Review of The Shape of Water (2017) by Kevin F — 14 Apr 2018

A monstrously powerful fable about love and loss where plot simplicity, narrative depth and artistic beauty are unified and glorified.

An incredible paradox: Mexico, a country in a threatening conflict against the US, continues to take American cinema by storm because of its stories and filmmakers, who have impressively managed to keep firm an enviable artistic growth over the last five years. Emilie Kuri kicked off the golden season back in 1949, and in a big way, because it was the first man to get an award for best production design from the hands of the Academy, however, it wouldn't be the last one since he got his second recognition in early 1954, only to prepare the way for powerhouse actor Anthony Quinn, who in 1952 and 1956, respectively, won his only two statuettes, nevertheless, the presence of the Central American country in the most prestigious film awards had to undergo a tortuous recess for more than four centuries and a half. 2001 was the year in which German-Mexican Brigitte Broch got the greatest reward by means of an emblematic Oscar thanks to her production design in the film "Moulin Rouge!". Five years later, exactly in 2006, Guillermo Navarro and Eugenio Caballero were speechless to hear their names as the winners for best photography and best production design for "Pan's Labyrinth" - incredibly, our praised director had already had the opportunity to be with the big guys, so it's not oblivious to what is coming for him. It took seven years for a man to give his people the hope that seemed lost. When Alfonso Cuarón premiered in 2013 his ambitious sci-fi flick "Gravity", starring the legendary George Clooney and Sandra Bullock, predominated a strong commercial intention, namely, the filmmaker didn't consider his magnificent story as a favorite dish to the palate of the Academy, however, he got one of the most sudden surprises of his life when they announced that his work, which smashed box office, not only was the favorite pic for its magnanimous special effects. "Gravity" turned out to be the film of the night by winning the extraordinary amount of eight awards, the majority for the emerging country, also achieving to be the best letter of presentation for one of the kings of this list: Emmanuel Lubezki. Fortunately for Mexican people, this time the pause wasn't so long because, only one year later, new names appeared in the golden ballots. That's when a man is born who having behind him "Biutiful" (2010) and "Babel (2006), reached the glory with his fifth work as a filmmaker, since it was "Birdman or (The Unexpected Virtue of Ignorance)" that wrote history in the annals of the Oscars by granting a second award in a row a Mexican director- it should be noted that the film got unanimous approval from critics since it managed to take home four Academy Awards -a trend that, surprisingly, wouldn't remain as a noun. Released in worldwide cinemas in 2015 but awarded in 2016, "The Revenant" took for granted the existence of two of the most fertile and valuable creative minds in the industry, since, historically, for the first time ever a Latin American man receives the second Oscar just one year after his last award, while a barely recognized cinematographer managed to raise his second reward, thanks to an artistic feat that is already cinema history and, cannot be overlooked, this crazy film gave the very first extremely-coveted Oscar to our Jack Dawson, and to clarify the doubts, we're talking about Alejandro G. Iñárritu, Emmanuel Lubezki and Leonardo DiCaprio. It's not intended to exaggerate patriotism or nationalism denotations, much less to show a depreciation of foreign talent, it is simply pride of what we can do and what we want to emphasize with this is that as well as the American, European, Asian or African cinema has a mind-boggling filmmaking potential, Latin Americans and Spanish-speakers have gained a respectable position in the field (using American budgets) and I'm more than convinced and optimistic that the level of inclusion will be much wider in coming years. Giving thanks to the experience, over time, a fantastic trio, that will be a more praised around the globe for its cinematographic quality after the special evening on March 4, 2018, has been established: Cuarón, Iñarritu and Del Toro, the most vigorous buddies in Hollywood. And this last guy is the reason why I expounded this long and tedious Mexican film background, because our lover of monsters, maestro Del Toro, lover of gothic horror and intensely original stories, has reached the peak in which every filmmaker would like to be: Be considered by the Academy of Motion Picture Arts and Sciences as one of the best professionals working, however, I'm fully confident that the real victory for this man is the opportunity to speak out about powerful subjects, inspiring subjects, sweeping solutions, artistic subversions capable to change the rules of the system. It's remarkable and even frightening how, almost annually, these men monopolize the American film mecca that focuses on audiovisual high-standards. Therefore, in the same way, that the first two directors enjoyed their moment of glory and very possibly will do it again, 2018 is going to be Del Toro's time, unquestionably thanks to his intimate and deeply-touching love story that destroys beautiful-woman-falls-in-love-with-man-beast overused formula. Without false decorations, there is no doubt that "The Shape of Water" is a eye-catching drop-dead gorgeous masterpiece, Del Toro's last Magnum opus is a eerie and charming homage to ordinary-people-do-extraordinary-things stories and, without hyperbolizing my extreme love for this filmmaker- although that's just the truth -his film is one of the most clever, stirring and visually handsome experiences, a deeply moving and impressive modern-cinema classic, an artistically perfect, beautifully acted, directed and scripted impossible-love movie that I have seen in my whole life.

Indisputably, Guillermo Del Toro is the king of monsters. A man madly enchanted by the events that can arise when a foreign and eccentric creature and the most dangerous and sick mind monsters in existence, you and I, are confined into a certain space; an experiment that would substantiate his purpose as a director. Adopting the horror genre and the support to neophyte creative minds from his homeland as his main predilections, this filmmaker has constructed an erratic filmography in which conspicuous sci-fi/horror/mystery works shine by themselves, where insane attention to detail and heartfelt narratives predominate, clearly evidenced from his directional debut with "Cronos", to interesting gems such as "Hellboy", "Pacific Rim", "The Devil's Backbone" and "Crimson Peak". A filmmaker, editor, actor, writer and, ultimately, artist from Guadalajara, Jalisco, who has built a prolific success story by the hand of his inevitable talent and fervent convictions. Such a hard moviemaking effort was the responsibility that today his most recent film is held in the high-lines of the most important festivals and awards at the global level, among which are two Golden Globe awards, one AFI award, three wins at Los Angeles Film Critics Association Awards and four prizes in his overwhelming run at Venice Film Festival. Moreover, we are waiting for what may happen at the 2018 BAFTA Film Awards with its twelve nominations and, of course, with its leading 13 Academy Award nominations at the Dolby Theatre in Hollywood, my God!

Without hesitation, the feature with the best conception and execution falls on the potential screenplay, and we have to thank Vanessa Taylor and Del Toro, who in turn rely heavily on their own story to raise true golden lines. For the most stringent movie-buffs, like me, the first thing coming to light when the screening is over is that the script has many plot holes, namely, neither it provides minimal explanation about how or why was the creature created, nor uses scientific technicalities or the peripheral problems of the main role, the supporting characters or the time in which it's developed; the film simply doesn't walk around and to enjoy it is necessary to understand it in the way its director wants: As a story about monsters in which love and loss, as a whole, play the greatest roles. Out of the mouth of the director in the latest edition of Venice Film Festival - a contest in which his pic won the top prize -, anyone with hopes to find a narratively intricate and explicitly step-by-step story will leave theatre really, really disappointed, for this reason, many should postpone concrete explanations, this unforgettable tale doesn't require to seek hidden meanings in its moves for understanding it since its assertiveness and concentration dealing with the storyline will go every second on Elisa and the amphibious man. It doesn't mean that the film only expels teachings on them, absolutely not, there are several clues insinuating the participation of promising subjects which are subtly touched such as homosexuality, the transcendence of loneliness, the acceptance of a disability, male tyranny at a time where subjugation and woman were unmistakable synonyms, a cold-blooded war, the hostility in the mega-industries, workplace harassment, limitations, vices and the monotony of the present. However, the most specific treatments are not so lucky as they never explain how Elisa and Zelda became close friends, why our protagonist has always been alone or why she's mute- except for a little hint by Zelda in a sporadic talk -, the script never refers to the past, much less to the future, it simply concentrates on what it must, in living for the moment, even if the fatality is a sure thing. An interesting point that benefits massive audiences, namely the conventional spectator, initially questioned the possible nominations for the Golden Globes and the Academy Awards, since not all Oscar-contender films have an easy-going structure like Del Toro's last sublime experiment. The predilections in these prestigious awards appeal for fables with historical preference, where pillars such as war, politics or dramatization of important events allow a journey where pictures must speak for themselves, however, this is where the Mexican factor comes into play. The main risk, the script is brimfull with it, was the unexpected amount of comedy content, obviously compared with other dramas is ridiculously limited, nonetheless, here provides a functional, placid and fun addition, getting balance the whirl of emotions that the spectator must feel, while giving Octavia Spencer the opportunity to stand out with her character, a superb performance. Possibly, it was a conscious entertainment decision taken in order to, as mentioned above, make the film a lighter experience for some and more intense for others, hopefully, most of the people belong to the second group. Furthermore, characters' design performs a vital role that is not in discordance with situations. Getting the facts straight from the beginning, the writers expose the relationship between a middle-aged woman and loneliness: the eggs boil, polished shoes and onanism time records crossed out; she seeks to fill that emptiness, she seeks to transform her soul, she seeks to be happy. Sally Hawkins' role is laconically magnanimous, her performance is the top of all her career and this will be the push she needed to become the next fetish-name for major studios; I had never seen a portrait of muteness speaking from the heart as she achieved it, it's fantastic and poignant as this British woman acts out what may be her catapult-role- Curious fact: I felt a certain degree of disturbance thanks to this beautiful actress, because while I watched her almost-completely-naked body on screen, I remembered that one hour ago I was sitting in the adjoining movie room enjoying "Paddington 2", where her character is a little sweeter, but these things happen. - She's not a damsel in distress, far less a woman under a man's submission, she doesn't watch melodramatic movies while eating chocolate ice cream or cooking all the day for her children while her husband goes to work, it's overwhelming the outline of her role, and even more in a time as in which the film takes place; she works, jerks off, feels, cries, steals and loves, three-dimensionality and complexity that is appreciated and represents what many of us cry out for: strong women portrayals. As for the supporting characters and our amphibious man, the film doesn't delve into almost anything about them, rather little focuses on Giles, Richard or Zelda, the story sees what Elisa sees as she will be always the spotlight, and at this time, it's commendable that sub-plots and backgrounds don't trample each other in a work that, by far, was predicted as a winner.

This film allows executing extraordinary tours de force for two members of the cast. Year after year, the great Michael Shannon surprises more and more. Half a world was hypnotized by his protective father in "Midnight Special" by Jeff Nichols and then the most demanding moviegoers praise him as a troubled Bobby Andes in "Nocturnal animals" by Tom Ford, this actor from Kentucky, USA, with more than eight-tens of movies as an interpreter in his credit, embodies what an actor is, a mortal putting himself in the shoes of fictional people. His Richard Strickland is voracious, egomaniac, magnetic and terrifying; this performance is made by real quality, portraying a man oppressed by machismo, greed and power, possibly a reflex that reconciles in a good way with the mess of sexual and labor harassment that has begun to be strengthened in recent months, an epitome of all those monsters with ties and contacts that simply require and cancel. On the other side of the coin, the second monumental performance lies, of course, on the shoulders of Sally Hawkins, getting that a mute lady gains a powerful label, not a new icon of female overcoming or anything by style, a sign of love, faith, and freedom. Gestures, language and interpretive tools get what many actors with makeup layers, sumptuous hairstyles and male voices cannot: convince and impact, depicted and make proud a minority as capable as human: disabled people. The strength of her role is an element that justifies, along with Amazon river god, the pleasant two-hour-three minute- journey, chasing an imperishable love that suffers unusual obstacles. In the same way, it'd not be odd to hear nominations and possible awards for "Hidden figures" actress Octavia Spencer thanks to her sarcastic and brave Zelda Fuller or for the king of physical transformations Doug Jones, who just like his comrade conveys incredible emotions under a fabulous prosthetic makeup, touch-ups with special effects and a lot, a lot of effort.

Del Toro keeps doing his job excellently, selecting a top-notch artistic team. Flick after flick, story after story are strongly driven by an overwhelming visual tidiness, leaving out genre or purpose, it's a tradition that each of its motion pictures means sublimity in creative fields. His newest work could be placed on the top of the podium. Counting among his ranks with masters such as Dan Laustsen (cinematographer), Sidney Wolinsky (editor), Paul D. Austerberry (production designer), Nigel Churcher (art director) and an ambitious and extensive support team; "The Shape of Water" is what it's thanks to the hard work put on it, a feat that must be recognized and praised. Dark colors and lack of brightness are trademarks, each scene uses the global tonality in order to encompass throughout the film the feeling that the filmmaker wants the spectator to get. While in the opening sequence prevails a gloomy green color in the water, in the later set-pieces you can appreciate green olives, pale whites, yellowish and greenish blues that give shape to the idea. In addition, such colors are also applied to costumes, makeup, staging and visual tricks, supported by an ideal and particularly opaq.