The many themes presented in the movie (war, love, loss, greed, death and revenge) are visited upon us in very subtle ways. It is hard to describe how the filmmakers have done it, without giving away the plot's clincher. The story unfolds slowly at first, drawing a very somber picture of life during the Spanish Civil War in a remote orphanage.

On a technical level, the special effects serve to heighten the emotional and psychological tension as the story progresses. This is a ghost story in more than one way: not only that of a child who appears from the beyond, but also of the metaphorical ghost of war that hangs over not only the orphans, but of all those who are struggling to survive through it. There is a great sense of despair and deprivation that is felt throughout all the characters' actions and emotions. This is not a particularly violent war film physically, but more one psychologically that IMPACTS you very deeply after you have had time to think it through.

Marisa Paredes' performance is far and away one of the most compelling this year. It would be nice to see her get some recognition state-side for her contributions to the cinema. Overall, the entire cast is excellent and the production as well as the screenplay are first-rate.

VERY highly recommended!!


Rich in metaphor, hard to categorize   March 18, 2007
 11 out of 11 found this review helpful

Like del Toro's "Pan's Labyrinth" which has made huge waves in the non-Hollywood world, "The Devil's Backbone" is not easily categorised. Ghost story? yes, but much more. Picture of the scary tensions in Spain in the early days of the Civil War? yes, but more. Wonderful tale of how a group of children mature amid disaster and tragedy and come to be almost their own family, to replace the ones they never had or are separated from? Yes, but more. Rich in symbols and allegory...yes, but...

The richness of what T.S.Eliot called the "objective correlative" gives one that sense of underlying depth. For instance, there's the huge unexploded bomb stuck in the middle of the school courtyard. What is it but a metaphor for the hidden ghastly secret that waits to explode and reveal the reason for the mysterious ghost of the boy Santi? We only find out Santi's story near the end. Then there's the Devil's Backbone itself - in reality a congenital deformity where the spine is exposed, but spooky-looking in the sample floating in a jar of preservative - doesn't Jacinto exactly match that name? An irredeemable core of evil, like a Shakespeare villain or the Captain in Pan's Labyrinth. del Toro doesn't want to claim that there's something good in everyone: he says no, some characters are just irreversibly turned to the dark side, the very backbone of evil.

Then there's the subtle end-to end connections that add more richness. In the early scene of the school classroom, the children are shown the picture of a mammoth and the teacher makes the point that in these days the creatures were so big and strong that the hunters could only succeed by working closely together as a group. At the end, the children - that have survived - do exactly that as they hunt the gunman, and with pointed wooden spears yet!

I don't really agree with the reviewers who see a strong parallel to "The Lord of the Flies." The children here (wonderfully acted, by the way) don't regress to a primitive kind of anarchical ritual-filled state: in fact they bond ever more closely and deal very directly with the real world around them.

One thought: having seen this, I now don't think any more that in Pan's Labyrinth we are absolutely, definitely meant to take Ofelia's fantasy scenes as all in her mind. Clearly del Toro doesn't mind creating "real" supernatural entities. Perhaps in "Pan" he just wants to leave us in a state of permanent uncertainty, though the majority view among reviewers is that it's literally just fantasy.