CLARA JOHNSON

Pan could also be a reference to Peter Pan. A time obsessed villain with a significant link to a clock and a protagonist who doesn’t want to grow up, again linking to immortality, another theme I will develop on later.

The film Pan’s Labyrinth follows the story of protagonist Ophelia and her new life with her step father. Through the film Ophelia goes on a number of quests so she can prove her identity as Moanna, princess of the underworld. The story can be interpreted in many ways but when I first saw the film I saw us following Ophelia through her new life and how she creates her own reality as she tries to cope with her hard life and the many difficult things she experiences. There is evidence towards these quests being both real and imaginary but I believe the quests were not real but part of her coping mechanism as a young child; she couldn’t cope with what was going on around her. My main reasoning for this was every quest was linked to something that happened in real life: the toad infecting the healthy tree was the baby infecting the mother. The pale man was Vidal, also shown by the seating position at the table (the camera angles and positioning) and her mums misery. The bug in the forest turned into a fairy when it saw the picture in the book and lots of imagery relating to a faun was seen around the house so it is possible she created these characters from the images around her. When she returned home, it was really her just going to heaven. At the end the camera goes up giving the impression she is going up to heaven. Also, what is being said, ‘arise my daughter, come.’ Could have been said by God or something similar. ‘daughter’ We are all children of God. To me, the most convincing scene was at the end when Vidal didn’t see the faun. There are some theories I read that think it was because he was under the influence of the drugs which Ophelia put into his drink making him sleepy. Guillermo del Toro Gómez stated in an interview that the movie "should tell something different to everyone. It should be a matter of personal discussion". He then went on to say "objectively, the way I structured it, there are clues that tell you that it's real." This gives the impression that he believes the faun and the adventures were real. I can also see this point of view, the most obvious being the flower blooming on the dead tree at the end, the chalk ending up on Vidal's desk (as there's no way it could have gotten there) and Ophelia's escape through a dead end of the labyrinth. If the adventures were real, it is also a possibility that the people who previously lived there saw the faun and carved his image into their houses in respect, possibly seeing him as a God or deity of some kind, linking back to Pan. And to explain the similarities of the quests and her life could be the faun knew Ophelia’s troubles and by setting her the similar challenges was helping her overcome them, overcome her mortal life and return home. I like this theory as I feel it gives the story a much happier plot then a girl losing her mind and finally being at peace and happy when she is dead, ‘memory of you will not exist and we’ll fade with it.’ Ophelia’s missions were always at night opening up the possibility that she may have been dreaming? I think this is unlikely but it may have been pointing towards Del Toro lucid dreaming which is how he developed the idea of the faun. On The Charlie Rose Show he stated that every midnight a faun would step out from behind the grandfather's clock. Originally, the fauns design was a classic half-man, half-goat but in the end the faun was a goat-faced creature made out of wood and earth with moss and vines growing on him. This made him less human and created a more mysterious, semi-suspicious character who gave the impression of magical wonder but also creepy and strange with Satanic imagery thinking you may not be able to trust him at all. Fauns are usually mischievous, and the God Pan was no different. The word panic is derived from the God Pans name as it is said that if you are wandering through a forest and accidently wake Pan from his nap he will shout causing the sheep to panic and scatter. This could be a link to Ophelia’s disobedience and the faun identifying Moanna. Moanna was also disobedient, going to the surface when her father specifically told her not to. Doug Jones is a physical actor who is well known for his portrayal of fantasy characters through the use of prosthetics and make up, not digital. He plays the faun and pale man in Pans labyrinth and the amphibian man in The Shape of Water. He uses prosthetics which I feel, especially in shape of water, makes them seem more touchable, creepy and potentially dangerous. After looking at the cast for the film I found the same actors who played Carlos and Jaimie in the film The Devils Backbone, another film by Guillermo del Toro Gómez, appeared in Pan’s Labyrinth as unnamed guerrilla soldiers. This suggests Pan’s Labyrinth is a potential continuation of these characters stories. I think it also touches upon the tragedies of war, child characters the audience may already know are killed, making them seem very insignificant despite how important they were in their own stories. This may also show Vidal’s inhumanity, to him they are not people with stories they are just pests he is going to eliminate. It deals with similar themes of the brutality of war and masculine cruelty, the opposite of feminine characters who are portrayed as strong and kind. Del Toro himself said the film has strong connections in theme and ‘should be seen as an informal sequel dealing with some of the issues raised there.’ Carlos, the main character in Devils Backbone, was described by Del Toro as ‘a force of innocence’. Similarly in Pan’s Labyrinth Ophelia is the innocent.

In fact, the film Pan’s Labyrinth has many similarities to other films by Guillermo del Toro Gómez. For me the most obvious one was The Shape of Water. I love the film The Shape of Water, granted it’s a little weird, but if you look at it a little closer and the film is really quite beautiful. The story from The Shape of Water is, in some ways very similar to Pan’s Labyrinth. Especially the originally planned story which was about a pregnant woman who falls in love with a faun, although the story of Pan’s Labyrinth was altered it still has many similarities in theme which you can’t overlook. The idea for The Shape of Water started when Del Toro watched ‘creature from the black lagoon’ when he was a kid and found himself wanting the creature to get a happy ending. He said he felt the same way about Frankenstein’s monster and King Kong. Guillermo del Toro Gómez stated his favourite film monster was Frankenstein’s monster claiming he has a "Frankenstein fetish to a degree that is unhealthy", and that it's "the most important book of my life, so you know if I get to it, whenever I get to it, it will be the right way” the story of Frankenstein (a wish for power and knowledge created a monster. Like war/Captain Vidal.) The Shape of water was made by reimagining these films (creature of black lagoon) with the ending he wanted. In this film the monster is the romantic interest while the handsome, successful man is the true monster. Similarly, in Pan’s Labyrinth the strong, successful Vidal was the monster, even compared to the faun or even the pale man who, some believe was a depiction of Vidal judged by the position he is sitting at the table. Del Toro hasn’t confirmed this and instead said "the Pale Man represents the church for me, He represents fascism and the church eating the children when they have a perversely abundant banquet in front of them.” Del Toro was raised roman catholic and still this religion influences his work. Del Toro said he considers the film Pan’s Labyrinth was "a truly profane film, a layman's riff on Catholic dogma". Del Toro also said, "A very Catholic notion is the humble force, or the force of humility, that gets revealed as a God-like figure toward the end.” This is the Catholic influence on the film The Shape of Water referencing to the end when Strickland literally said ‘you are a God’ as the amphibian man walked away after being tortured and shot multiple times. Another thing I like about The Shape of Water was the monster doesn’t need to transform to find love. For example in Beauty and the Beast, the beast had to transform into a prince to get a true happy ending but here the beast doesn’t have to change. Eliza, described as the princess without a voice, ends up entering his underwater world. This is a very noticeable opposite of the ending of creature from the black lagoon where the creature is shot and killed while the humans escape. In The Shape of Water the creature survives being shot multiple times and he and Eliza escape. Eliza understands it is many of the humans who are the monstrous ones and the creature is perfect just as he is. The theme, the idea of embracing the others, understanding and not transformation as a motor of love. This is like Ophelia knowing the Vidal is truly evil and trusting in the faun and trying her best to protect her mother. The classic Beauty and the Beast story’s all start with a beautiful girl who is different from the others around her. This is the same in both Pan’s Labyrinth and The Shape of Water but instead of the classic, the girl doesn’t fit in because she is to pretty, in these films the girl doesn’t fit in because of her inner beauty. In Shape of Water Del Toro said he wanted the leading character “to be beautiful but in a way that was unique and powerful, not model Hollywood, so you fell in love with her rather than just admire her.” Similarly, in Pan’s Labyrinth, Ophelia is not looked on as pretty but as having a truly beautiful mind and heart, possibly because of her young age and lack of maturity which in a time of war is different to most. This is shown from the beginning as the first shots are Ophelia softly walking off on her own to explore the forest which shown as magical and mysterious. She tenderly fixes the statue and rather than fear the big creepy bugs she admires them before you even hear her speak these visual elements show her gentle nature and inner beauty. In The Shape of Water Eliza can’t speak so again Dal Toro uses visuals, mainly musicals to give us a look into Eliza’s colourful and accepting mind. She watches old Hollywood musicals with her best friend Giles such as The Little Colonel (1935) and they dance along to them while watching and on her way to work. What I like about this is the film isn’t being intellectual or clever, you don’t need to know what musicals are playing to appreciate the story you just have to feel the emotion, the simple pleasures and the joy the characters get. Musicals are used throughout the film to resemble her love story showing how heartfelt and refined her soul is. Del Toro Said “the thing that is important to me is to be shameless, earnest and honest and not postmodern. Not reflective. Because we live in a time where if you are cynical it is easy to sound smart, and when you talk about emotion and love you sound corny. And we are almost afraid of that.”

Both Eliza and Ophelia have voices that can’t be heard in the true world, Eliza being mute and Ophelia being a child. When Eliza goes into the water at the end the scars on her neck which are from an injury which made her mute become gills symbolising she has been , out of place, or a fish out of water, her whole life without quite knowing it. This links back to Eliza’s origin story of being found by the river, in the water. It also links to mermaids and the myth that they can’t sing on land, that she couldn’t speak in the world of air because her voice belonged in water and now she may even be able to sing along to her musicals which are what got her through her life on land.

Playing in the cinema in The Shape of Water is the film ‘the story of Ruth’. The theme is loyalty to a family that you have discovered rather than born into as Ruth converts faith and serves her husband’s family faithfully, even after his death. The Shape of Water is also a story of a woman who realises her true life lies in a new, discovered world (water) and her true faith is in a new God (the monster) and she is loyal to that new discovered faith. Ophelia is loyal to the underworld although not being directly born there and faithful to the book.

In Pan’s Labyrinth there was lots of feminine imagery present throughout and there are links to these two films through the theme of femininity. Elements such as blood and milk were used in Pan’s Labyrinth as well as yonic symbolism. Usually the symbols represent the reproductive sending a strong message of life and resilience. Milk was used in Pan’s labyrinth to represent femininity and the circle of life. An example of this was Mercedes milked the cow and gives the milk to Ophelia who in turn gives milk to the mandrake. Giving milk is usually something a mother would do for her child. This shows Mercedes and Ophelia’s close relationship and their loving instincts in looking after those close to them. The colour white is considered pure and to me the milk represented the innocence in their actions. Mercedes just wanting to help Ophelia and Ophelia just wanting to help her mother. This again links to the gentleness and kindness of women and the links of innocence to Devils Backbone. The milk could also be a sign of sexual maturity so when Ophelia gives milk to the mandrake is could be her beginning to accept her maturity through the responsibility of looking after her mother. Blood is also used in a similar way. Towards the beginning of the film Ophelia rejects blood saying she will never have children of her own showing her refusal to grow up. However, Ophelia is coming of age and the blood could be symbolic of her menstruation also linking to both the narrative and visual focus of the moon which is strongly linked to Moanna. This could mean she cannot return home until she is mature enough. Later in the film she accepts blood when giving some to the mandrake and at the end when she protects her little brother is she fully accepting of her maturity which lets her return home. In addition, she is shot in the stomach or womb area, again themes of yonic imagery and resembles the way her mother died from giving birth. It could symbolise Vidal’s refusal to see females as independent or important, just there to have and look after their kids, which was how Carman was treated. However, this didn’t last as just minutes after killing Ophelia Vidal was confronted by Mercedes who takes Ophelias brother from him stating ‘he will not even know your name.’ to me this sentence carries a lot of power. Mercedes denies his last wish and shatters all of his visions in one sentence. His visions of immortality through legacy, the visions of his superiority and his visions of his and his son’s future. This sentence is the last thing Mercedes says in the film and this strength is our lasting memory of her. Mercedes was cast to resemble Ophelia because Del Toro wanted Ophelia to look more like Mercedes then Carmen so you connect the two as they have similar characters. This disobedience is also a common theme in this film as well as The Shape of Water. The same disobedience can be seen in Ophelia, Eliza and Zelda. In both films it is typically the younger generation who rebel (Ophelia/Mercedes/Eliza) and the older generation are submissive and follow the traditional values (Carmen/servants). An exception of this would be the doctor in Pan’s Labyrinth. One of my favourite quotes from the doctor was “To obey, just like that, for the sake of obeying, without questioning. That’s something only people like you can do captain.” This sets Vidal apart from everyone else even further.

Choices are a huge theme in both films. Choices in any film are important as usually in life you can tell someone’s character by the choices they make. Usually in films the characters have one big choice through the film, usually towards the end and depending on what they choose is how the film ends. In Pans labyrinth there are choices which are made throughout the film and not just by the main protagonist. Ophelia’s choice to save her brother, the choice to be disobedient, the choice to join the rebellion and fight. Even the audience has a choice to believe Ophelia’s tale or not. However, there is question to how much of it is actually a choice. ‘there is no choice’ was stated in the scene with Pedro and the doctor. Saying ‘there is no choice’ is desperate. They didn’t choose to be there. They are there because it is what they have to do, if they don’t try to fight back Spain will continue to be ruled be a fascist like Vidal. They are there because it is what they believe to be right and there is no other option. This quote also shows a big contrast in characters. “We are all here by choice” was said by Vidal in the dinner scene. This could be related to circumstance as Vidal is on the winning side and didn’t have to be there, there are many officers which could take his place. But this just shows his character, he even brought his wife and unborn child to a warzone because he didn’t want to leave. He enjoys the position of power and dominance and possibly the masculinity of war and violence. Most villains in Del Toros films are linked by the common feature of fascism. The industrialist in Cronos, the Nazis in Hellboy and of course Vidal in Pan's Labyrinth. "I hate structure. I'm completely anti-structural in terms of believing in institutions. I hate them. I hate any institutionalised social, religious, or economic holding.” Was a quote from Del Toro when asked about his political view.

In both films there is a common choice, do you follow the rules blindly or follow your own desires or beliefs? Both films depict the ones who follow their own beliefs are the strong ones. In fact without disobedience neither story would exist. In The Shape of Water if Eliza didn’t break the rules and enter the lab out of her hours she would never have even met the amphibian man to begin with. Similarly, if Ophelia hadn’t disobeyed Vidal and wandered into the forest she never would have found the faun. Ophelia frequently breaks rules set by both Vidal and the faun. Interestingly she only disobeys with verbal instructions, when the quests were written in the book she does what is written. The quest about the rotting tree was written in the book and she completed it without disobeying, instead she disobeyed her mother by ruining her dress. This could be a link to Ophelia’s love of books, when seen at the beginning she was shown to have been carrying a stack of fantasy books to which her mother says Ophelia needs to “grow up”. This is also another sign of Ophelia not wanting to grow up, reading fairy tales and having an active imagination meaning the quest and the faun could again be all in her head. But, I believe Ophelia’s love for fairy tales goes deeper than this. For most people our main source of fairy tales is Walt Disney. He made his films by adapting folk tales but because film was such a new medium Disney had to remain faithful to the original versions of the stories. He remained so faithful to the stories he limited the kinds of things a fairy tale can do because he enforced the old principles where the prince always saves the helpless heroine. In Pan’s Labyrinth however, Del Toro re-contextualises these stories by pulling inspiration from a countless number of sources without any one dominating over the others, instead they intertwine to create meaning. The tale of Pan’s labyrinth splits into two parallel stories, Ophelia’s magical quest and the real world. Through the whole story neither story dominates over the other and Del Toro shows this by entwining the two stories in ways that make any finalizing explanation questionable. There are many parallels through each story. For example, keys, knife and medicine, or in Ophelias case the magic stones, are given significance in both worlds and the keys and knifes have the same sound effect signifying them literally and metaphorically opening up a new drastic turn in the story. Mercedes key leads to the robbing of Vidal’s store and Ophelias key leads to the knife which was meant to be used to kill her brother whereas Mercedes knife is the first time she, face to face, stands up to Vidal, cutting him and escaping into the forest. The camera angles also show the two parallel worlds meeting, for example Vidal and the Pale man’s position at the dining table and Ophelia with the mandrake and her baby brother. There are also parallels in the actual narrative itself. For example, as I mentioned earlier the similarities between the real world and the quests, Carman being the tree and her brother being the toad containing the ‘key’ to Ophelias freedom like real like where saving her brother was the ‘key’ to her going home. But also, there are links in the story to real events in history. For example, the tree being Spain and the toad being Francisco Franco with the message that overthrowing him is the ‘key’ to saving Spain. However, the end of the film is where I think it gets the most complicated. When Vidal sees Ophelia talking with the faun, from his point of view the faun isn’t there. This seems like an obvious break between the world of fantasy and reality and for me after first watching the film it was solid evidence the quest was in Ophelia’s head. However, after looking more closely Del Toro complicates things again by noticing that Vidal had been drugged with a lot of sleeping medicine, linking back to the parallels. In most stories drugs are used to explain why people see supernatural of fantasy beings but in Pan’s labyrinth it’s the opposite. This makes Vidal’s point of view unreliable opening up the possibility that Ophelia’s quest was real and Vidal was hallucinating. This isn’t the only area where Del Toro had defied our expectations and the old principle of fairy tales. I’m linking back to the theme of disobedience. In most fairy tale’s disobedience is what sets the story in motion and in this film it is a very important feature, without it there would be no story. There’s the disobedience of the rebels who want to release Spain from fascism, the disobedience of Mercedes who work with the rebels and again, the disobedience of Ophelia. However, these are just the obvious elements of disobedience. There are elements displayed in every part of this movie by referencing to other works, times and stories. By doing this it weakens the main story so it doesn’t conform to a single area or tale and meaning is you choose to see it that way. For example, the scene with the pale man. All around his room there are references. References to other child eating monsters in other mythology’s such as the Greek titan Kronos who got a prophecy that he would be killed by his son so he ate all his children to avoid this, like fascist Spain, the young from replacing him. Also, Cronos is the title of Del Toro’s first film. Again the positioning of the pale man and Vidal, who later goes on the kill a child (Ophelia). The pile of shoes in the pale man’s room are a contrast to Ophelia’s red shoes at the end of the film which are linked to the Wizard of Oz, another story where a girl is in a magical land and in the end goes home and they are also a link to the piles of shoes from the Nazi concentration camps. Del Toro has a huge number of references which interconnect with each other creating a network which the viewer can follow as they choose, again linking to the theme of choice. The purpose of Vidal in the story was not only to be the antagonist, but to limit the amount of events that can be told in the story. The only way to avoid this is to disobey which is what these characters do, creating new paths, new stories that they can follow. At the end of all of Disney’s work the story ends with the classic ‘The End’ and the goal of the story was met. But In Pan’s labyrinth Del Toro ‘disobeys’ our expectations how the story should end. For example, the rebels capture and kill Vidal but Spain will continue to be under authoritarian dictatorship for thirty years. Ophelia dies but completes her quest and returns home. What started as one story has now split into each individual person who now lead their own story. Through the entire film Ophelia is choosing between the fantasy realm and the real world but in the end not just one story could contain her and when she returned home to the underworld she left behind small traces of herself in the form of a flower. This could be a link to the story of the immortal rose. The story of the rose I believe symbolises Ophelia’s life. She is the immortal rose, at the beginning she is a child who feels immortal as all children do, lost in a fantasy world. As the story goes on the rose wilts as she begins to accept maturity. This is completed at the end of the film where she dies but is reborn, implying immortality, and a new flower appears. In my mind that flower is in place of the wilted rose and it appears on the tree which she healed combating the image of wilt and decay. Immortality is also a main part of Vidal’s character and his desire for a legacy. This adds more devastation to the part where he is shot with the promise that his son won’t even know his name. The poison thorns surrounding the rose are the people in Ophelia’s life. The story goes that everybody talked about the fear of death but never about eternal life. This could have many meanings or none at all. Initially I think of a literal meaning like everyone is so wrapped up in themselves they pay little attention to Ophelia. So she made up a world because she was lonely. Or people talking about the war and negative things in life but ignoring the positive. However this may have another interpretation which has some irony to it, if you live your life in fear you will never truly live, but if you live life to the full you can never truly die. This could be a link to disobedience as the ones who disobeyed and lives their life by their own terms in the end lived and the ones who conformed didn’t. Another way of looking at it is If you live your life and make a change, even if you die your legacy will not. Originally the tale included a dragon called Varanium Silex, who guarded a mountain surrounded by thorns and at the top was a blue rose that can grant immortality. The dragon and the thorns scare off all men who decide it is better to avoid pain than to be given immortality.

The two main colours in The Shape of Water are green and red. There are many debates over what the two colours mean, some argued that green is the colour of the future and red is the past but I believe green representing the old world and ignoring evolving ideas whereas red (the opposing colour to green on the colour wheel) resembles enlightenment and courage.

Eliza and Zelda wear green uniforms to work, Giles forces himself to eat green key lime pie so he can talk to the server at the diner and gets told to repaint his picture with a green jelly instead as green is the future. I believe green represents the old, traditional values, the man at the diner turns out to be homophobic and racist. The uniforms Eliza and Zelda wear represent the expectations of women, again linking to the theme of femininity, which through the film they break, this is shown as they start to wear more and more red until she is completely dressed in red. This is Similar to Carmen’s colour transition from green to blue, imagination to reality. I believe the red represents Eliza’s growth as a character as whenever she adds another red item she seems to gain a more confidence as she opposes the normal values that everyone around her follows. For example when she wears a red headband she stands up to Strickland for the first time. Red shoes which are almost always a metaphor for rebellion or a new attitude, which was to rescue the 'monster'.

Another obvious red was the cinema’s lighting. This may be a message that people can become enlightened and learn from films. More specifically this film which I think is all about acceptance. We live in a time of fear and hatred. Every day on the news or social media we are told to fear something. Fear ‘the other’, fear immigrants, fear that religion, that race, that gender and it’s time to embrace that there is no other, there is no them, there is only us and this film depicts this in a weird but wonderful way. Through the film the people around Eliza follow in her footsteps and begin to become themselves in a society who are against them. Giles a gay man gives up on the diner server and his job as they won’t hire him because of his sexuality and Zelda a black woman shows her independence and strength standing up to Strickland and her husband despite the racism and inequality, they both find self-worth. Strickland however is the opposite. He is obsessed with tradition he does things he doesn’t want to. He buys a green car because he was told he was a man of the future, he is in an unhappy marriage with a wife and kids because it’s what’s expected of him, he even tells Dmitry he has done what he had been told to his entire life. It is only at the end of the film he realises his life was a lie when he was killed by the amphibian man, covered in red blood showing his enlightenment as his last words were ‘you are a God.’ Colonel Strickland is the same as Vidal. They appear picture perfect but are a beast inside. He is a man made in God’s image, just before he dies he realises he has been attacking a God and his visions are shattered. Similarly, Vidal dies. ‘He won’t even know your name.’ The images of success and domination trap Strickland into a mind-set of never being able to fail as if life was only about winning or losing he can’t see that the country is moving away from him and traditional beliefs.

Another theme through the use of colour green is used a lot and generally symbolises calmness, and nature. Red generally symbolises aggression/fight or passion and is gradually introduced first with blood then with her headband, new shoes and the water drops on the window which I think symbolise her feeling more in control of her life and more at home with the water. The 'monster' glows blue to symbolise true life in harmony as water is the source of energy and all life. The monster itself I believe represents earth and nature, which cannot be owned or controlled and is potentially dangerous for example when he ate the cat and scratches Giles arm. But with compassion and understanding nature has the ability to heal like when the fish man restored Giles hair and he should be protected. The government, the scientists and the Russians all want to harness, destroy, torture or otherwise contain the 'monster.' The people whom the government view as meek with no real voice, the underclass female toilet cleaners have the power to save nature and live in harmony with it.

There is also a theory I read that red represents love and as Eliza converts to dressing in more red it is symbolising her falling more in love with the creature. And green is the loveless, harsh, unfair life she is leaving behind. The unfair inequality, the harsh science lab and her loveless apartment before she met him.

Colour scheme of transition. Scenes with Ophelia tend to have circles and curves and use warm colours, while scenes with Vidal and the war have more straight lines and use cold colours. Over the course of the film, the two opposites gradually bleed into one another. I believe the warm colours represent fantasy where the cold blues represent reality. The first thing I notice is how warm and welcoming warm colours look possibly symbolising the comfort of imagination, and how cold and uninviting reality is. The transition colour seems to be green. This is the colour both Ophelia and Her mother Carman started out wearing. By the end of the film Ophelia is dressed in completely gold and red, very warm colours symbolising her full transition into the world of fantasy. Also the ending of The Shape of Water and Pan’s Labyrinth have similarities in the theme of birth, more specifically rebirth. Eliza being reborn after death with gills and Ophelia being reborn after death as Moanna. There is a lot of symbolism around the theme of birth and rebirth. Ophelia’s baby brother, Ophelia into Moanna and the bug into fairy.

In the end, the story of Pans Labyrinth can be interpreted in a number of ways, each element can hold contrasting meanings, each character conveys opposite personas and each sub-story can have multiple messages. There is no right or wrong and i think that is the way Del Toro meant it to be. It is for you to interpret and enjoy the you want.

​