This is a guest post by Rhea Daniel.
There are patterns in Guillermo del Toro’s dark fairy tales, one of the obvious ones being the ease with which he puts children in harm’s way, some of their trials being so painfully harsh that one can’t help suspecting that he puts them in his stories just to tear at our heartstrings. Thankfully, the stories of childhood loss are balanced with protective Nurturer figures, some women, some men, but I’ll be focussing purely on the men because of the clichéd figure of the female Nurturer.
The Father archetype takes the form of king, tyrant, judge, doctor, executioner, devil, god, priest, take your pick, anything that traditional male roles offer. In real life as on reel, if their characters slip into the feminine role of nurturer (which should not be mistaken for saviour) we gush with praise, because he’s done something so contrary to his nature. On the other hand, we hold up the Mother to some very exacting standards, and are less likely to let her deviate from her primary role. While I’ve examined women’s roles in movies (because I felt there was such a dearth of complex ones), it jumped out at me how many men in Guillermo del Toro’s movies fit into archetypal Fatherhood roles, their characters too being complex, sometimes contradictory.
: : : SPOILERS AHEAD!! : : :
The Tyrant
Captain Vidal from Pan’s Labyrinth (2006)
Vidal fits perfectly into the role of The Tyrant. Part of Ofelia’s trial is escaping his oppressive clutches and trying to save her mother at the same time. The Tyrant is your model patriarch; as a fascist, he represents the worst of the Patriarchy. He values sons over daughters, females are only valued as hosts to create the next generation of tyrants. In fact, the entire movie is ridden with imagery and subtexts of the oppressed feminine battling the militaristic autocracy of the despotic tyrant. While he was willing to allow his wife to die if it allowed his son to live, his Nurturer side, though selective, surfaces when the child is born.
A patriarch deigns to give his name only to those he prizes as legitimate offspring, the age-old system of the patriarchy wields its power as long as its descendants hold its dynastic title, and by being denied the right to perpetuate his name just before his death, The Tyrant is truly defeated.
The Mage
The Faun in Pan’s Labyrinth (2006)
The Faun’s role is significant because his character displays the duality of the Mage/Trickster archetype. As an ancient being, with “old names that only the wind and the trees can pronounce,” he occupies the noble archetypal roles of the Mage– a Magician, for he is capable of magic; Holy Man for his ancient wisdom; Guide–because he helps Ofelia find her way home; Nurturer–for the advice, comfort and help he gives her when she needs it.
When Ofelia bungles at her tasks, however, he shows his ugly side by turning into Tyrant, and finally when the time arrives for the final test, he turns Trickster by posing a moral dilemma to Ofelia: if she allows her brother to be harmed she would gain entry to her father’s kingdom, if she doesn’t she will lose that chance forever.
Ofelia proves her worth and gains access to the fairy kingdom through unintentional sacrifice. In the real world children might be rewarded for their bravery but not for their innocence, and the director sure rubs that in.
The Alchemist*
Trevor Bruttenholm in Hellboy (2004)
The Alchemist can be wizard or scientist, he represents transformation and change. In a negative context, he nurses an destructive ambition to exploit the natural world for profit. Trevor Bruttenholm as the occultist is the positive Father-Nurturer, transforming a demon child, a monstrous thing born of another dimension, into a force for good. Rasputin on the other hand represents the other side of the Alchemist’s persona, destruction and change for the sake of personal gain.
The Sage
Dr. Casares in The Devil’s Backbone (2001)
This movie is also set in a militaristic background, the orphan children are again victims of tyrants. Dr. Casares plays a true Nurturer figure in The Devil’s Backbone. As a man of science, he is a rationalist who denies the existence of Santi, the ghost child that tries to warn them of a coming disaster, emphasized by the unexploded bomb in the courtyard of the school.
His impotency might portray him as half a man, since virility is a necessary part of the Patriarchy, as it symbolizes power and regeneration. Casares is anything but a cold rationalist. When he takes a sip of the panacean Devil’s Backbone elixir, at first glance it’s a half-hearted attempt to cure his impotency, but by being teacher, guide and saviour to the fatherless children, he ultimately sacrifices his life while performing the role of Father-Nurturer, a role that requires the strength and willingness to put oneself in harms way to make sure one’s progeny survives.
The Knight
Stacker Pentecost in Pacific Rim (2013)
The Knight is a warrior with a code. He fights for justice, for the innocent, for the weak. He is chivalrous and stoic and that chivalry contributes to his sexism. While the argument between blind obedience and freeing oneself of the Father-Tyrant is shown several times, there are two fathers who let go of their children in the story. The ability of the Knight is limited, he can’t always protect his children, so to avoid becoming the hated archetypal Tyrant, the Knight has to free himself of the glory of his saviour role and acknowledge his limitations. Stacker Pentecost learns to let go, his eventual acknowledgment of Mako’s maturity shows his growth. He does not have to let go of his gallantry however, to “clear a path for the lady,” so she can make her own choice whether to risk her life in the battle.
* Going purely by the movie.
Rhea Daniel got to see a lot of movies as a kid because her family members were obsessive movie-watchers. She frequently finds herself in a bind between her love for art and her feminist conscience. Meanwhile she is trying to be a better writer and artist and you can find her at rheadaniel(dot)tumblr(dot)com.