He’s a household name now after The Shape of Water and his new Frankenstein, but 25 years ago Guillermo del Toro was a virtual unknown, still bruised from the Harvey Weinstein-produced Hollywood flop Mimic. But, as this overlooked follow-up attests, he was always a class act. In fact, this is one of his best: a rich, rousing ghost story shrouded in trademark gothic gloom but executed with technical flair and a good deal of empathy.
As with his later breakthrough Pan’s Labyrinth, it’s part-horror, part-fairytale, with children at its centre. The setting is a middle-of-nowhere boys’ orphanage in 1930s Spain, a leftist sanctuary from Franco’s fascists during the civil war. Newcomer Carlos (Fernando Tielve) must find his feet in this semi-surreal realm, with an unexploded bomb in the middle of the courtyard, some kindly adults (one-legged Marisa Paredes and kindly doctor Federico Luppi), some not-so-kindly adults (aggressive caretaker Eduardo Noriega), and junior bullies to win over. There’s also a ghost in the mix: a pale-faced boy named Santi, whose death no one seems to want to discuss, and to whose empty bed Carlos is ominously assigned.
