Name: Grace Higgins

Pan’s Labyrinth
Pale Man Scene - Analysis

Throughout Pan’s Labyrinth (Del Toro: 2006), there is frequent symbolism of bigger issues faced
during the era of Francoism that the film is set in. These issues range from the hypocrisy of the
Catholic church, to the negativity of a patriarchal environment, and a majority of this symbolism
is shown during the scene with the Pale Man.

One of the topics referenced more heavily in this scene is that of Christianity. As Ofelia opens
the book from the Faun, the picture of the Pale Man contains several references to Catholicism.
Firstly, the pose he adopts is similar to the image of Jesus on the cross, except his arms are
curved down instead of upward. This would signify the Pale Man not only as a figure of
authority, but as one of evil, contrasting the typically positive image of Jesus. Also in this picture
are flames at the bottom of the page, likely referencing the Christian idea of hell, typically
described as the “eternal fire”. Interestingly, the motif of fire is also featured in the Pale Man’s
lair itself, as he is sat on a throne-like seat directly in front of a fireplace. During the time the
film was set, there was much criticism of the Catholic Church, specifically its involvement during
the Holocaust, and its lack of intervening. Del Toro acknowledges this, featuring a closeup pile of
children’s shoes in the Pale Man’s lair, immediately followed by a slight zoom in and focus of
Ofelia’s horrified face. Whilst on a surface level, it establishes the Pale Man as a threat to
children, such as Ofelia herself, but it could also be the director reminding the audience of
something more serious. There are smaller, subtler examples of Catholic imagery within this
scene. One example is the pictures of the Pale Man fighting and attacking children. The style of
the painting reflects pre-renaissance Catholic artwork, and the background is similar to typical
Catholic architecture. Given that the main purpose of said Catholic artwork was to glorify the
religious figures it portrayed, it seems likely that its purpose in the film is to serve the same
purpose, but for the killing of innocents by the Pale Man. With the reading that the Pale Man
represents the Catholic Church, these paintings would be used to promote the director’s
opinion of the Catholic Church: that it is harmful to children. As for the Pale Man himself, his
design also shows clear Catholic iconography. Firstly, Ofelia picks up a tray with his eyes on it,
which is a link to St Lucy, the highly venerated patron saint of the blind. She is often associated
with either the plate of eyes, or a branch which is symbolic of good over evil. By referencing this
symbol of her, the absence of good over evil suggests a sense of doom and authority on the Pale
Man’s behalf. Ofelia awakens the Pale Man by eating a grape, after being told she must eat
nothing from the feast in front of her. The act of her betraying this order links to the story of the
forbidden fruit, which then links to the knowledge of good vs evil. The concept of Ofelia
learning of good vs evil could perhaps be Del Toro alluding to the Catholic involvement in the

1
Name: Grace Higgins

Pact of Forgetting, whereby countless unnecessary deaths were to be overlooked, and the
people involved were able to escape punishment or responsibility. This would also explain the
immense aggression Ofelia receives as a result, as the Pale Man attempts to attack her. A final
important religious connotation could be with the eye sockets in the Pale Man’s hands, once
again linking to Jesus. After his death, he was reidentified to be a figure of authority due to the
holes in his hands, as a sign of what he had been involved with. As the ‘holes’ in the Pale Man’s
hands are for his eye sockets, it could be said that his power or authority could not only come
from what he has seen, but also what he has done, which links back to both Jesus and the
paintings on the wall. With all of this considered, it seems apparent that Del Toro’s personal
views of the Catholic Church are not only logical given the historical context, but also highly
influential in creating such a terrifying antagonist.

A different reading of the Pale Man representing a wider concept is that of a Fascist one. At this
point in the film, Del Toro has already established a Fascist figure with Vidal. One of Vidal’s
scenes directly links to the Pale Man, namely the feast he has, discussing further plans for the
fight against the Partisans. In Vidal’s scene, the camera tracks down and above the table, at
which Vidal is sat in the centre of. This is entirely paralleled when Ofelia first enters the Pale
Man’s lair, once again showing the figure of authority situated in front of symbols of wealth. His
position at the head of the table could be an allegory for the Falangists being at the head of the
country during the Spanish Civil War, which was the cause for all conflict thereafter, implying
that the Pale Man is to be a cruel and violent antagonist. As with the Catholic reading of the
scene, the paintings of the Pale Man are highly significant. The Pact of Forgetting was
implemented in an attempt to move on from the Civil War, but it was more beneficial for the
Right than the Left. The Pact saw that the supporters of Franco were able to avoid
consequences for their actions, which had left them in a position of power compared to the
Left, who had been denied the rights to learn of their friends, families and loved ones’ fates.
The paintings in the lair could symbolise the power of the Pale Man in the same sense of the
power held by the Falangists after the Pact of Forgetting. It also shows a sense of pride for the
past, at least from the Pale Man’s perspective, as it is the reason for his apparent wealth and
power. Supporters of Franco during the Spanish Civil War had started a scheme whereby
children from non-Francoist families would be taken and given to Fascist parents in order to
remove any trace of traditional Spanish values. This could be the meaning behind the pile of
shoes, as the children they belong to are never seen or mentioned again. In Ofelia’s book, the
image of the Pale Man could be seen as uterine imagery, perhaps referencing the indoctrination
of young children into a harmful, Fascist lifestyle. The fairies that accompany Ofelia throughout
the film are likely allegories for traces of Old Spain, and the hope for its return. With this in
mind, the closeup of the Pale Man physically snatching them out of the air before tearing them
up is likely the director depicting the cruelty inflicted by Franco and his supporters. Interestingly,

2
Name: Grace Higgins

the fairies can also be viewed as a symbol of youth and innocence, so in this case the same
action of the Pale Man snatching them away could be another link to the “purging” of
non-Francoist children encouraged by the Falangists. Although the other Fascist symbols within
the scene suggest power and unfortunate authority, there are other more optimistic codes
featured as well. One example is the contrast between the Pale Man and Ofelia, notably their
movements. The Pale Man seems to struggle with his walking, taking slow and heavy steps
when attempting to catch up with Ofelia. This could be Del Toro commenting on the upcoming
downfall of the Fascists, as it would seem the Pale Man’s power is declining. Similarly, he seems
to be wheezing as he moves, showing signs of weakness to an otherwise seemingly omnipotent
character. Following the Fascist reading, it could be said that whilst the Pale Man is resemblant
of Franco and/or his supporters, this would make Ofelia a symbol of hope and rebellion,
suggesting that it is in fact the future generations that would bring the downfall of Fascism.

The concept of masculinity seems to exist within the perspective of either of these previous
viewpoints. Like with the Fascist Vidal, the Pale Man’s masculinity is enforced through violence,
as shown through the paintings and attack of the fairies. The uterine imagery in the picture of
him could be an attempt to show his power, suggesting that his masculine power of intimidation
is no match for the female power of disobeying, as shown through the character of Ofelia. An
obvious symbol of masculine vs feminine power comes from his appearance. He is physically
imposing over Ofelia, which serves as the main aspect of his intimidation. Linking back to the
concept of the forbidden fruit, the serpent which tempts Eve is said to be an incarnation of
Satan, which would set the expectation that the Pale Man’s power is determined by the
weakness of his female rival. Even the Pale Man’s name shows Del Toro’s criticism of the
patriarchy, as he has stated that the character is the embodiment of the patriarchal white man,
representing “all institutional evil feeding on the helpless”. The other ‘representative’ of the
Catholic Church in the film also happens to be a patriarchal white man, suggesting that both
Fascism and Catholicism benefit white men more than anyone else. The mise-en-scene of the
Pale Man’s lair could resemble the patriarchy itself, and the way that it benefits even the most
evil men (like the child-killing Pale Man himself) before innocent girls and women such as Ofelia,
Carmen and Mercedes.

In conclusion, the scene with the Pale Man is highly significant for the symbolism within Pan’s
Labyrinth. It is through this scene that Del Toro manages to incorporate many references and
criticisms of broader social concepts that feature less prominently in the rest of the film.