The Devil’s Backbone (2002)

The Devil’s Backbone (2002), directed by Guillermo del Toro, 4.5 stars

Whenever we have company over for movie night, our guests get to choose what film we watch.  I’ve learned over time that narrowing the number of choices speeds the selection process, but last night was an exception.  The five films I offered up and another four offered up by one of our guests were all summarily rejected.  Threatening that if consensus were not reached at once, I would peremptorily make a choice, the group immediately coalesced around a not nearly seen enough horror film by Guillermo del Toro, “The Devil’s Backbone,” which we had discussed briefly earlier in the evening. It was a terrific choice, and everyone was delighted afterward that we made it.

Though I’ve seen the film twice before, the last time was five years ago, and I’d forgotten a few key elements since then. Sure, I was able to anticipate nearly all of the false alarms and actual shocks, but rather than detract from my enjoyment, this knowledge allowed me to appreciate better the non-narrative elements of the film. I was no longer worried about keeping track of who's who, figuring out who could be trusted and who couldn't, and wondering whether there really was something lurking in the shadows. This time, I focused on the sets, the cinematography, the clues, the acting, and the story-telling process as a whole.

“The Devil’s Backbone” is a ghost story that takes place sometime in the 1930s during the violent uncertainty of the Spanish Civil War.  Rebels deposit Carlos, a young boy whose parents have been killed, at a school for orphans located in a desolate and remote area of the country.  Santi, one of the other boys, has recently gone missing, but Carlos immediately senses that he is near and bravely seeks out and ultimately forges a tentative bond with his sinister, ghostly presence.  In the meantime, Jacinto, a worker and former student himself, seduces the school’s matron in an attempt to obtain the key to a safe containing gold bars stored there on behalf of the rebels.  The ghost of Santi tells Carlos that “many will die,” but he does not say how or why or when. The horrors of the supernatural intermingle with those of the real world, just as they do in “Pan’s Labyrinth” (2006), del Toro's later and better known work (which also takes place during the Spanish Civil War).  I’ve seen every one of the director's films, and though I like them all, this remains my favorite.