transporting us to different worlds since the beginning of cinema.

電影不斷將我們帶至不同的世界

And a lot of these films use their fantasy worlds to comment on the real world that we

而許多電影用自己的科幻世界去評論我們所住的

all live in.

現實世界

Avatar can be read as a plea to protect the natural world, while The Hunger Games takes

腳色可以解讀成一種保護自然世界的請求，而飢餓遊戲

reality TV and income inequality to their brutal extremes.

將真人實境秀和收入不平等轉換到一個殘忍的極端值

And in 2006, a movie took on authoritarianism and the violent aftershocks of the Spanish

在 2006 年時，有一部電影採用了威權主義和西班牙內戰的殘忍餘波

Civil War—all through the eyes of an innocent young girl and the fairy tale world she discovers

透過一個無辜的年輕女孩的視角和她在森林裡發現的

in the woods.

童話世界

Filled with original imagery and drawing on folklore and fantasy traditions, Pan's Labyrinth

羊男的迷宮充滿了原創意象，它借助了民間傳說和科幻傳統

takes us on a journey to a place as violent and cruel as it is beautiful and compassionate.

帶我們去一個充滿暴力和殘酷的地方，但也同時美麗而富有同情心

[Intro Music Plays]

[前奏]

Acclaimed Mexican writer-director Guillermo

知名的西班牙編劇兼導演吉勒摩．戴托羅

del Toro was already an established filmmaker by the time he released Pan's Labyrinth

當他在 2006 年放映羊男的迷宮時，他早已是位有成的

in 2006.

電影製作人

From the gothic horror of Cronos and The Devil's Backbone, to the sly humor of his comic book

從哥德式恐怖片克洛諾斯和惡魔的脊椎，到黑色幽默的漫畫改編

adaptation Hellboy, del Toro had built a reputation.

地獄怪客，吉勒摩．戴托羅闖出了名聲

He's known for embedding rich, sympathetic characters—especially children and otherworldly

他出了名的懂得使用腳色豐滿且富有同情心的人物 - 特別是兒童和其他世界的生物

creatures—in larger than life stories.

而這故事不只是關於他們的生活

With Pan's Labyrinth, he set out to combine both these impulses to create a story that

透過羊男的迷宮，他開始結合這兩種點子來創造

was half fantasy adventure, half historical political drama.

一個半幻想冒險，半歷史政治戲劇的故事

Set in 1944 just after the Spanish Civil War, the film follows Ofelia, played with wonder

故事設定於 1944 年，西班牙內戰結束後不久，電影的主角是奧菲莉由令人驚嘆

and grit by Ivana Baquero.

且勇敢的伊凡娜．巴吉羅飾演

She's a young girl traveling with her pregnant mother to join her stepfather in the Spanish

她是一個年輕女孩，她和她懷孕的母親旅行到西班牙的鄉下去與繼父

countryside.

會合

The forces of fascist dictator Francisco Franco have an outpost there, from which they hope

法西斯獨裁者弗朗西斯科．佛朗哥在那裡有一個前哨，他們希望從那裡

to exterminate the rest of the anti-fascist rebels hiding in the hills.

殲滅躲藏在山上剩餘的反法西斯叛亂分子

And Ofelia's stepfather, Captain Vidal, is the commander of this outpost.

而 奧菲莉的繼父，少校維多是這個前哨戰的指揮官

He's also fascism personified.

他也是法西斯的象徵

Grimly portrayed by Sergi López, Vidal demands absolute loyalty and sees mercy as a sign

由沙吉．羅培茲飾演冷酷嚴格的維多，維多要求絕對的忠誠，並將憐憫

of weakness.

視為軟弱的象徵

He won't hesitate to torture or kill anyone who even might be a threat to the new Spanish

他會毫不猶豫地折磨或殺害任何可能對新西班牙政權構成威脅

government.

的人

Now, the film opens with an unnamed narrator telling the story of Princess Moanna, the

現在，這部電影以一位不知名的旁白開場，講述了莫阿娜公主的故事

long lost daughter of the King of Underworld.

一個地底世界之王失蹤已久的女兒

And Ofelia is a voracious reader, especially of fairy tales.

奧菲莉亞喜好讀書，尤其是童話故事

So whether that story is coming from her imagination or her books, or is the actual

所以，無論這個故事是來自她的想像還是她的書，還是電影的真相

truth of the film is hard to pin down at first.

我們一開始很難確定

But the movie does suggest there's more to Ofelia's story than meets the eye.

但是，這部電影暗示了奧菲莉亞的故事不只侷限於我們看到的

She escapes Vidal's outpost and discovers a fantasy world in an ancient stone labyrinth

她逃出了維多的前哨站，並發現了隱藏在森林裡的一個古老的石頭迷宮中的

hidden in the nearby woods.

幻想世界

There she meets a faun, as menacing as he is magical, who tells Ofelia that she may

在那裡，她遇見了牧神，祂看起來就如祂奇幻的出身般充滿威脅性，祂告訴奧菲莉亞

be the long lost Princess Moanna.

她可能是失蹤已久的莫阿娜公主

And she has to complete three tasks to claim her birthright.

而她必須完成三件任務去贏回自己的權利

The action of the film then moves back and forth between these two worlds.

而整部電影便環繞在這兩個世界之間

In one, Ofelia's mother Carmen, played by Ariadna Gil, fights illness as her due

其中一個任務，奧菲莉亞的母親卡門，由艾妮安娜．姬兒飾演，一邊對抗疾病

date nears.

而產期逐漸靠近

Meanwhile, Vidal hunts the rebels, and Vidal's housekeeper Mercedes embarks on a dangerous

此時，維多追捕反叛分子，而他的管家瑪莎迪絲冒險幫助這些

mission to aid them.

叛亂分子

And in the fantasy realm, Ofelia gets a key from the belly of a giant toad, reclaims a

而在奇幻世界裡，奧菲莉亞從一個大蟾蜍的肚子裡取得了一把鑰匙

dagger from a child-eating monster called the Pale Man, and finally – after her mother

從叫做瞳魔的一個吃小孩的怪物手中奪回了匕首，最後，在他的母親

dies in childbirth and the rebels storm the outpost – she steals her baby half-brother

死於分娩，而叛亂分子闖入前哨 - 她帶走了了她的同父異母的弟弟

and brings him to the center of the labyrinth.

並帶他到迷宮的中央

There, Ofelia is confronted with a final choice, to give the baby to the faun as a sacrifice

在那裡，奧菲莉亞面對最後的選擇，將寶寶作為獻祭交給牧神

or return him to the villainous Vidal.

或是將他還給狠毒的維多

In the ultimate selfless act, Ofelia refuses them both, protecting her half-brother's

在最後的無私行為中，奧菲莉亞拒絕這兩個選項，他以自己的生命保護了

life with her own.

同父異母的弟弟

Vidal grabs the child and – spoiler alert – shoots Ofelia, leaving her for dead.

維多奪走了寶寶–暴雷警告–射殺並留下了死去的奧菲莉亞

As her blood drips down into the labyrinth, Ofelia is magically transported to a golden

當奧菲莉亞的血流進迷宮裡，他神奇地被傳送到

throne room.

金色的覲見室

She finds herself healed, dressed in beautiful clothes, and wearing… not quite Ruby Slippers,

他發現自己穿著漂亮的衣服痊癒了，穿著也…也許不是紅寶石鞋

but definitely red shoes.

但絕對是雙紅色的鞋子

Her mother and father sit on two impossibly tall thrones, with a third seat for her.

他的母親和父親坐在高的不可思議的寶座上，而第三個座位等著她

Her family is reunited.

他與他的家人重聚了

And while we see Ofelia die in the real world, the closing narration tells us that she reigned

此時，我們看到奧菲莉亞死於真實的世界裡，結尾的旁白告訴我們

for centuries in the Underworld, that she was beloved by her people, and that traces

他統治了地底世界幾個世紀，深受人民愛戴

of her can still be found if you know where to look.

而如果你知道該看相哪，你仍能找到這些痕跡

The film ends on the image of a flower opening on a branch Ofelia had once touched, suggesting

電影以奧菲莉亞碰過的樹枝開了花為結尾，暗示了

just that.

這一切

Pan's Labyrinth is a film of strong contradictions, as beautiful as it is bloody.

羊男的迷宮是一部充滿強烈反差的電影，它很美卻也很血腥

It's a fairy tale about a child, but also a violent, R-rated film clearly made for adults.

它是關於孩子的童話，卻也是給大人的暴力限制級電影

Our job as film critics is to reconcile these contradictions as we construct our reading

我們身為影評人的工作就是在解讀這部電影時調解

of the movie.

這些衝突

One way to look at Pan's Labyrinth is to consider it through the lens of folklore.

其中一個解讀羊男的迷宮的方法是透過童話的濾鏡

Scholars have long suggested that fairy tales give children a framework to understanding

學者們長期以來認為，童話故事可以有個框架去讓孩子們了解

the sometimes arbitrary and brutal world of adults.

成人世界的恣意與殘酷

In this reading, the fantasy world operates as Ofelia's way to interpret the real world.

解讀這電影時，對於奧菲莉亞的奇幻世界就是他所解讀的真實世界

I mean, think about it: here's a young girl, dumped onto the front lines of a violent conflict,

我的意思是說，想想看：有個女孩被丟到這暴力衝突的前線

perpetrated by this scary man she's expected to call “Father.”

一切都由這個他得稱做「父親」的可怕男人所做

And on top of it all, her mother's in real danger.

除此之外，他的母親身處危險

The only way for Ofelia's mind to cope is to create a fantasy world through which she

而奧菲莉亞的心靈應對的唯一方法是創造一個幻想世界，通過它

can explore and understand what's actually happening to her.

他可以去探索並了解正在發生在他身上的事物

And what's actually happening is downright disgusting.

而正在發生的事情是徹頭徹尾的噁心

del Toro rarely pulls the camera away from violence, forcing us to confront Vidal's

戴托羅鮮少將鏡頭從暴力中轉開，強迫我們面對維多

homicidal wrath as he smashes a man's face with a wine bottle, prepares to torture a

用充滿殺意的憤怒將葡萄酒瓶砸向一個男人的臉，或是準備折磨一個叛亂分子

rebel, or shoots half a dozen people in cold blood.

或是冷酷地射殺六個仁

Ofelia doesn't necessarily witness all of these attacks.

奧菲莉亞並沒有真正地目睹這些攻擊

But Vidal's menace and sadism is so intense that the film suggests that Ofelia lives in

但是維多的威脅和虐待如此密集，以至於電影暗示奧菲莉亞生活

terror in his house.

在他的恐懼中

Which is exactly why Ofelia has invented the fairy tale half of the film.

這就是為什麼奧菲莉亞創造了半部電影的童話故事

American scholar and fairy tale expert Jack Zipes writes in the Journal

美國學者和童話故事的專家 Jack Zipes 在美國民俗學雜誌

of American Folklore: “[Ofelia] wills herself into this tale … and creates it

中寫道：奧菲莉亞把自己寫進這個故事裡

so that she can deal with forces (her mother, Vidal, the end of the Civil War) impinging

好讓她處理這些衝擊著他生活的外力

on her life.

(他的母親、維多和內戰的結束)

What happens in the fairy tale is what provides her with the courage to oppose the real cruelty

而在童話裡發生的事，給了他勇氣去對抗這些

of monstrous people.”

殘暴的人們

Seen this way, when Ofelia outsmarts the giant toad and extracts the key or uses her ingenuity

以這種方式解讀，當奧菲莉亞智取巨型蟾蜍並取得鑰匙，或使用她的聰明才智

to outwit and outrun the Pale Man, she's actually figuring out how to stand up to the

戰勝且逃離瞳魔，他了解到該如何對抗他生活中

adults in her life who are ill-equipped or not willing to protect her.

那些沒法或不願保護他的大人

del Toro's genius is to go back past the sanitized Disney version of fairy tales to

戴托羅是個天才，他回溯那些漂白的迪士尼童話版本

their more barbaric origins.

到更加野蠻的起源

In Pan's Labyrinth, the fantasy world seems as merciless as the real one.

在羊男的迷宮裡，幻想世界看起來與現實世界一樣無情

The toad is nearly as big as Ofelia and seems like it could eat her.

蟾蜍幾乎跟奧菲莉亞一樣大，大到幾乎可以把他吃掉

The Pale Man bites the heads off two little fairies in graphic detail.

瞳魔咬掉兩個小精靈的頭以細緻的方式展現

And the faun clearly plans to sacrifice Ofelia's infant half-brother with the dagger she recovered.

而牧神明顯就計畫著用奧菲莉亞找到的匕首去獻祭同父異母還是嬰孩的弟弟

So, really, Ofelia doesn't really escape the atrocities of fascist Spain, but she learns

所以，事實上，奧菲莉亞並沒有逃離西班牙的法西斯暴政，但他學到如何

to come to terms with them, by refracting them through the lens of these stories she loves.

透過她喜歡的這些故事的鏡頭去接受它們

Del Toro draws inspiration from a wide range of tales, novels, and films to build the world

戴托羅從許多童話、小說和電影取得靈感去創作

of Pan's Labyrinth.

羊男的迷宮

Everything from the early stories of Snow White and Lewis Carroll's Alice in Wonderland,

從早期的故事像是白雪公主 Lewis Carroll 的愛麗絲夢遊仙境

to The Wizard of Oz and ancient Greek myths.

到綠野仙蹤和古希臘神話

He even draws on the most famous Spanish novel of all, Don Quixote by Miguel de Cervantes.

他甚至取材至知名的西班牙小說 Miguel de Cervantes 的唐吉軻德

That story also follows a protagonist whose fantastical visions help him cope with the

這個故事也是關於主角有個幻想世界幫助他應付

trials of the real world.

真實世界的試煉

But that's not the only way to read Pan's Labyrinth.

但是，這並不是唯一一個解讀羊男的迷宮的方式

Another, more radical, approach suggests that the fairy tale world might be just as real

另一種，比較極端的方式暗示了童話世界可能真實如我們的世界一樣

as the one crawling with fascist soldiers.

爬滿了法西斯士兵

This reading takes its cues from what Guillermo del Toro himself has said about the film.

這個解讀從吉勒摩．戴托羅自己解釋他的電影中取得靈感

Now, people like to go back and forth about whether it is acceptable to take into account an author's

現在，人們喜歡在分析一部電影時，考慮作者的本意

intent when analyzing a piece of film.

是否可以放入考量

But that doesn't mean it can't be useful.

但是，這不代表這並沒有用處

Especially if there's evidence to support their ideas.

尤其是如果你能找到證據佐證你的論點

Guillermo del Toro has said the he wanted to make a film about “authority and disobedience.”

吉勒摩．戴托羅說到他想做一部電影關於「權威和反叛」

And when you look at the film through this lens, the movie's contradictions and characters

而如果你透過這個概念去看這部電影，它的衝突和角色

can be divided up in a different way.

可以用不同的方式區分

Some characters, like Captain Vidal, his soldiers, and Carmen, represent authority.

一些角色像是維多上校、他的士兵和卡門代表了權威

Vidal and his lieutenants issue commands and enforce order.

維多和副官使他宣布並執行命令

Carmen obeys, even when it puts her, Ofelia, or her unborn child at risk.

而卡門遵從命令，即使這有時讓他、奧菲莉亞和他未出生的小孩處於險境中

Other characters represent disobedience.

其他角色代表了不服從

Like, time and again, Ofelia refuses to follow the rules.

像是奧菲莉亞一次又一次地拒絕遵守規則

She wanders off on dangerous adventures, gets her fancy clothes dirty, and nearly dies in

她遊蕩在危險的冒險中，把衣服弄得臟兮兮的。當她不聽從牧神的話

one terrifying sequence when she disobeys the faun and eats food from the Pale Man's table.

並從瞳摩的餐桌上吃東西時，她差點死在那一幕

Mercedes disobeys Vidal by sneaking food, medicine, and information to the rebels.

瑪莎迪絲以偷渡食物、藥物和訊息給反叛軍來展示他不服從維多

And they're engaged in the ultimate act of disobedience: all-out war against the new

而他們最終的叛亂行動是全面展開對於新法西斯政權

fascist government.

的戰爭

At first, the film seems to break down along clean lines.

首先，電影似乎沿著清楚的概念去走

Fascism and allegiance to power are bad.

法西斯和對權威的忠誠是不好的

Resistance and hope are good.

反抗和希望是好的

But where does the faun fit into all this?

但是，牧神屬於哪一邊？

He's part of Ofelia's disruptive fantasy world, but he also abandons her when she dares

他是奧菲莉亞分裂出來的幻想世界之一，但在奧菲莉亞拒絕服從他十，他也

to disobey him.

拋棄了她

And he only returns when she agrees to do exactly as he says.

而且只有當她同意按照他所說的做事時，他才會回來

In the end, he demands blind loyalty.

最後，他要求的是盲目的忠誠

Just like Vidal.

就像維多

Really, Ofelia's life is more often in danger in the fantasy world.

事實上，奧菲莉亞在幻想世界中更經常處於危險之中

It's just as dark and cruel as the world of Vidal and the rebels.

他跟維多與叛亂分子所在的真實世界一樣黑暗殘酷

And maybe it's just as real, too.

也許它也同樣真實

So what if the fantasy realm is not just a child's coping mechanism, but it's an

那麼，如果幻想世界不僅僅是一個孩子的對於世界的應對機制

actual reality within the world of the film?

而是在電影世界中是一個真實的現實呢？

The filmmaking techniques del Toro uses seem to support this view.

戴托羅使用的拍攝手法似乎支持了這個論點

In shot after shot, the camera moves fluidly between the two worlds.

每一幕之間轉換，鏡頭在兩個世界流暢的轉換

He often uses the trees or walls to hide wipe-cuts that make it feel like fantasy and reality

他經常使用樹木或牆壁去隱藏他換景的痕跡，使幻想世界和現實世界看起來

are connected.

是相連的

Several times, del Toro even moves back and forth between the dimensions in uninterrupted

有好幾次，吉勒摩．戴托羅甚至不間斷地在一個鏡頭中使兩個世界

single shots.

來來回回交換

Which also suggests that they're both part of a single reality.

這也暗示了它們都是單一現實的一部分

Finally, objects from the fairy tale world sometimes show up in the real world.

最後，來自童話世界的東西有時會出現在現實世界中

Things like a special key, a mandrake root, and a magical piece of chalk all make the

像一把特殊的鑰匙，一把曼陀羅根和一支魔法粉筆都可以

transition.

轉換場景

What first seems to be a film divided cleanly between fantasy and reality, turns out to

電影最初看起來像是清楚分割了奇幻世界與真實世界，但事實上

be much more ambiguous.

兩者之間相當模糊不清

As the Canadian scholar Jennifer Orme puts it: “This ambiguity is … crucial

加拿大學者 Jennifer Orme 解釋：這模糊地帶對於電影評論

to the film's social critique of the systemic violence employed by militaristic regimes

去探討軍國主義政權所採取的系統性暴力相當重要

that wish to create, as Vidal says, a 'clean' and decidedly unambiguous world by destroying

正如 Vidal 所說，他們希望通過摧毀所有不服從的人來創造一個「乾淨」且明確無誤的世界

all that is disobedient—all that does not fit into the master narrative of totalitarianism.”

而這些全都不符合極權主義的核心敘述

Guillermo del Toro refuses to obey contemporary conventions of fairy tales as clean and safe

戴托羅拒絕去遵從當代設定給孩子們乾淨且安全的

stories for children.

童話故事模板

He refuses to draw a clear line between the real and the fantastical.

他拒絕在現實與奇幻之間劃出個清楚的界線

And he refuses to make one reality clearly good.

他也拒絕讓其中一個是全然的善

By doing all this, del Toro has made a film that, in itself, is an act of rebellion against

所以，戴托羅拍了一部電影關於反對無庸置疑的權威的

unquestioned authority.

反叛行為

However you choose to look at Pan's Labyrinth, the film stands as a remarkable achievement

不論你選擇怎樣解讀羊男的迷宮，這部電影都是

of narrative and technical mastery.

敘事和技術掌握的傑出成就

It's also a deeply tragic story. Del Toro once said:

這也是一部很感傷的故事，戴托羅說到：

Guillermo Del Toro: War is the ultimate act of intolerance.

戰爭是無法容忍的最後行動

War gives no honor. In my mind, it gives no victory.

戰爭沒有榮譽。在我看來，沒有任何人能勝利

And there are no winners, only losers.

沒有贏家，只有輸家

There's only live victims and dead victims.

只有倖存的受害者和死去的人

And few films drive home that point as elegantly as Pan's Labyrinth.

很少有電影像羊男的迷宮優雅地將這概念傳達到

...Or The Devil's Backbone… you should watch The Devil's Backbone too.

或是像惡魔的脊椎，你也該看惡魔的脊椎

Whether you think Ofelia's escaping into her imagination, or involved in an actual

不論你認為奧菲莉亞躲到自己的想像中，或是真實地參與實際上任務

quest, the horrors of Franco's fascist regime provide the perfect backdrop for this story

佛朗哥法西斯政權的恐怖都為這個純真的故事提供了完美的背景

of innocence as the ultimate hope for the future.

以作為未來的終極希望

Next time, we'll follow a British criminal as he scours LA and his own soul in search

下一次，我們在 Steven Soderbergh 的復仇驚悚片《辣手鐵漢》中，追隨著英國罪犯搜遍洛杉磯和自己的心底去尋找

of his daughter's killers in Steven Soderbergh's revenge thriller The Limey.

自己的女兒的兇手

Crash Course Film Criticism is produced in association with PBS Digital Studios.

Crash Course 電影評論與 PBS Digital Studios 合作製作

You can head over to their channel to check out a playlist of their latest shows, like

您可以前往他們的頻道查看他們最新節目的播放列表

It's Okay to be Smart, Origin of Everything, and Eons.

像是 It's Okay to be Smart、Origin of Everything 和 Eons

This episode of Crash Course was filmed in the Doctor Cheryl C. Kinney Crash Course Studio

這一集的 Crash Course 是在 Cheryl C. Kinney Crash Course Studio

with the help of these [nice people] and our amazing graphics team is Thought Cafe.

和這些好心人還有我們圖像製作團隊是 Thought Cafe 的幫助下拍攝的