Review of The Shape of Water (2017) by Zymase4 — 31 Jan 2018

Guillermo del Toro revels in telling fantastical stories that take place in a time and place familiar to his audience. Much like his 2006 film Pan’s Labyrinth, there is an historical context that provides impetus for a plot not entirely of our world. Set in Baltimore at the height of the Cold War, The Shape of Water is an exploration of loneliness and love; of isolation and compassion.

The real delight in the film comes from its set design. This is familiar territory for del Toro following the excellent backdrops in Crimson Peak, but where Peak deals in lofty Gothic architecture, Water revels in classic Americana: a Cadillac dealership replete with drool-worthy cars; a theater with gilded balconies and a gorgeous marquee. Sets in a research lab conjure fantasy and science fiction, highlighted by an art deco pool that’s the pinnacle of production designer Paul D. Austerberry’s construction.

The Shape of Water’s use of color resonates as much as the design. Full of greens and blues, the aquamarine palette employed throughout helps to amplify the fairy tale elements being woven into an everyday setting. Much of the latter half of the film benefits from the buoyancy the use of color lends it, and it fleshes out del Toro’s world.

Where the fantasy doesn’t quite work is the romance. It is difficult, even with the excellent protagonists of the as-credited “Amphibian Man,” to suspend disbelief and buy in to the protagonist’s attraction – especially the desire for intimacy. One can’t help but be reminded of the NASA-funded study on communication with dolphins in which a researcher developed feelings for one of her subjects, and consummated the relationship. And since this is, after all, a fairy tale and a love story, it’s a central theme that is difficult to connect with, even in a beautifully-designed film with so much going for it.