Pan's Labyrinth: The Archetypal Psyche Unveiled - Part One

In 2006 I wrote two pieces about the magnificent film, Pan's Labyrinth for my blog on the now defunct Gaia.com. These ended up being read over 25 thousand times and being linked to and quoted from in many locations on the internet.

What follows is my initial review of the movie - I have since written part two, which deals more explicitly with the mythic structure and psychological symbolism of the film.




The Plot

Guillermo Del Toro's Pan's Labyrinth is a contemporary masterpiece of traditional mythic form. Political repression, family relationships and the mythic psyche all inhabit the canvas that Del Toro paints dark with the palette of the struggle to find meaning and resolution within traumatizing circumstances.

Rurally set in Franco's Spain of the 1940's, the principle story concerns itself with a sickly pregnant mother, Carmen, and her pre-pubescent daughter, our heroine Ofelia. These two have entered the world of the coming infant's father - the archetypically evil Captain Vidal of the fascist army.

Ofelia's real father is a casualty of the war, and her new stepfather is a cruel and inhuman sadist. Carmen is clearly grasping at straws to try and ensure survival for herself, her daughter and the child she is carrying through a very troubled pregnancy. Captain Vidal cares only for the son he imagines is growing in Carmen's womb as a mirror for his pinched and hateful sense of masculine power.

Ofelia takes solace as she has done for some time in her much-read treasure trove of fairy tale books, but as she crosses the threshold into the Captain's domain the line between fantasy and reality begins to blur. What ensues is a near classic unfolding of the stages of the mythic journey as laid out by Joseph Campbell. Don't let the inclusion of the mythic and fairy tale material fool you - this is no typically superficial representation of the inner world, in which magical forces enact a Disney-esque victory over evil for the pure-of-heart true believer. Del Toro restores his mythic motifs to their proper place as the symbolic representations of a psyche struggling to come to terms with traumatic social and familial conditions while forming a nascent sense of self. We are not in Kansas anymore.

This tragically constellated family unit is installed in an old mill that has been turned into a small military base to try and squash a Red rebellion from the hills. The Captain has a huge stone basement room to himself, where he spends his non-combatant time in reverie with his phonograph, booze, straight-razor, shaving mirror, and the repaired watch his father smashed at the moment of his death so that his son would know the time and "honorable" nature of his demise. The expendable Carmen is near death in a bedroom upstairs. The kindly and noble country doctor is under instructions to save the baby at all costs. The proud and unbroken housekeeper, Mercedes, and the Doctor are in secret collusion with the rebels.

The Mythology

Meanwhile the aptly named Ofelia is interacting with the mythic dimension of the psyche as she struggles to survive in impossible circumstances. She becomes immersed in the fantasy of herself as a reborn princess from a world where "there is no suffering or pain." In a meeting with the Faun - a most well-realized and captivating supernatural trickster, she agrees to take on three tasks that will take us into the heart of darkness on her quest to be reunited with her lost and kingly father.

The creatures of the mythic fairy tale realm are unsurpassed in their representation, and Del Toro is playing a supremely hip and psychologically savvy jazz with his storyline here, but it is in the resonances with real world torture, cruelty and loss of innocence that he strikes his most telling (and contemporary) chords.

Pan's Labyrinth dances nymph-like, or perhaps maenad-like (the Dionysian imagery works here too) between inner and outer reality, civilization and barbarity, the loss of innocence and the perverse quest for power, nature and the unnatural repression of our humanity. Ofelia is as appropriately lost and fallible in her fantasy world as she is in reality, and her guides carry an unpredictability that is sometimes as scary as the monsters she faces.




The Psychology

It is here that I would like to introduce the work of extraordinary Jungian therapist and theorist Donald Kalsched. His book The Inner World of Trauma; Archetypal Defenses of the Personal Spirit uses myth and fairy tale as a reflecting pool to witness both the healing genius and the potential for pathology in the traumatized psyche.

Kalsched uses (amongst several others) the myth of Eros and Psyche as well as the Rapunzel fairy tale to illustrate his "self-care system" hypothesis of how "when human resources are not available, archetypal resources appear", and how the Protector figure in classic tales as well as contemporary psyches has also the double face of being the Jailer. In other words, the very defense that initially saves you from unbearable pain becomes the limiting factor to resolving the healing process and participating fully in a real life-in-the-world.



This is no small insight for a world that has lost its appropriate relationship to both the psyche and its dream-language of mythic symbols. Too often, as in the case of both fundamentalist religion and New Age spirituality, this potent symbolic language is misinterpreted as literal information or as a factual map to a world in which we escape the trials of human maturity and depth. In this case we are still trapped in the dissociative fantasy defense against trauma, instead of making the complete journey into the rich imaginative connection between the inner and outer worlds that allows a fulfilling, though imperfect, engaged human life.

This theme is echoed through the several stories Kalsched utilizes, and once grasped can be seen again and again, particularly in powerful movies like The Piano, the under-appreciated The Cell, The Fountain, Jacob's Ladder, and Fearless. It is here too in Pan's Labyrinth.

Here again is Vincent d'Onofrio's contemporary Pan from The Cell. Here's Doug Jones' Pan from the film in question. Both of these mythic character depictions carry the Archetype of Protector/Jailer of the inner-world. Here too is Sam Neil from his similar but less mythically-themed role in The Piano.

Consider this kind of work in total alignment with a 21st Century Spirituality that concerns itself with the intellect, the psyche, and the life lived in authentic struggle with reality. The movie should make you shudder more than a little- it is about the confrontation with what Jung called the Shadow - and that aint' easy for anyone, but it is the road toward a more integrated, liberated, grounded and spiritually awake self. Consider it, too, a powerful antidote to such patty-cake "spiritual" fare as The Secret and What the Bleep.

In a forthcoming piece, I will enjoy unpacking Ofelia's mythic journey and comparing it to some other myths, fairy tales and movies to elucidate Kalsched's theme of the self-care system and how the psyche deals archetypally with trauma.


For now i leave you with my soulful recommendations for those interested in life-changing and mind-opening cinema:



Pan's Labyrinth
The Fountain
Babel
Fearless
The Piano
The Cell
Jacob's Ladder {here is William Blake's painting of the same name inspired by a Biblical myth.}

The Four Initiations

Introduction

I want to talk about four key initiatory thresholds that define 21st Century Spirituality in the realms of Body, Mind, Shadow and Spirit.

In order for spirituality to be substantive it has to include both a theoretical and an experiential component - and those two components have to be in an evolving dialog of inquiry.

In other words it's not enough just to have a cool sounding theory or belief system that you then filter everything through, and it's not enough just to have some groovy experiential space that you enter via a practice, activity or other stimulus. Nor is it even enough to have both an experiential and a theoretical aspect that are somehow connected. I am saying that what is essential is that the theoretical/mental framework and the experiential process have to inform one-another in a genuinely inquiry-based way and thus be in an evolving organic process that is about authentic relationship to truth, beauty and goodness.

The questions: What is true? What is beautiful? What is good? invite us into an open-ended inquiry that keeps the process alive and honest. They force us to reallly look at the veracity of what we think/believe as well as it's ethical implications and it's relatiionship to that intuitive sense of beauty/elegance/meaning in the high sense. When something is innately beautiful it reflects what is deeply true. When we are interested in what is true we are more likely to act for the good. When we are in touch with the good there will be a sense of beauty that we are striving towards.

So these three questions create the conditions in which a kind of spiritual excellence - what the greeks called Arete, can arise. The tricky part is that these three questions do not make us comfortable and they do not give us any easy answers - rather they insist that we engage, inquire and struggle with life as-it-is.

This noble struggle can lead to four key initiations that I see as rites of passage into an integrated 21st Century Spirituality. These four initiations arise in the four domains of Body, Mind, Shadow and Spirit.

Like all initiations they ask us to open to something new and to leave something behind. They invite us into a serious transformational process that takes time and is nothing less than a reshaping of who we are and how we hold our life experience and relate to the world.

As I work with students in all four domains, I invite the use of three key principles: breath, presence and compassion as touchstones and resources along the way.

I will give a brief summary here and then take another four seperate blog posts to expand into each of the initiations:

Body/Energy

This is the area where I spend a lot of time on a daily basis, guiding people into a deepening relationship to their bodies. Many approaches to spirituality ignore or avoid the body, but being grounded in one’s physical body is the foundation of 21st Century spiritual practice. The first initiation is into the sacred nature of this body - the only body that you have. Using sensation-based meditation, breathing techniques, yoga, touch and movement I introduce students to an experience of the body as an energetic doorway into ecstasy and deep healing.

This is not abstract, nor does it require any belief. I am talking about a direct experience of both energy flow and the emotions held in the body that confounds the rational mind and is not under the control of the ego - like any initation it is an opening to an ontological reality that was not previously known...and it is extremely potent.

Here is a demonstration of Open Sky Bodywork (formerly Core Sequencing) by myself and some fellow initiates into ecstatic energy....

(To understand more of what you are seeing in this video go to my Riding the Kundalini Dragon article here.)

Shadow/Heart

Many spiritual approaches remain faithful to the ubiquitous cultural taboo against acknowledging shadow material and it's associated deep feelings.

Deep feeling is a doorway into the soulful language of the heart. Rather than avoiding, denying or judging our emotions, 21st Century Spirituality invites an open space for deep feeling wisdom and authentic healing. The second initiation is into our emotional intelligence. Using heart-based meditation and breathing techniques I encourage non-judgmental awareness of the feeling body and creates a sacred space for healing, forgiveness and love. This lays the foundation for profound shadow-work. In our "shadow bag" we carry everything that has been denied, repressed, avoided, demonized etc.. For all of us this means rage, grief, shame, fear, trauma, bbut it can also mean sexuality, creativity, intelligence, intution and many other things that our family or society deemed unacceptable for us to express/develop.

Stepping outside the pervasive circle of shadow denial is terrifiying at first, but becomes revelatory and empowering as we learn how to tolerate the new awareness.

Mind/Inquiry

Using and developing the mind is something that either gets completely avoided and seen as unspiritual or "in the way" by many approaches, or gets oversimplified and distorted into the magical thinking "you create your own reality" credo by other approaches.

The initiatiion I am interested in here is two-fold. First, it has to do with strong rational development that utilizes healthy critical thinking (what is true?) to develop discernment that is related to ethics (what is good?). Second, it has to do with cognitive development into the area of interpretive, symbolic, metaphorical intelligence that can engage in hermeneutics at the level of poetry, mythology, art and mysticism (what is beautiful?).

Developing the mind and keeping it strongly engaged is a key component of 21st Century Spirituality. In a sense the initiation here is one of turning the power of the rational gaze and the interpretive intelligence onto our inner an outer worlds with an unflinching integrity.

Spirit/Consciousness

In all three of the previous initiations there is a window opened into a deepening awareness of the essential consciousness that stands in it's everpresent clarity at the center of mind and body, shadow and light. The three key elements that I invoke and invite people to keep returning to: breath, presence and compassion can also be seen as three names for "spirit."

Yoga, meditation, intelllectual inquiry, dance, breathwork, bodywork, emotional release all are rivers that find their culmination in any given moment in the ocean of spirit.

21st Century spirituality recognizes the paradox of process and is-ness of immanence and transcendence. In the midst of the process of mental development, emotional excavation, body awakening there are moments, glimpses of freedom, grace, beauty, pleasure, compassion, forgiveness that give the impression of what we can only call "spirit."

Through an authentic and grounded recogntion of and work with the intergated/overlapping domains of mind, body and shadow the fourth initiation occurs - that of recognizing the entire process and it's ground as being itself spirit.

There is nothing to believe in, no need for metaphysics, just an awakeness to what is and on ongoing inquiry into truth, beauty and goodness, via breath, presence and compassion - as well as a stillpoint, a clearing in which it is all arising and passing away...

Namaste

~Julian