《羊男的迷宮》：一段西班牙戰後的殘酷記憶以及劇中角色的隱喻

Pan’s Labyrinth: a cruel memory about postwar of Spain and the metaphors of figures

我們所生存的年代都見證著某一段歷史。毫無疑問，人類歷史所發生的重大事件對許多作家、編劇與導演而言都是豐富的取材來源。儘管吉耶摩‧戴‧德羅以他在好萊塢拍攝的電影成名，如《秘密客》（1997）、《刀鋒戰士2》（2002）、《地獄怪客》（2004）；但因為他個人對西班牙內戰的好奇與熱愛，這位墨西哥導演以他兩部描述戰後的奇幻電影在西班牙影壇留下了重要的足跡：《惡魔的脊椎》（2001）與《羊男的迷宮》（2006）。正如同片中羊男的雙角或巨大蟾蜍棲息之處的兩大樹幹，影片情節以兩條平行線的方式呈現：迷宮中的虛幻世界（歐菲莉亞、羊男、精靈、三項測驗）與現實生活的殘酷世界（歐菲莉亞、維達指揮官、美瑟迪斯、卡門、費里洛醫生以及游擊隊員），而小女孩歐菲莉亞是唯一貫穿兩個世界的人。記憶不僅是對過去事件的懷念，同時也是隨著時間再給予重新詮釋的機會。《羊男的迷宮》對法西斯政權在40 年代所帶給西班牙人民的痛苦有著相當嚴厲的指控。除了以小女孩的觀點來分析此作品外，同時也探討當時女性的社會地位，以及劇中角色背後的隱喻。

Our era is the era of testimony. There is no doubt major events occurred in human history are rich sources for many writers, screenwriters and directors. Although Guillermo del Toro is famous for his films made in Hollywood such as Mimic (1997), Blade II (2002) and Hellboy (2004), because of his personal curiosity and love of the Spanish Civil War, the Mexican director has left his mark in Spanish cinema with two great works of postwar: The Devil’s Backbone (2001) and Pan’s Labyrinth (2006). Like the horns of the faun or tree trunks where inhabited the giant toad, the story is presented in two parallel story lines: the fictional world of the labyrinth (Ofelia, the faun, fairies and three tests) and the cruel world of real life (Ofelia, Captain Vidal, Mercedes, Carmen, Dr. Ferreiro and guerrillas), and Ofelia is the only one crossing two worlds. Memory is not only about the past event but its construction through time. Pan’s Labyrinth is a severe accusation of the violence and torture which fascism inflicted in Spanish population during 40s. In addition to analyze it from the point of view of a girl, it’s also about the status of women at that time and metaphors of the figures in the film.