Novels that dealt with Mass Displacement  

1. "The God of Small Things" by Arundhati Roy (1997)

Synopsis: This Booker Prize-winning novel, set in Kerala, India, explores the lives of fraternal twins Estha and Rahel and their dysfunctional family. The backdrop of the story touches on social and political issues, including the construction of a dam that leads to the displacement of local communities and the disruption of traditional ways of life.

Relevance: The novel reflects the impact of development projects on marginalized communities, with the displacement caused by the construction of a dam serving as a symbol of larger social and environmental injustices.

2. "The Hungry Tide" by Amitav Ghosh (2004)

Synopsis: Set in the Sundarbans, a vast tidal delta in the Bay of Bengal, the novel follows the story of Piya, an American marine biologist, and Kanai, a businessman, as they navigate the complexities of life in this dangerous yet beautiful landscape. The novel delves into the history of the Morichjhanpi massacre, where refugees who had settled on an island were forcibly evicted by the government.

Relevance: "The Hungry Tide" explores the consequences of state-led development projects and the resulting displacement, highlighting the struggles of displaced people and the conflicts between human survival and environmental conservation.

3. "Disgrace" by J.M. Coetzee (1999)

Synopsis: This novel, set in post-apartheid South Africa, follows David Lurie, a professor who loses his job after an affair with a student. Seeking refuge on his daughter’s farm, he witnesses the violent upheavals faced by rural communities as land reforms and development projects take place.

Relevance: While not directly focused on displacement due to construction projects, "Disgrace" addresses the broader theme of land ownership, dispossession, and the impact of social and economic changes on communities.

4. "The Village by the Sea" by Anita Desai (1982)

Synopsis: This novel tells the story of a small, impoverished fishing village in India that faces the threat of displacement due to industrial development. The focus is on two siblings, Lila and Hari, who struggle to survive and keep their family together as their traditional way of life is threatened by the construction of a fertilizer factory nearby.

Relevance: "The Village by the Sea" is a poignant portrayal of how development projects can disrupt the lives of ordinary people, leading to displacement and loss of livelihoods.

5. "Train to Pakistan" by Khushwant Singh (1956)

Synopsis: Set during the Partition of India in 1947, the novel portrays the horrors of mass displacement and violence that accompanied the creation of India and Pakistan. The story is set in a small village on the border, where Hindus, Muslims, and Sikhs have lived in harmony until the arrival of a train full of dead bodies forces them to confront the brutal realities of partition.

Relevance: Although focused on political displacement rather than a development project, the novel powerfully captures the trauma and upheaval experienced by displaced people.

6. "The Circle of Reason" by Amitav Ghosh (1986)

Synopsis: This debut novel by Amitav Ghosh tells the story of a young boy named Alu, who becomes involved in a bizarre journey across India, the Middle East, and North Africa. Part of the story revolves around a small village in Bengal that is transformed by the construction of a bridge, leading to displacement and the arrival of modernity.

Relevance: The novel examines the clash between tradition and progress, with the displacement caused by infrastructure projects serving as a central theme.

These novels offer a range of perspectives on displacement, from environmental and social impacts to the deep personal and communal traumas that result from being uprooted due to development projects.

Mass displacement in India is caused by a number of factors, including disasters, development projects, and the Partition of British India: 

• Disasters

  India experiences frequent and intense hazards, which contribute to the scale of displacement. In the first half of 2023, drought alone triggered 297,000 movements. 
• Development projects

  India has invested in industrial projects, dams, roads, mines, power plants, and new cities, which have displaced people in the name of "national" interest. For example, the Narmada Bachao Andolan is an anti-dam movement that displaced large numbers of poor people. 
• Partition of British India

  The Partition of British India resulted in mass displacement. A 1973 survey found that women who were displaced by the partition were more likely to marry earlier, have more children, and less likely to continue their education. 

India has some of the highest numbers of internal displacement in the world each year. However, it lacks a central authority responsible for coordinating data from central and state governments, which makes it difficult to estimate the number of displaced people

Muhammad Ali Jinnah

 Muhammad Ali Jinnah, often referred to as the "Father of the Nation" in Pakistan, played a pivotal role in the creation of Pakistan and shaping its political landscape. Here's a brief overview of his life and political participation, stage by stage:

Early Life and Education:

Muhammad Ali Jinnah was born on December 25, 1876, in Karachi, which was then part of British India.

He belonged to a prosperous merchant family and received his early education in Karachi before moving to London for further studies.

In London, Jinnah studied law and became a barrister, qualifying from Lincoln's Inn in 1896.

Emergence as a Leader:

Jinnah initially practiced law in Bombay (now Mumbai) and became involved in politics through the Indian National Congress (INC), the leading political party advocating for Indian independence from British rule.

He rose quickly within the INC ranks and was elected to the Imperial Legislative Council in 1910.

However, differences with the INC leadership, particularly over issues related to minority rights, led Jinnah to resign from the party in 1920.

Formation of the All-India Muslim League:

Disillusioned with the INC's perceived neglect of Muslim interests, Jinnah emerged as a prominent advocate for Muslim rights and interests.

In 1913, he joined the All-India Muslim League (AIML) and soon became one of its leading figures.

Jinnah worked tirelessly to strengthen the AIML and transform it into a political force representing Muslim interests in British India.

Leader of the Pakistan Movement:

As tensions between Hindus and Muslims in British India escalated, particularly in the wake of the failed negotiations between INC and AIML over power-sharing arrangements, Jinnah emerged as the primary architect of the demand for a separate Muslim state.

He articulated the two-nation theory, which posited that Hindus and Muslims were distinct nations with separate identities and interests, and therefore deserved separate political representation.

Jinnah's leadership and advocacy for Pakistan culminated in the Lahore Resolution of 1940, which called for the creation of independent states for Muslims in areas where they were in the majority.

Formation of Pakistan:

Following the end of World War II and the subsequent elections in British India, the demand for Pakistan gained momentum.

Jinnah's negotiations with the British government and the INC leadership ultimately led to the partition of British India and the creation of Pakistan on August 14, 1947.

Jinnah became the first Governor-General of Pakistan and played a crucial role in guiding the newly formed nation through its early years.

Legacy:

Muhammad Ali Jinnah passed away on September 11, 1948, shortly after Pakistan's independence.

He is remembered as one of the most influential political leaders in South Asian history, whose leadership and vision were instrumental in the creation of Pakistan.

Jinnah's legacy continues to shape Pakistan's political landscape and national identity, with his vision of a democratic, pluralistic, and progressive Pakistan remaining relevant to this day.

There is a popular anecdote that suggests JRD Tata accompanied Muhammad Ali Jinnah to Karachi for his swearing-in ceremony as the first Governor-General of Pakistan. However, this claim lacks strong evidence and historical verification.

While JRD Tata and Muhammad Ali Jinnah were both influential figures in their respective fields and had interactions due to their roles in business and politics, there is limited concrete evidence to support the notion that Tata personally accompanied Jinnah to Karachi for his swearing-in ceremony.

It's worth noting that Jinnah's inauguration as Governor-General of Pakistan took place on August 15, 1947, following the partition of British India and the creation of Pakistan. JRD Tata was indeed associated with Jinnah through their common involvement in various political and industrial circles, but the specific claim of Tata accompanying Jinnah to Karachi for his swearing-in ceremony should be approached with caution unless further evidence can substantiate it.

There are claims and reports that J.R.D. Tata, the renowned industrialist and former chairman of the Tata Group, accompanied Muhammad Ali Jinnah to Karachi for his swearing-in ceremony as the first Governor-General of Pakistan in 1947. However, there is limited concrete evidence to support this claim, and it remains somewhat of a historical anecdote.

As for the family relationship between J.R.D. Tata and Rattanbai "Ruttie" Petit, who later became the second wife of Muhammad Ali Jinnah, there is no direct familial connection between them. Rattanbai Petit was the daughter of Sir Dinshaw Maneckji Petit, a prominent Parsi businessman and philanthropist, while J.R.D. Tata belonged to the Tata family, another prominent Parsi family in India. Despite both families being part of the Parsi community and being influential in British India, there is no known familial relationship between them.

J.R.D. Tata, the renowned industrialist and former chairman of the Tata Group, had five siblings. They were:

Sylla Tata: She was J.R.D. Tata's sister.

Rodabeh Tata: Another sister of J.R.D. Tata.

Darab Tata: He was J.R.D. Tata's brother.

Jimmy Tata: Yet another brother of J.R.D. Tata.

Sooni Tata: She was also a sister of J.R.D. Tata.

These siblings were part of the Tata family, one of the most influential and wealthy families in India, known for their contributions to business, industry, and philanthropy.

User

Sylla Tata married to whom?

ChatGPT

Sylla Tata, the sister of J.R.D. Tata, was married to Dinshaw Maneckji Petit, a prominent businessman and philanthropist in British India. Their daughter, Rattanbai Petit, later became the second wife of Muhammad Ali Jinnah, the founder of Pakistan. Rattanbai, also known as Ruttie Jinnah, was the mother of Dina Wadia, who was Jinnah's only child.

User

Then what is the relationship between .R.D. Tata and  Rattanbai Petit - sister's daughter? 

ChatGPT

J.R.D. Tata was the maternal uncle (mother's brother) of Rattanbai Petit, also known as Ruttie Petit. Rattanbai Petit was the daughter of Sylla Tata, who was J.R.D. Tata's sister. Therefore, J.R.D. Tata was Rattanbai's maternal uncle.

Title: "Fashion Escape"

 Title: "Fashion Escape"

Opening Image: A rich boy falls in love with a beautiful girl from a lower-middle-class background.

Theme Stated: Love knows no boundaries, but societal expectations and family disapproval loom large.

Set-Up: The boy's father, owner of a struggling fashion dresses factory, disapproves of the relationship.

Catalyst: The father confronts the girl at the factory, leading to a tense altercation.

Debate: The girl makes a daring escape in a car filled with new fashion designs, pursued by paparazzi.

Break into Two: The girl's photo appears in newspapers, sparking a nationwide hunt and catapulting her into fame.

B Story: The girl's uncle's company experiences a surge in sales due to her newfound fame.

Fun and Games: The girl uses the dresses from the car to evade capture, becoming a fashion icon in the process.

Midpoint: The girl's actions lead to skyrocketing profits for her uncle's company, but she remains unaware of her impact.

Bad Guys Close In: The boy's father realizes the girl's influence on the company's success and secretly provides her with new dresses.

All Is Lost: The girl discovers the truth about the dresses and her father-in-law's involvement, feeling betrayed.

Dark Night of the Soul: The girl contemplates her future and the implications of her relationship with the boy.

Break into Three: The girl reconciles with her father-in-law, realizing his intentions were genuine, leading to a heartfelt reunion.

Finale: The girl's fashion journey inspires a happy ending, as love triumphs over adversity and societal expectations.

Final Image: The girl and the boy embrace, symbolizing their love's endurance despite challenges, with a bright future ahead.

Blake Snyder's "15 beats"

 Blake Snyder's "15 beats"

Blake Snyder's "15 beats" refer to the key structural points in his screenwriting method outlined in his book "Save the Cat! The Last Book on Screenwriting You'll Ever Need." Here they are:

1. Opening Image: The first image or scene of the screenplay that sets the tone and introduces the audience to the world of the story.

2. Theme Stated: A statement or hint of the theme of the story, often delivered through dialogue or imagery, but not explicitly.

3. Set-Up: Introduces the main characters, their relationships, and the status quo of their lives before the central conflict arises.

4. Catalyst: The incident or event that disrupts the status quo and sets the main story in motion.

5. Debate: The protagonist's reaction to the catalyst, often involving internal conflict or hesitation about taking action.

6. Break into Two: The protagonist makes a clear decision to pursue a specific goal or course of action, leading to the second act of the story.

7. B Story: The secondary plotline or character arc that runs parallel to the main story and provides additional depth or context.

8. Fun and Games: The main portion of the second act where the protagonist faces challenges, obstacles, and conflicts while pursuing their goal, often with a sense of excitement or adventure.

9. Midpoint: A significant turning point in the story where the protagonist's initial plan fails, and they must adapt or change their approach.

10. Bad Guys Close In: The antagonist or opposing forces intensify their efforts to thwart the protagonist, increasing the stakes and tension.

11. All Is Lost: The lowest point for the protagonist, where they face a major setback or crisis, and all seems lost.

12. Dark Night of the Soul: A moment of reflection and despair for the protagonist, where they must confront their inner demons or flaws.

13. Break into Three: The protagonist finds renewed determination or insight, leading to a new plan or approach for the final act.

14. Finale: The climax of the story, where the protagonist confronts the antagonist or central conflict and resolves the main plotline.

15. Final Image: The closing image or scene that reflects the protagonist's transformation or the overall theme of the story, providing a sense of closure.

Animal Farm 1945 - George Orwell

 Animal Farm 1945 - George Orwell

Second World War

1 September 1939 

2 September 1945

‘Animal Farm’ (17 August 1945) 

Opening Image:

Manor Farm is introduced, depicting the oppressive rule of Mr. Jones over the animals, setting the stage for the story.

Theme Stated:

Themes of oppression, revolution, and the desire for equality are subtly introduced as Old Major, an elderly pig, delivers a speech about animal rebellion.

Set-Up:

Animals on the farm are discontented with Mr. Jones' cruel treatment. They unite under the leadership of the pigs, Snowball, and Napoleon, planning a rebellion.

Catalyst:

The animals revolt against Mr. Jones, taking control of the farm and renaming it "Animal Farm," symbolizing the beginning of their quest for freedom.

Debate:

The animals discuss the principles of Animalism and their vision for a fair society. Some animals express doubts about the pigs' leadership.

Break into Two:

The animals establish their own rules, the Seven Commandments, and begin working towards building a society where all animals are equal.

B Story:

Snowball and Napoleon's rivalry over leadership emerges, foreshadowing a power struggle that will affect the farm's future.

Fun and Games:

The animals experience a period of productivity and hope, working together to improve the farm and envisioning a Utopian society.

Midpoint:

Snowball presents plans for a windmill, symbolizing progress and modernization. Napoleon opposes the plan, leading to a pivotal debate and division among the animals.

Bad Guys Close In:

Napoleon orchestrates a violent ousting of Snowball, consolidating power and establishing a dictatorship, violating the principles of Animalism.

All Is Lost:

The animals realize that the leadership of the pigs has become similar to the humans they had initially revolted against, undermining the ideals of equality.

Dark Night of the Soul:

The pigs increasingly abuse their power, altering the Seven Commandments to justify their actions, and the other animals feel disillusioned and powerless.

Break into Three:

The pigs fully transform into human-like oppressors, engaging in trade with humans and changing the fundamental principles of Animalism.

Finale:

The animals witness the pigs entertaining humans, and they cannot differentiate between the pigs and the humans, highlighting the loss of the revolution's ideals.

Final Image:

The animals observe the pigs through the farmhouse window, realizing the pigs have become indistinguishable from humans, symbolizing the ultimate betrayal of the revolution's principles.

This re-arrangement showcases how "Animal Farm" follows the beats of Blake Snyder's story structure, tracing the animals' journey from rebellion to the corruption and betrayal of their ideals by those in power.

George Orwell, whose real name was Eric Arthur Blair, was inspired to write "Animal Farm" by a combination of political events, ideologies, and his observations of the socio-political climate of his time.

Orwell was deeply concerned about the rise of totalitarian regimes, particularly Stalinist communism in the Soviet Union. The events of the Russian Revolution and the subsequent establishment of a dictatorial regime under Joseph Stalin greatly influenced Orwell's views. He was initially sympathetic to socialist ideals but became increasingly critical of the Soviet Union's betrayal of those principles, leading him to denounce totalitarianism and authoritarianism.

The idea for "Animal Farm" was sparked by Orwell's disillusionment with the Soviet regime and his observations of how revolutions that aimed to establish equality often resulted in the consolidation of power by a select few. The novella is an allegorical representation of the events leading up to the Russian Revolution of 1917 and the subsequent Stalinist era. Orwell used animal characters on a farm to symbolize various figures and events from Russian history, such as Joseph Stalin represented by the character of Napoleon the pig, Leon Trotsky embodied by Snowball, and the proletariat depicted through the other animals.

Orwell aimed to highlight the corrupting nature of power, the manipulation of language and propaganda, and the dangers of totalitarianism through the story of "Animal Farm." The novella served as a satirical critique of Stalinism and totalitarian regimes, as well as a broader commentary on the potential for power to corrupt even the noblest of intentions.

Overall, Orwell's motivations to write "Animal Farm" were rooted in his commitment to exposing the dangers of authoritarianism and advocating for democratic socialism, emphasizing the importance of maintaining democratic principles and social justice.

List the best comics of the world literature with human angle

 List the best comics of the world literature with human angle  

Certainly! Comics can be a powerful medium for storytelling, offering unique perspectives on the human condition. Here's a list of some of the best comics from around the world that have a strong human angle:

Maus by Art Spiegelman (USA) - This Pulitzer Prize-winning graphic novel tells the story of the Holocaust using anthropomorphic animals, exploring the complex relationship between a son and his survivor father.

Persepolis by Marjane Satrapi (Iran/France) - A memoir in comic form, it follows the author's life in Iran during and after the Islamic Revolution, offering a personal perspective on growing up amidst political upheaval.

Watchmen by Alan Moore and Dave Gibbons (USA/UK) - A deconstruction of the superhero genre, Watchmen delves deep into the psychological struggles and moral dilemmas of its characters in a world on the brink of nuclear war.

Asterix by René Goscinny and Albert Uderzo (France) - A humorous take on ancient Gaul, these comics follow the adventures of a small village resisting Roman occupation, emphasizing themes of friendship and resistance.

Tintin by Hergé (Belgium) - The adventures of a young reporter and his dog, Tintin's travels around the world often involve uncovering injustices and solving mysteries.

Akira by Katsuhiro Otomo (Japan) - A cyberpunk classic that explores the consequences of power and technology on individuals and society.

Blacksad by Juan Díaz Canales and Juanjo Guarnido (Spain) - A noir detective series featuring anthropomorphic animals that tackles issues of race, corruption, and morality.

Sandman by Neil Gaiman (UK/USA) - A dark fantasy series that explores the human condition through the lens of dream and mythology.

Fun Home by Alison Bechdel (USA) - A graphic memoir that delves into Bechdel's relationship with her father, exploring themes of identity, family, and sexuality.

V for Vendetta by Alan Moore and David Lloyd (UK) - Set in a dystopian future, this comic explores the consequences of totalitarianism and the power of an individual to resist oppression.

Tardi's World War I by Jacques Tardi (France) - Tardi's comics depict the grim and brutal reality of World War I, offering a stark portrayal of the human toll of war.

Barefoot Gen by Keiji Nakazawa (Japan) - A semi-autobiographical story about a young boy's experiences during and after the atomic bombing of Hiroshima, addressing themes of survival and peace.

These comics span various genres and themes but all provide insightful perspectives on the human condition, making them important works in the world of literature.a

Pan's Labyrinth

Pan's Labyrinth

Theatrical release poster

Spanish El laberinto del fauno

Directed by Guillermo del Toro

Written by Guillermo del Toro

Produced by

Guillermo del Toro

Bertha Navarro

Alfonso Cuarón

Frida Torresblanco

Álvaro Augustin

Starring

Sergi López

Maribel Verdú

Ivana Baquero

Doug Jones

Ariadna Gil

Álex Angulo

Narrated by Pablo Adán

Cinematography Guillermo Navarro

Edited by Bernat Vilaplana

Music by Javier Navarrete

Production

companies

Estudios Picasso

Tequila Gang

Esperanto Filmoj

Sententia Entertainment

Distributed by Warner Bros. Pictures

Release dates

27 May 2006 (Cannes)

11 October 2006 (Spain)

20 October 2006 (Mexico)

Running time 120 minutes[1]

Countries

Spain

Mexico[2]

Language Spanish

Budget $19 million[3]

Box office $83.9 million[3]

Pan's Labyrinth (Spanish: El Laberinto Del Fauno, lit. 'The Labyrinth Of The Faun') is a 2006 Spanish-Mexican historical dark fantasy horror film written, directed and co-produced by Guillermo del Toro. The film stars Ivana Baquero, Sergi López, Maribel Verdú, Doug Jones, and Ariadna Gil.

The story takes place in Spain in the summer of 1944, during the early Francoist period, five years after the Spanish Civil War. The narrative intertwines this real world with a mythical world centered on an overgrown, abandoned labyrinth and a mysterious faun creature, with whom the main character, Ofelia, interacts. Ofelia's stepfather, the Falangist Captain Vidal, hunts the Spanish Maquis who fight against the Francoist regime, while Ofelia's pregnant mother grows increasingly ill. Ofelia meets several strange and magical creatures who become central to her story, leading her through the trials of the old labyrinth garden. The film employs make-up, animatronics, and CGI effects to bring life to its creatures.

Del Toro stated that he considers the story to be a parable, influenced by fairy tales. It addresses and continues themes related to his 2001 film The Devil's Backbone,[4] to which Pan's Labyrinth is a spiritual successor, according to del Toro in his director's DVD commentary. The original Spanish title refers to the fauns of Roman mythology, while the English, German and French titles refer specifically to the faun-like Greek deity Pan. However, del Toro has stated that the faun in the film is not Pan.[4]

Pan's Labyrinth premiered on 27 May 2006 at the Cannes Film Festival, where it received a 22 minute–long standing ovation. The film was theatrically released by Warner Bros. Pictures in Spain on 11 October and in Mexico on 20 October. It garnered widespread critical acclaim, with praise towards its visual and makeup effects, direction, screenplay, cinematography, musical score, set design, and cast performances. It grossed $83 million at the worldwide box office and won numerous awards, including three Academy Awards, three BAFTA Awards including Best Film Not in the English Language, the Ariel Award for Best Picture, and the Hugo Award for Best Dramatic Presentation, Long Form. Pan's Labyrinth has since been considered to be Del Toro's magnum opus, one of the best fantasy films ever made, and as one of the greatest films of the 2000s, the 21st century and of all time.[5][6][7][8]

A sequel, titled 3993, was conceived by del Toro but ultimately cancelled. A novelization by del Toro and Cornelia Funke was published in 2019.

Plot

In a fairy tale, Princess Moanna, whose father is the king of the underworld, visits the human world, where the sunlight blinds her and erases her memory. She becomes mortal and eventually dies. The king believes that eventually, her spirit will return to the underworld, so he builds labyrinths, which act as portals, around the world in preparation for her return.

In 1944 Francoist Spain, ten-year-old Ofelia travels with her pregnant mother Carmen to meet Captain Vidal, her new stepfather. Vidal believes strongly in Falangism and has been assigned to hunt down republican rebels. A large stick insect, which Ofelia believes to be a fairy, leads Ofelia into an ancient stone labyrinth, but she is stopped by Vidal's housekeeper Mercedes, who is secretly supporting her brother Pedro and other rebels. That night, the insect appears in Ofelia's bedroom, where it transforms into a fairy and leads her through the labyrinth. There, she meets a faun, who believes she is the reincarnation of Princess Moanna. He gives her a book and tells her she will find in it three tasks to complete in order for her to acquire immortality and return to her kingdom.

Ofelia completes the first task — retrieving a key from the belly of a giant toad — but becomes worried about her mother, whose condition is worsening. The faun gives Ofelia a mandrake root, instructing her to keep it under Carmen's bed in a bowl of milk and regularly supply it with blood, which seems to ease Carmen's illness. Accompanied by three fairy guides and equipped with a piece of magic chalk, Ofelia then completes the second task — retrieving a dagger from the lair of the Pale Man, a child-eating monster. Although warned not to consume anything there, she eats two grapes, awakening the Pale Man. He devours two of the fairies and chases Ofelia, but she manages to escape. Infuriated at her disobedience, the faun refuses to give Ofelia the third task.

During this time, Ofelia becomes aware of Vidal's ruthlessness in the course of hunting down the rebels. After killing two local farmers detained on false suspicion of aiding the rebels, Vidal interrogates and tortures a captive rebel. He asks Doctor Ferreiro to tend to the captive, whom Ferreiro then euthanises at the rebel's own urging. Realising that Ferreiro is a rebel collaborator, Vidal kills him. Vidal later catches Ofelia tending to the mandrake root, which he considers delusional. Carmen agrees and throws the root into the fire. She immediately develops painful contractions and dies giving birth to Vidal's son.

Mercedes, having been discovered to be a spy, tries to escape with Ofelia, but they are caught. Ofelia is locked in her bedroom, while Mercedes is taken to be interrogated and tortured. Mercedes frees herself, and stabs Vidal non-lethally in her escape to re-join the rebels. The faun, having changed his mind about giving Ofelia a chance to perform the third task, returns and tells her to bring her newborn brother into the labyrinth to complete it. Ofelia successfully retrieves the baby and flees into the labyrinth. Vidal pursues her as the rebels launch an attack on the outpost. Ofelia meets the faun at the centre of the labyrinth.

The faun suggests drawing a small amount of the baby's blood, as completing the third task and opening the portal to the underworld requires the blood of an innocent, but Ofelia refuses to harm her brother. Vidal finds her talking to the faun, whom he cannot see. The faun leaves, and Vidal takes the baby from Ofelia's arms before shooting her. Vidal returns to the labyrinth's entrance, where he is surrounded by rebels, including Mercedes and Pedro. Knowing that he will be killed, he hands the baby to Mercedes, asking that his son be told the time of his father's death. Mercedes replies that his son will not even know his name, before Pedro shoots Vidal dead.

Mercedes enters the labyrinth and comforts a motionless, dying Ofelia. Drops of Ofelia's blood fall down the centre of the spiral stone staircase onto an altar. Ofelia, well dressed and uninjured, then appears in a golden throne room. The King of the underworld tells her that, by choosing to spill her own blood rather than that of another, she passed the final test. The faun praises Ofelia for her choice, addressing her once more as "Your Highness". The Queen of the underworld, her mother, invites Ofelia to sit next to her father and rule at his side. Back in the stone labyrinth, Ofelia smiles as she dies.

The epilogue completes the tale of Princess Moanna, stating that she returned to the Underworld, ruled with kindness and justice for many centuries, and left little traces of her time in the human realm, "visible only to those who know where to look."

Cast

Ivana Baquero as Ofelia / Princess Moanna, a child who comes to believe she is the reincarnation of a princess from the underworld. Del Toro said he was nervous about casting the lead role, and that finding the 10-year-old Spanish actress was purely accidental. (The film was shot from June–October 2005, when she was 11.) "The character I wrote was initially younger, about 8 or 9, and Ivana came in and she was a little older than the character, with this curly hair which I never imagined the girl having. But I loved her first reading, my wife was crying and the camera woman was crying after her reading and I knew hands down Ivana was the best actress that had shown up, yet I knew that I needed to change the screenplay to accommodate her age."[9] Baquero says that Del Toro sent her many comics and fairy tales to help her "get more into the atmosphere of Ofelia and more into what she felt". She says she thought the film was "marvelous", and that "at the same time it can bring you pain, and sadness, and scariness, and happiness".[4]

Sergi López as Captain Vidal, Ofelia's new stepfather and a Falange officer. Del Toro met with López in Barcelona, a year and a half before filming began, to ask him to play Vidal. In parts of Spain, López was considered a melodramatic or comedic actor, and the Madrid-based producers told del Toro, "You should be very careful because you don't know about these things because you're Mexican, but this guy is not going to be able to deliver the performance"; del Toro replied "Well, it's not that I don't know, it's that I don't care".[10] Of his character, López said: "He is the most evil character I've ever played in my career. It is impossible to improve upon it; the character is so solid and so well written. Vidal is deranged, a psychopath who is impossible to defend. Even though his father's personality marked his existence—and is certainly one of the reasons for his mental disorder—that cannot be an excuse. It would seem to be very cynical to use that to justify or explain his cruel and cowardly acts. I think it is great that the film does not consider any justification of fascism."

Maribel Verdú as Mercedes, Vidal's housekeeper. Del Toro selected Verdú to play the compassionate revolutionary because he "saw a sadness in her which he thought would be perfect for the part".[10]

Doug Jones as the Faun and the Pale Man. As the Faun, Jones guides Ofelia to the fantasy world. As the Pale Man, he plays a grotesque monster with an appetite for children. Jones had previously worked with del Toro on Mimic and Hellboy, and said the director sent him an email saying, "You must be in this film. No one else can play this part but you." Jones responded enthusiastically to an English translation of the script, but then found out the film was in Spanish, which he did not speak. Jones says he was "terrified" and del Toro suggested learning the script phonetically, but Jones rejected this, preferring to learn the words himself. He said, "I really, really buckled down and committed myself to learning that word for word and I got the pronunciation semi-right before I even went in," using the five hours a day he spent getting the costume and make-up on to practice the words.[11] Del Toro later decided to dub Jones with the voice of Pablo Adán, "an authoritative theatre actor", but Jones's efforts remained valuable because the voice actor was able to match his delivery with Jones's mouth movements.[12] Jones's dual casting is intended to suggest that the Pale Man (along with the toad) is either a creation of the Faun[13] or the Faun himself in another form.[14]

Ariadna Gil as Carmen / Queen of the Underworld, Ofelia's mother and Vidal's wife.

Álex Angulo as Doctor Ferreiro, a doctor in the service of Vidal, but an anti-Francoist.

Manolo Solo as Garcés, one of Vidal's lieutenants.

César Vea as Serrano, one of Vidal's lieutenants.

Roger Casamajor as Pedro, Mercedes' brother and one of the rebels.

Federico Luppi as King of the Underworld, Ofelia's father.

Pablo Adán as Narrator / Voice of Faun.

Production

Influences

The idea for Pan's Labyrinth came from Guillermo del Toro's notebooks, which he says are filled with "doodles, ideas, drawings and plot bits". He had been keeping these notebooks for twenty years. At one point during production, he left the notebook in a taxi in London and was distraught, but the cabbie