.

Starting point is 00:18:39 and it's kind of doing some different things at once. And you're still drinking the imagery, obviously, especially in a movie like this. But, yeah, the coordination kind of hums in a nice way for me. And I wouldn't have wanted those, the Spanish actors, to be speaking with an accent in English. I don't want that. You feel it so much because they're speaking in their native language.

Starting point is 00:19:03 Yeah, and I think it improves the drive for you to be like, actually, you know, I want to come go and look at what this period in Spanish history would have been like, you know, under Franco and all that stuff, because the older I get the more, I'm like, I should go back and revisit world history now that I could probably appreciate it differently than just trying to collect facts for tests. But, yeah, it's lovely to

Starting point is 00:19:24 behold a film like this and to hear a different language and feel performance. It changes the way you feel a performance. It changes kind of your interaction with language. And then at times you don't even notice and it's just all kind of coalescing. There are moments where you're like, okay, I've got to remember a face, and I'm reading this, but, uh, no, like, I loved getting to see this glimpse into Del Tor.

Starting point is 00:19:47 Like, I would love to see more of his films in Spanish language. And if they were like, yeah, his next movie is going to be all in Spanish, I would be like, hell yeah, let's go. Yeah. And I know that the problem with that is like, well, it won't be marketable to the states or whatever. But, yeah, like, I am happy this exists in this form, and I wouldn't change it for anybody. Fun facts. and fun questions. Hi, Tara and John.

Starting point is 00:20:13 Lauren G. Thank you for chiming in. After seeing this, what is your favorite Guillermo del Toro movie out of the ones you have seen? Yeah, it's probably this one. This one and the shape of water,

Starting point is 00:20:23 but this one goes first. This one absolutely lives up to the hype in every way. And it's too, like I love a lot of his stuff, and I mean, you know, there's a lot of greatness in there, and, you know, you've seen a bunch of it here on the channel now. But, yeah, this had a really, really wonderful perfect, to me almost, I would argue, give it

Starting point is 00:20:43 a couple days to settle in, but kind of perfect blend of, yeah, of grit and story and filmmaking and imagination, and it's also early ish, but also far enough along in his filmography that he's

Starting point is 00:20:59 like confidently formed now, and it's not fully like into something like a hellboy territory, which is adapted, but is like completely hog wild with del Toro style. This is very rich with that, but it's also a great exercise

Starting point is 00:21:15 in how he's not just indulging in that the whole time. I thought this was, yeah, perfectly balanced. So I don't know how I'd rank him. And yeah, Shape of Water, like, is absolutely a beautiful movie, the Hellboy stuff, other ones that I'm missing. Blade 2.

Starting point is 00:21:33 And there's some earlier ones I got to see from him. I still got to see Nightmare Alley, but yeah, this absolutely, I would say, for right now. was at the top. Lauren G. Question number two, are you excited for Frankenstein? I live for Gothic films. Absolutely, I am. Cannot wait. Yes. Yes. I cannot wait to see his vision of that. I want to see

Starting point is 00:21:51 his Pinocchio as well. Andrew Laxton. How would you compare Doug Jones' performance in this compared to the Hellboy movies? Okay, so which ones was Doug Jones? He must have been the pale man, right? Is that the guy's name? Um, uh, Hellboy. Oh, yeah.

Starting point is 00:22:11 Hand Labyrinth. There we go. Yeah, I feel like he must have been the pale man. Oh, yeah. With the eyes. Because he's so skinny. Yeah, yeah, yeah. Because he's super duper skinny.

Starting point is 00:22:18 But I wonder if he maybe was also the fawn. Let's see. Oh, yeah, he was in Hocus. Every time you revisit Doug Jones's filmography, you're like, holy shit. Hellboy, okay. And then Pads and Liberate, the Fawn and the Palman. He was both. Yeah, okay.

Starting point is 00:22:34 Yeah, I mean, those are your, no, he's incredible. Like, and Pablo. Aidan, a great voice work, but his physicality is incredible. It's so much presence, and I have to imagine they had him on all kinds of crazy stilts. I don't know what they

Starting point is 00:22:51 would have done for his tiny, spindly legs as the pale man, but yeah, incredible performance, incredible job bringing those characters to life, and you don't look at them and go, it must be the same guy, you know? Right, yeah. Oh, goodness. Oh, and he was

Starting point is 00:23:07 the Silver Surfer. Yeah, I just saw that. too. That's pretty cool. There you go. All right. Jay Rushden question, would you have eaten the grapes? What did you think of the creature makeup? The creature makeup, amazing. I said it while we were watching it. All of the makeup in this is actually

Starting point is 00:23:23 very phenomenal mixed with the practical effects and the some CGI, but it was like CGI where you really couldn't tell. I was just in it. None of the CGI ever took me out and you guys know I'm obsessed with practical and they used a lot of that in here. And no,

Starting point is 00:23:39 I would have never touched anything on that table. I would have listened to the fun. Absolutely. Why? Because my life depended on it. Yeah, it's weird. I feel like the ending test is harder because you're right at the end. And he's like,

Starting point is 00:23:53 I don't know, just a pinprick isn't it going to be the best? And then you're like, yeah. You're like, yeah, I can see the bargain of that where it's in the, in the, yeah, dining hall. You're like, no, dude. Yeah, absolutely not. Skip it.

Starting point is 00:24:03 And like, you know, you know what this table looks like. And you know how rotten this abundance is. like I do like the mirror of that you know to Vidal but yeah you got the creepy dude he's got no eyes this is like guys got him on a platter like no no no no just get the McGuffin

Starting point is 00:24:20 and go totally he stressed this to you the fairies are like seriously don't and you're like get out of my face it's like yes I get it I appreciated the mischief and the sort of like I think anybody who care about a grape but I'm like nah that's that's

Starting point is 00:24:36 the obvious test that's the like yeah one grape of course it's just one grape you got to pay attention to the rules exactly but the creature makeup yeah a plus and this has that Jurassic Park kind of blend where it's like there's definitely CG at times in places but it's always even when I would notice it I was like yeah totally this is appropriate place for that and clearly you didn't skimp on putting anything else in camera that you could get in camera so well like the plant baby when she put it back in the bowl and it had to move. That became CGI. It was seamless and it was great. Didn't take me out of it. Yeah. And even little things like that. Like I love when you can tell an effect or you might notice a seam on an effect.

Starting point is 00:25:20 But at the same time, it gives you an appreciation for the problem solving and the technique. Yeah. So yeah, A plus special effects. And I'm trying to think, did they win for best. Oh, wow. Look at them. Go. Best cinematography. Best international feature film, best original screenplay, best original score, best makeup and hair sign, best production design, best production design again. Yeah, I was going to say if they didn't win for at minimum the makeup effects and the right,

Starting point is 00:25:49 like this is truly an incredible piece of cinema as silly as that has become to say at times now, like it's both the height of imagination but also like a really human piece. It's so great. Valerie Fisher, Terran John. I'm so

Starting point is 00:26:04 excited you're reacting to this movie. I have never seen it and can't wait to watch it. When you react, my question is, what was your favorite scene or character in the movie? The little girl was brilliant. I was really hoping that it would be like, oh, that we saw her win, like, an award or something. Although, I think I would already know it wouldn't be her because the youngest one to ever win was that blonde girl a few years back. But anyway, regardless, I loved her. She was grounded, very believable.

Starting point is 00:26:34 When she cried, it was happening. it was she was everything that this film needed and obviously he knows he knows out of cast because everyone else was also at her level but it is very hard to direct a girl at her age to like you gotta do some stuff to make him break down I mean she's just she's a brilliant actress and I'm glad that he casts the way that he did.

Starting point is 00:26:59 Yeah yeah she's incredible that whole sequence from when she draws I understand why you would bring that into a cinema photography class to break down when you go from her drawing the chalk door opening it up going down the hall you see the big table like that is a centerpiece moment of the movie i think and it is an incredible sequence um i thought yeah ophelia was terrific mercedes i thought was really terrific um and the doctor too like i i those those three characters especially uh i thought were really uh just wonderful to behold and their struggle uh and uh and and their, you know, just kind of desperate perseverance of relief from this tyranny is really tangible and palpable. There's so many great scenes. I mean, it's harsh, obviously, but when she takes her revenge on him, Mercedes. Oh, hands down.

Starting point is 00:27:50 That's my favorite scene. That is absolutely. I was screaming my head off. A cathartic moment, and it's not the solution to everything. It's not like a superhero moment or some action movie moment, but it is very cathartic. And, too, I will say, like, that guy, that performer was... That is such a hateable role. Yeah.

Starting point is 00:28:08 And he never chewed up the scenery, in my opinion. No. And I bought the guy underneath, even though I didn't agree with pretty much anything he was doing on screen. And just the way he commanded, you know, all that just rotten, angry power. Yeah, it was quite choice. But yeah, you could go for days trying to figure out what the best moment in this movie is. There's some really good ones. Tapi, shambettete.

Starting point is 00:28:38 I hope I'm getting your name, Shimbentente. I hope I'm somewhere in the neighborhood. One of my favorite movies, thank you for chiming in, and I hope you enjoyed our watch of it. What do you think of the score? Personally, one of my favorites,

Starting point is 00:28:49 especially once you see the, quote, pearly gates at the end. The tying around, I feel like it's at the beginning, it's like once in the middle, and then again at the end of the lullaby alone is super lovely, and then even in those suspense moments,

Starting point is 00:29:05 when she takes the grape and it's like the fingers start to move on the pale man it's these like harsh string and percussion stabs and stuff and then even the more sweeping sort of string-based romanticized orchestral stuff is like really wonderfully chosen and I think this score is a good example of something that like supports the work so well that you might not always be focusing on it, but it does feel memorable and like it's really, you know, a vibrant and essential part of

Starting point is 00:29:39 the whole of all the arts that go into this movie particularly. Yeah, I agree. I think you know, the sweeping sounds at the end, it sort of relieves us of seeing a child on screen dying. And I mean, so does the ending.

Starting point is 00:29:56 But I would agree that the music to me, which I do, I do think should feel almost like subtle and like what your subconscious would actually enter into that movie if it was silent

Starting point is 00:30:11 and that's how I feel this movie that's what I feel they gave us with the music is it's almost like our subconscious if this was silent that's what it would give us it's not too overpowering it's not like oh my God that one song but it's it's subtle

Starting point is 00:30:27 and really pushes forward the moments in the story in a way that's like it's great it feels like oh yeah it's like perfect and the humming is also very good but it's it's natural i think is what i'm trying to say it's just yeah i have subconscious natural it's great yeah it's like perfectly harmonized with everything around it so it's not it's not obviously guiding your emotion but it does allow you while you're constantly up in that emotion, I would find myself then later on going, oh man,

Starting point is 00:31:05 the score element here is really beautiful too. Exactly. So I feel like that's ideal. And hats off to the composer here. They won they won for score too, right? I think. Yeah, if these are the wins, yeah. Good golly. I think it was because they have a hundred and nine

Starting point is 00:31:21 wins. Hey, that's what we that's a, that's a, that's a, we should all be so lucky. Yeah, man. All right, Sammy. Thank you for chiming in, closing us out. I hope you guys could check out Labyrinth sometime. Jim Henson and David Bowie really make it magical, and so do I understand, does David Bowie's codpiece quite righteous in that movie.

Starting point is 00:31:42 Okay. I know, I feel like I would have seen Labyrinth as a kid. That in the never-ending story are two things I probably saw as like a youth. Yeah. That people love that like culture certainly has like carried on from the 80s. But I am definitely due for a rewatch because I only remember like the literal just image of David Bowie's hair and costume. And that's kind of all I remember.

Starting point is 00:32:05 I have not seen Labyrinth. I would totally watch it. Yeah. And props to, I was going to say, I would love to know who was the effects house on Pans Labyrinth because, you know, that'll be Jim Henson, obviously, with Labyrinth specifically. But, yeah, hats off to the effects team on this, to the, you know, uh, yeah, makeup and the puppets and, you know, all the operators that that takes.

Starting point is 00:32:30 David Marti Mons Rib was a makeup artist, and he had a team. Oh, wow. And the fawn was mostly latex foam, jeeps. I was going to say, that's, like, truly an extraordinary application of, I'm just sorry. I'm like over, overwhelmed by, like, this is the kind of stuff that when you finish and I'm like, I'm inspired to come up with something, go make a thing. but yeah let's close it out let's see if there's any interesting trivia on this before we go okay you're you're good at at this oh goodness oh yeah yeah yeah boys oh germo dotoro wrote the english subtitles himself he no longer trusts translators after problems with previous subtitled movie i was wondering that during this watch good job i love that del toro gave up his entire salary including back end points to see this film become real to this day he believes

Starting point is 00:33:30 it was worth it. I love it. Holy shit. That is a real one right there. That is a freaking real one. Germo Datoro is famous for compiling books full of notes and drawings about his ideas before turning them into film, something he regards as essential to the process. He left years of notes

Starting point is 00:33:46 for this film in the back of a cab. And when he discovered them missing, he thought it was the end of the project. However, the cab driver found them and realizing their importance, tracked him down and returned them at great personal Difficulty at expense. Del Toro was convinced that this was a blessing

Starting point is 00:34:03 and it made him more determined to complete the film. I hope that you tipped him thousands of dollars. He took no payment for this because he was like, give it all to this guy. Some cabby is rolling in Benjamin's now because he bought the Bible back. Good guy. Guillermo Del Toro frequently refused offers

Starting point is 00:34:25 from Hollywood producers in spite of being offered double the budget provided the film was made in English. He didn't want any compromise in the storyline to suit the market needs. Good for you. And given the setting, that was the right choice. Stephen King attended a screening of the film and sat next to Guillermo. According to

Starting point is 00:34:41 Del Toro, King squirmed when the pale men chased Ophelia. Del Toro compared the experience of seeing King's reaction to winning an Oscar, which he eventually did with the shape of Agua. Did he not, he didn't win director for this, right? No, it just won best.

Starting point is 00:34:57 It just won a bunch of other stuff. It just one of all the other stuff, yeah. All right. Let's see. Audiences have interpreted the film's bittersweet ending as everything from a religious metaphor to a psychological allegory. Gierma Dutoro said,

Starting point is 00:35:10 quote, I always think of that beautiful quote by Soren Kierkegaard that says the tyrant's reign ends with his death, but the martyr's reign starts with his death. Starts with his death. I think that is the essence of the movie. It's about living forever by choosing how you die. God.

Starting point is 00:35:26 Wow. Yeah, because they're going to friggin erase that guy's memory from existence, and she will probably, you know, at least by the ones that she loves. You know, that story will probably go down. Totally. Geremo Datoros compared the rebels in the forest to the woodsman in the Little Red Riding Hood, which there's also that. There's a lot of those like, yeah, riding hood or Alice in Wonderland or things like that.

Starting point is 00:35:48 In an interview, Germo Datoro hinted that the nameless soldiers who die in the woods, including the one shot through the hand by Vidal or the surviving children of the orphanage in the devil's backbone, which another Gilmore D'Otero movie confirms the idea that most of Guillermo D'Otooro's films happen in the same universe. Love that. Yeah. Love it.

Starting point is 00:36:04 Goodness gracious me. I love this film. I love watching it. I mean, 10 out of 10, everything was great. Acting, special effects, practical effects, the script. I'm glad that he wrote his own subtitles for it. I would say I put this at the top of my list for Guillermo.

Starting point is 00:36:22 Like, bravo, dude. Rob, freaking O. And you know what? But the fact that you gave up your salary, it was 110% worth it. And I'm really glad that we got this gift of cinema. This is one of those movies, yeah, where I love a lot of different kinds of movies and not every movie has to be this. But sometimes you watch a movie and you're like, that's a living piece of art. You should just grab a print of it and put it in a case in a museum because this is just, yeah, like to me, one example of the full extent that cinema can be and movies.

Starting point is 00:36:56 and all the arts, you know, all the crafts and arts that go into making something like this. Clearly, this was the results of so much passion, so much planning, and so much happenstance. And this is one of those moments where, yeah, it's like the film itself is beautiful, and then you read a little bit more about it, and you're like, wow, what a lovely thing to exist alongside in a strange and difficult world. Yeah. I am inspired. I hope you guys had a good time here.

Starting point is 00:37:23 And, yeah, thanks for joining us. We will catch you for whatever. whatever's next and don't eat the friggin grapes. Don't. One job to do.

The Reel Rejects - PAN'S LABYRINTH (2006) IS A PERFECT WORK OF ART!! MOVIE REVIEW!

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