The Shape of Water - Review

Who Made The Shape of Water?

The Shape of Water is directed by Guillermo Del Toro, who is best known for creating fairy-tale inspired gothic horror movies such as Pan's Labyrinth and Crimson Peak. Del Toro came up with the story for The Shape of Water and co-wrote the screenplay with Vanessa Taylor.

What’s it About?

The Shape of Water centres on Elisa Esposito (Sally Hawkins) a mute woman living in 1960s Baltimore. Elisa spends her nights working as a cleaner at a mysterious research facility with her friend Zelda (Octavia Spencer). During the day, she lives in an apartment above a cinema, spending her time with neighbour Giles (Richard Jenkins), a struggling artist. One day, Elisa finds a mysterious amphibious creature (Doug Jones) being held in the facility, with the tyrannical American government agent Strickland (Michael Shannon) and principled Soviet spy Dr Hoffstetler (Michael Stuhlbarg) both taking an interest in studying the so-called ‘Asset’. Elisa forms a relationship with the creature, and after finding out about Strickland’s barbaric treatment of the creature and his plans to have it vivisected, she hatches a plan to help it escape…

My Review

(NOTE: This Review Contains Some Minor Spoilers, So Be Careful...)

The Shape of Water is one of the most prominent competitors in this year’s Academy Awards, (having received an impressive 13 nominations) and it has received plenty of nominations and awards in the other major ceremonies of Awards Season. It’s easy to see why the movie has been so popular with critics, as Del Toro has provided a timeless and appealing romance without sacrificing his signature dark, atmospheric and mysterious style. Overall, The Shape of Water is definitely worthy of the accolades it has received, living up to the promise (used in the tagline for the official novelization) that it will be “a fairy tale for troubled times”…

The fairy tale nature of the movie is established perfectly through an opening voice-over from Giles, as he prepares us for “a tale of love and loss” about “the princess without voice” and “the monster who threatened to destroy it all”. The Shape of Water certainly fits this poetic description. Elisa is the latest in a long line of mute fairy tale heroines (she even shares her name with the protagonist of Hans Christian Andersen's story The Wild Swans), and in spite of some early attempts at misdirection, It doesn’t take long to figure out that violent, bigoted and misogynistic Strickland, who embodies every negative feature of American masculinity, will be the monster. Giles and Zelda also fit the familiar archetypes of the struggling artist and the sassy black best friend, respectively. However, Del Toro and Taylor ensure that these characters are more than just stock figures. Few fairy tale films begin with the protagonist performing sexual activities in the bath, and Elisa is a quirky and sometimes mischievous character who is not your traditional paragon of integrity. Furthermore, in spite of all the familiar tropes and conventions in this story, the final scenes actually come as a bit of a surprise. Although a bittersweet and mysterious conclusion was an inevitability, given the tone of the story and its development, the way the ending plays out is darker and more shocking than expected, and all the better for it.

The Shape of Water tells a simple story, but the technical aspects are handled brilliantly. The prologue, featuring the camera taking us through a series of rooms flooded with water, perfectly establishes the mysterious and atmospheric mood. The effects work used to bring the ‘Asset’ to life (Costumes and facial prosthetics were utilised to create the creature, with computer effects added to enhance its expressions) is seamless, and the cinematography is effective. Del Toro originally planned to shoot The Shape of Water in black and white, and whilst this would have been really interesting, the use of colour is justified. The predominantly blue and green colour palette is a bit murky, but it suits the film very well, and there are plenty of excellent shots. The score from Alexandre Desplat is worthy of special mention, as it conveys both old-fashioned romance and the beauty and mystery of the underwater world. Del Toro’s love of cinema is evident throughout the movie, especially in scenes where Elisa visits to the cinema below her apartment and watches old Shirley Temple movies with Giles. At one point, she even briefly gains a voice in a black-and-white song-and-dance sequence set to the song ‘You’ll Never Know’. There are also numerous subtle allusions to films ranging from 1950s monster movies (The ‘Asset’ is essentially The Creature from the Black Lagoon) to Fred Astaire/Ginger Rogers movies such as Top Hat and Follow the Fleet. In a sense, The Shape of Water is to the 2018 Oscars what films like The Artist and La La Land were to past Academy Award ceremonies – a charming throwback to the classic cinematic genres which have fallen into decline. However, regarding The Shape of Water as just another celebration of Hollywood’s past is a real insult – this film uses its technical magic to provide something deeper and more substantial than mere escapism...

The acting is excellent across the board. As Elisa, Sally Hawkins (Paddington 2) communicates entirely in sign language (On some occasions, she is subtitled, but on others, Giles and Zelda explain what she is saying). Even when she is with more talkative characters, Hawkins has little trouble gaining our attention and providing a protagonist both unique and relatable. The ‘Asset’ is also unable to speak, but Del Toro regular Doug Jones (Pan’s Labyrinth) brings him to life with agile and fluid body language. The 'Asset' shares Elisa’s empathy and fascination with movies, TV and music, but the character has a darker side which gets unleashed if you make him angry or scared. The wordless romance which develops between Elisa and the ‘Asset’ is engaging and totally plausible. The initial scenes of Elisa sharing her food with the creature soon blossom into a relationship both ordinary and extraordinary, as moments where the two sit at a table and eat breakfast are contrasted with a memorable sex scene in a flooding bathroom. As odd as the inter-species romance may seem on paper, Del Toro manages to convince us that the human and sea-creature are meant for each other.

Aside from our two protagonists, the supporting cast is also memorable. Richard Jenkins (Let Me In) plays Giles, a closeted gay man who comes to recognise the extent to which he is forbidden from expressing his desires and begins to understand why Elisa cares so much about the ‘Asset’. Michael Shannon (Man of Steel) has a reputation for playing intimidating and volatile villains, and uses this to disturbing effect as Strickland, making the character a major threat from the beginning and giving his eventual villainous breakdown greater impact. As he loses control of the ‘Asset’, and a gruesome injury inflicted by the creature begins to take its toll on him, Strickland drops all pretences of normalcy, resulting in the most brutal scenes of the movie. Octavia Spencer (The Help) is likeable as Zelda, and gets some amusing lines, but she is relatively underused for most of the story. Meanwhile, Michael Stuhlbarg (Hugo) is excellent as Dr. Hoffstetler, who is torn between serving his Soviet superiors and protecting the fascinating ‘Asset’. His internal dilemma generates a level of ambiguity which makes his scenes tense and engaging. Although Stuhlbarg’s turn has received less recognition than the rest of the cast, he deserves to be singled out for praise as well.

The Shape of Water is set in the early 1960s (any indications of a specific year are vague and contradictory) and the period setting is used brilliantly, with most of the main characters being associated with certain aspects of American culture. Elisa is fascinated by the entertainment offered by both grand cinemas and boxy, black and white TVs. Giles spends his time buying key lime pies from an isolated diner and pitching advertisements to an unappreciative ad agency, whilst Strickland’s suburban house and flashy new Cadillac demonstrate his single-minded obsession with being successful.  The Cold War skulduggery threatens to distract from the main story at times, but it raises the stakes for Elisa and her friends, and the idea of contrasting a monstrous American agent with a compassionate Soviet spy is an impressively subversive touch. Most of the unpleasant aspects of the early 1960s, such as the homophobia and racism, are depicted clearly but subtly, highlighting the extent to which Elisa, Giles and Zelda are isolated. This makes it easy to understand are willing to risk everything they have to protect the creature. The message in favour of social justice is clear and unambiguous, and this gives The Shape of Water dramatic resonance which elevates it beyond traditional Hollywood fare. Ultimately, for all the scenes of sex and violence, it is the political messages and enthralling atmosphere which make The Shape of Water feel like an adult fairy tale, and this is why it has been so successful...

Conclusion

The Shape of Water resoundingly succeeds in its goal of providing a classic fairy tale with a modern and subversive edge. Although the story is a familiar one, Del Toro makes it his movie feel unique and engaging, due to its intriguing setting, likeable protagonists and despicable villain. The film also stands out due to its distinctive atmosphere, enhanced by distinctive cinematography and an excellent score. The Shape of Water is brimming with interesting ideas, celebrating the tenacity and compassion of Elisa and her friends whilst protesting against the injustices and cruelties which make life so difficult for them. In lesser hands, The Shape of Water could have been a formulaic and ridiculous mess, but Del Toro has the talent to make it into something special. The Shape of Water deserves all the recognition it has received this awards season, and it is a must-watch for older viewers seeking a mature but magical fairy tale which captures the mystery and enchantment which the best works in the genre provide.

If You Liked This, See…

La Belle Et La Bete (1946) – The Shape of Water is essentially a variation on Gabrielle Suzanne Barbot De Villeneuve’s legendary fairy tale Beauty and the Beast, as a beautiful woman falls in love with a mysterious creature. Although numerous changes have been made to the traditional template (the Beast is the one being held in capitivity in this story), The Shape of Water still has plenty of similarities to Jean Cocteau’s iconic adaptation of Villeneuve’s story, with a focus on physical expression over dialogue, a powerful gothic atmosphere, and an aggressive alpha-male villain…

Let Me Hear You Whisper (1969) – The harshest criticism affecting The Shape of Water has come from those accusing Del Toro of plagiarising his story from the play Let Me Hear You Whisper, adapted into a TV film in 1969. Both films concern a cleaner at a research facility seeking to free an aquatic creature. The two movies have undeniable similarities, but Del Toro’s story feels distinct enough to not seem like a blatant copy. Regardless of whether you think Del Toro copied from Let Me Hear You Whisper, it is interesting to see how these two different films tackled the same basic ideas…

Pan’s Labyrinth (2006) – Del Toro previously won three Oscars for this Spanish-language film about a girl in Fascist-era Spain who comes across a mysterious fantasy word. Although darker and scarier, Pan's Labyrinth contains many of the same elements as The Shape of Water, including a plucky female protagonist, mysterious creatures played by Doug Jones and a sadistic, authoritarian villain more terrifying than any fictional monster…