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* WrongGenreSavvy: Ofelia, depending on interpretation. She sees herself as the heroine of a fairy tale, when she's actually in a grim war film. [[spoiler: When she's shot in the novelization, she notes that none of her fairy tales ended like that]].
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* WringEveryLastDropOutOfHim: Ofelia's mother's pregnancy starts to go wrong and it seems her soon-to-be little brother will be stillborn. In the last two-thirds of the film, most of the drama is provided by Ofelia and Vidal worrying about Carmen's quickly deteriorating health. The latter can only rely on countless medical check-ups, while Ofelia manages to get a magical solution by placing a mandrake under her mother's bed. It's all for naught, though, as Carmen ultimately dies, starting the final act.
* WrongGenreSavvy: Ofelia, depending on interpretation. She sees herself as the heroine of a fairytale, tale when she's actually in a grim war film. [[spoiler: When she's shot in the novelization, she notes that none of her fairy tales ended like that]].
* WrongGenreSavvy: Ofelia, depending on interpretation. She sees herself as the heroine of a fairy
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* KillTheParentRaiseTheChild: It's made clear that [[spoiler: after shooting Vidal, Mercedes and the rebels will raise Vidal's infant son specifically to ''not'' know anything about his father]].
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* VillainousParentalInstinct: Vidal may be a cold-blooded torturer and mass murderer, but he is totally committed to his baby son. It's implied that he only married Carmen because she got pregnant, and [he instructs the doctor to let her die if it saves the baby. When he's finally cornered by Mercedes and the rebels at the end, despite being the {{Determinator}} up until that point, he [[KnowWhenToFoldEm gives up relatively easily]] and calmly hands over the baby to Mercedes, asking her to give him his watch and tell him his LastWords when he grows up. [[spoiler:Mercedes refuses.]]
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* VillainousParentalInstinct: Vidal may be a cold-blooded torturer and mass murderer, but he is totally committed to his baby son. It's implied that he only married Carmen because she got pregnant, and [he instructs the doctor to let her die if it saves the baby. When he's finally cornered by Mercedes and the rebels at the end, despite being the {{Determinator}} up until that point, he [[KnowWhenToFoldEm gives up relatively easily]] and calmly hands over the baby to Mercedes, asking her to give him his watch and tell him his LastWords when he grows up. [[spoiler:Mercedes refuses.]] See WhamLine below.]]
* WhamLine: Mercedes.
---> '''Vidal:''' Tell my son... Tell him about his father... tell him the [[ClockKing time I died]]...[[note]]Decidle a mi hijo... decidle de su padre... decidle la hora en que morí...[[/note]]
---> '''Mercedes:''' No. He'll never know your name.[[note]]No. Nunca sabrá tu nombre.[[/note]]
* WhamLine: Mercedes.
---> '''Vidal:''' Tell my son... Tell him about his father... tell him the [[ClockKing time I died]]...[[note]]Decidle a mi hijo... decidle de su padre... decidle la hora en que morí...[[/note]]
---> '''Mercedes:''' No. He'll never know your name.[[note]]No. Nunca sabrá tu nombre.[[/note]]
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* DoesThisRemindYouOfAnything?: The children's shoes piled in the den of the Pale Man are eerily reminiscent of the heaps of shoes and other belongings that Nazi death camps collected from their victims during the Holocaust. Given the movie is set in [[UsefulNotes/WorldWarII 1944]], this is likely intentional.
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* DoesThisRemindYouOfAnything?: DoesThisRemindYouOfAnything: The children's shoes piled in the den of the Pale Man are eerily reminiscent of the heaps of shoes and other belongings that Nazi death camps collected from their victims during the Holocaust. Given the movie is set in [[UsefulNotes/WorldWarII 1944]], this is likely intentional.
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* ClassicalLanguage: In the Spanish version, the Faun often uses the ''vosotros'' form, used for addressing multiple people, but to address Ofelia only. This is an example of very old Spanish, a bit like how English speakers might use "thee" and "thou" for the same idea.
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* ClassicalLanguage: In the Spanish version, the ClassicalTongue: The Faun often uses the ''vosotros'' form, used for addressing multiple people, but to address Ofelia only. This is an example of very old Spanish, a bit like how English speakers might use "thee" and "thou" for only, after the same idea.traditional way of addressing royalty.
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Ofelia and her mother are taken to a villa in the mountains near an old labyrinth (the titular Faun'a) to be near Captain Vidal for the birth while he hunts down rebels. Ofelia is quickly [[BrokenMasquerade taken into]] a ChangelingFantasy about how she is [[RagsToRoyalty secretly a princess]] of the underworld fairy kingdom, lost to humanity for many ages. The labyrinth was one of many made by her father, the King of the Underworld, as gateways in the hope she would return.
As [[MagicalGirlQueenlinessTest she undergoes trials to prove her soul is uncorrupted]] by [[HumansAreBastards living among humans]], so do the rebels, her mother, and her nursemaid and only friend Mercedes.
As [[MagicalGirlQueenlinessTest she undergoes trials to prove her soul is uncorrupted]] by [[HumansAreBastards living among humans]], so do the rebels, her mother, and her nursemaid and only friend Mercedes.
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Ofelia and her mother are taken to a villa in the mountains near an old labyrinth (the titular Faun'a) to be near Captain Vidal for the birth while he hunts down rebels. Ofelia is quickly [[BrokenMasquerade taken into]] a ChangelingFantasy about how she is [[RagsToRoyalty secretly a princess]] of the underworld fairy kingdom, lost to humanity for many ages. The labyrinth was one of many made by her father, the King of the Underworld, as gateways in the hope she would return.
return. As [[MagicalGirlQueenlinessTest she undergoes trials to prove her soul is uncorrupted]] by [[HumansAreBastards living among humans]], so do the rebels, her mother, and her nursemaid and only friend Mercedes.