21 Songs, 1 Hour 13 Minutes

EDITORS’ NOTES

The 2007 Academy Award nominations argued that film scoring is not only popular music's most eclectic genre, but its most internationally diverse as well. Joining Americans Philip Glass (Notes On a Scandal) and Thomas Newman (The Good German) in the honors were Frenchman Alexandre Desplat (The Queen), Argentine Gustavo Santaolalla (Babel) and Spaniard Javier Navarette for this music to Guillermo Del Toro's masterful parallel-world fantasy. The composer contrasts the film's unsettling aura with spare orchestral music that more often than not evokes a sort of wondrous, weary melancholy. Using a breathy, wordless lullaby to introduce a theme whose permutations become the score's musical axis, it initially recalls Morricone's early '70s dabblings in the horror genre, but quickly develops a distinct character and delicate touch all its own, especially in its darkest — and most glorious — corners. Director Del Toro may have ultimately omitted swaths of Navarette's score from the film's final cut, but he's wisely insured its full release here, a fitting honor for the composer's first Oscar nod.

EDITORS’ NOTES

The 2007 Academy Award nominations argued that film scoring is not only popular music's most eclectic genre, but its most internationally diverse as well. Joining Americans Philip Glass (Notes On a Scandal) and Thomas Newman (The Good German) in the honors were Frenchman Alexandre Desplat (The Queen), Argentine Gustavo Santaolalla (Babel) and Spaniard Javier Navarette for this music to Guillermo Del Toro's masterful parallel-world fantasy. The composer contrasts the film's unsettling aura with spare orchestral music that more often than not evokes a sort of wondrous, weary melancholy. Using a breathy, wordless lullaby to introduce a theme whose permutations become the score's musical axis, it initially recalls Morricone's early '70s dabblings in the horror genre, but quickly develops a distinct character and delicate touch all its own, especially in its darkest — and most glorious — corners. Director Del Toro may have ultimately omitted swaths of Navarette's score from the film's final cut, but he's wisely insured its full release here, a fitting honor for the composer's first Oscar nod.

TITLE TIME

Ratings and Reviews

4.8 out of 5
206 Ratings

206 Ratings

Jeremy Caesar ,

A Dark Lullaby

A dark lullaby doesn't sound appealing. It's kind of an oxymoron actually, but when thought about in the context of the film this score enhances, it makes perfect sense.

Pan’s Labyrinth is a foreign film set in 1940s Spain at a time when Post-war Fascist repression is at its height. A young girl named Ofelia moves north with her pregnant mother to live with the wicked and menacing Captain Vidal. In the midst of the numerous, and mercilessly violent occurrences, Ofelia discovers a world of fantasy via a labyrinth where a faun named Pan dwells. Javier Navarrete captures the atmosphere of the film perfectly and takes you on an emotional ride through his music.

The score opens up with “Long, Long Time Ago” which sets the precedent to what the rest of the score is going to sound like. It also introduces the most prominent theme in the film, the Lullaby. The theme is hummed with simplicity, but it’s ultimately memorable and flexible, it can be haunting at one point, and utterly beautiful the next. This is the perfect way to describe the entire score. The most terrifying and nerve wrecking track on the score is “Not Human” which appears in the film at a very fitting and thrilling time when our heroine is being chased by something that… isn’t human. Javier Navarrete knows exactly when to use each instrument, from the strikes on the percussion and cello to the dynamic brass he has a full understanding for what he’s doing.

While I can’t say the film is for everyone, I believe the score certainly is. It’s dark enough for those who have a liking towards suspenseful strings, but light enough for those who love the beautiful twinkling of the piano. It’s one of the best scores of 2006, complimenting one of the best films of said year.

Zgamer ,

Beauty in the form of music

I have only listened to the samples for all the music, but I have never been more enchanted with a movie's score like this for a long time. The music is haunting and poetic, exactly how the music for a dark fairy tale should sound. My favorite piece, "Pan's Labyrinth Lullaby" is simply amazing. It is a beautiful piece of wonder and emotion that really define the mood of the movie. I want to see the movie so bad so I can see if the visuals fit the audio.

Mr Mann ,

Fantastic

This music perfectly fits this amazing movie (which I was so lucky to see a early screening of). Dark music really gives you the mood of the film. I am in love with this soundtrack and it's one of my favorites of the year. You can also hear a good portion of the soundtrack on the movie's website.

More By Javier Navarrete

You May Also Like