BOOK REVIEW
The Shape of Water: Guillermo del Toro's Newest Take on Fairy Tales
By Haniel Campos (Class of '18)
In an era where more and more films are gaining fame for the disappointment they have been, it is always refreshing when directors and studios can work together to craft great movies. The best example of this is director Guillermo del Toro’s new release The Shape of Water, which due to its 13 Oscar nominations and 4 awards, including the prestigious Best Picture and Best Director awards, is currently almost impossible not to talk about.
Del Toro is no stranger to making movies that draw heavily on elements of fantasy. He has been able to adapt it to both serious titles, such as 2007’s critically acclaimed Pan’s Labirynth, and more light-hearted ones, like 2013’s Pacific Rim. However, it seems like none of his previous work has generated as much controversy and buzz as his latest work. Some claim it is an art piece, full of deeper meanings and messages, while others think it is simply ridiculous. I consider myself in the first group, and hope this article clarifies why.
In its essence, the movie’s plot is very much akin to a fairy tale. Like in Disney’s Snow White, an evil force is threatening a helpless damsel held captive and our hero must come to the rescue. However, The Shape of Water challenges our preconceived notions by inverting the roles of typical characters and making the mute janitress Eliza Esposito, played by Sally Hawkins, be the one to rescue an extremely powerful amphibian creature from the grasp of the evil Colonel Strickland, played by Michael Shannon.
Like in most fairy tales, our hero and damsel develop a mutual romantic interest along the way, although this film makes this concept out of the ordinary by pairing a mute woman with a humanoid amphibian. These romantic scenes between the two characters have been the subject of discomfort and debate on the internet, but what seems to sometimes go unnoticed is that Del Toro has done this deliberately.
The Shape of Water forces us to go beyond mere appearances and look at what moves its characters on a more emotional and fundamental level, which can be challenging for some as neither of the main characters is able to speak. When watching this movie, ask yourself: What is it that makes Eliza so attracted to the creature and risk so much for it? Once this question is understood, the film’s art and beauty immediately unravel.
No movie can achieve greatness without a solid team of actors, and The Shape of Water boasts a cast of impressive performances. Sally Hawkings plays her part magnificently even though she does not say a word during virtually all of her screen time. She is able to convey all of her character’s emotions and thoughts solely through her eyes and body language, a talent reminiscent to that of silent movie actors and which is seldom truly valued nowadays. Doug Jones, the actor wearing the amphibian’s skin, also deserves praise for his performance as he also transmits the feelings of his character through carefully thought body language.
Michael Shannon plays our antagonist and stands out amongst the cast for the sheer amount of anger he is able to create in the spectator, although one could sympathize with him at times. Aside from Colonel Strickland’s obvious racism and misogyny, his dialogues and immoral attitudes make it impossible for the audience not to despise him and in turn root for the protagonist’s success, which is the purpose of any fairy tale villain. Octavia Spencer’s and Richard Jenkins’ performances also do not disappoint, as they provide the comic relief between grimmer elements of the plot while also being essential to its progression.
Beyond it’s direction, writing and acting, the film never seizes to impress the audience with its scenery and soundtrack. It takes full advantage of its 1950’s Cold War setting and makes heavy use of metal in Eliza Esposito’s neat and monochromatic workplace. The materials and color palette create a robotic, cold and emotionless atmosphere which works together with the plot to create tension as it progresses. In contrast, Eliza’s apartment is much more colorful and disorganized, possessing irregularities here and there, which altogether create a more human and comforting atmosphere.
The Shape of Water’s Oscar-winning score is also one of the great attractions for audiences, as Alexandre Desplat’s work fully captures the essence of the movie. In an interview with Billboard, Desplat explains how he crafted the score based on the sounds of water and from there created a soundtrack meant to convey warmness, melancholy, fragility and love, all of which can be noticed and are perfectly integrated into the movie.
Like all Best Picture Oscar winners, The Shape of Water is a must see and if you keep an open mind, you can leave with a lasting impression long after leaving the movie theater. Its writing and direction are capable of communicating deeply heartwarming messages by using a cast able to convey emotions and thoughts without a single word. Visually and audibly, the film keeps up with its other components by taking advantage of beautifully crafted sets and having a stunning score fitting with all aspects of the movie.
I personally recommend all who have not seen it to go to the next possible screening and those who have watched it and walked away with a strange impression to give it a second chance. Pay close attention and you may be surprised at what you find.
