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“The one thing that alchemy understands and fairy tale lore understands is that you need the vile matter for magic to flourish. You need lead to turn it into gold. You need the two things for the process" (61).

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Tzvetan Todorov specifies and then distinguishes within the concept. 

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Tzvetan Todorov specifies and then distinguishes within the concept. 

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To this literary theorist and philosopher, fantastic literature offers “a world which is indeed our world, the one we know, a world without devils, sylphides, or vampires, [where] there occurs an event which can- not be explained by the laws of this same familiar world,” producing the “hesitation experienced by a person who knows only the laws of nature, confronting an apparently supernatural event” (63).

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"Neomagical realism prevents the fantastical from crossing over into the real, at least as given conscious valida- tion by other real-world characters. Conversely, some Pan’s Labyrinth’s fairy tale-world characters seem quite aware of what’s going on in both locations and can move between them. Others, like the creepy and dangerous Pale Man, cannot cross the border" (70).

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Pan’s Labyrinth - Clip - The pale man - video Dailymotion

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Director Guillermo del Toro returns with this tale about a young girl and the mythical monsters she confronts.

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The beings in the underworld/otherworld differ from those in most fairy tale film adaptations for children. 

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The beings in the underworld/otherworld differ from those in most fairy tale film adaptations for children. 

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"The fairies, for example, are not beautiful creatures but instead odd and dark with leaflike wings and bald heads with large ears and eyes.7 No cute, sparkly dust or glow emanates from the fairy’s body as she leads Ofelia down to the labyrinth that first night, and no happy lights or bright colors appear to guide her. These notable differ- ences between the fairies she sees in her books and those in the underworld do not seem to bother Ofelia in the least. She takes everything in stride, as content in this fantastical otherworld as she is out of place in the real one" (70).

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“two opposing ten- dencies: one towards the recording or documenting of external ‘reality’, the other towards the imaginative use of cinematic illusion” (Ibid., 2). It seems appropriate, then, that this divergence is often placed side by side in a single film, perhaps reaching a culmination in neomagical realism. Although the historicized story of Pan’s Labyrinth cannot be described as an exact repre- sentation or direct recording of reality—the film is by no means a docu- mentary—it is nonetheless based within a specific, historical time period. Yet despite these realist roots, Pan’s Labyrinth probably attracts its audience through its parallel story of fairy tale fantasy (77)."

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"Pan’s Labyrinth accesses both sides of the film-as-art, film-as-reality option and thus manifests some of the most persuasive and engaging attributes of film expression. With its parallel- ing of real and fantastical worlds using neomagical realism, Pan’s Labyrinth represents a powerful and innovative new genre" (78).

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"Pan’s Labyrinth accesses both sides of the film-as-art, film-as-reality option and thus manifests some of the most persuasive and engaging attributes of film expression. With its parallel- ing of real and fantastical worlds using neomagical realism, Pan’s Labyrinth represents a powerful and innovative new genre" (78).