The Shape of Water (US 2017)

Elisa (Sally Hawkins) and Zelda (Octavia Spencer) cleaners in the creature’s prison. Does the design of the equipment suggest Metropolis and other science fiction/horror films?

When a film wins Oscars everyone writes about it. I’m not that bothered by Oscars but I’m glad that del Toro won something and I’m pleased the production design team got a gong. I loved the mix of songs in the film but I didn’t really notice the score – perhaps I will next time. Above all, however, I’m saddened that Sally Hawkins wasn’t rewarded. She is an extraordinary actor, capable of anything. I think that The Shape of Water is a love letter to cinema from a film lover who remembers the movies he watched with his grandmother. I’m not sure why The Story of Ruth (US 1960) is the film showing in the cinema when the creature stands in the stalls. It was a Fox film so the rights weren’t a problem. I’m assuming Guillermo saw it as a child. I watched Mr Ed on TV as a teenager so I was taken back too.

The suburban kitchen of Richard Strickland’s family

I guess most of you will know that the film is about a mute cleaner, Elisa Esposito (‘Esposito’ was originally a name given in Italy to abandoned children). She is looking for love and finds it with an amphibious man captured by US intelligence and threatened with vivisection in a search for ideas to prepare human physiology for the space race. 1962 is an interesting year to choose for the film’s time period. I’ve heard del Toro discussing why he chose it. At the height of the Cold War (the year of the Cuban missile crisis) and before the major breakthroughs on Civil Rights, those historical references are well used to underpin the narrative. The Cadillac showroom and the suburban family home reek of the immediate legacy of Eisenhower’s affluent, aspirational and conformist 1950s. The Cadillac also introduces teal as a key colour which emphasises the blue-green spectrum in the ‘facility’ where Elisa (Sally Hawkins) and Zelda (Octavia Spencer) work as cleaners and where the creature (Doug Jones) is incarcerated. But I think that the selection of songs is the most intriguing. 1962 in the US is often considered to be in that dead period between the brief re-appearance of Elvis on his return from the army and the arrival of the Beatles in 1964. It wasn’t dead, but pop music wasn’t as dynamic and exciting as it had been and would soon become again. Pop music was for kids and The Shape of Water is for adults and especially for adults who feel they have lost out and for whom passion and romance seem better represented by the sound of Alice Faye in 1940s movies or Andy Williams as a ‘grown-up’ singer in 1959. Everything in the film seems to me to fit together perfectly. It’s a fantasy but it is perfectly coherent and ‘real’ in terms of its cultural references.

Elisa with her neighbour Giles (Richard Jenkins)

The classification for The Shape of Water is interesting. The US ‘R’ rating seems excessive to me but Guillermo del Toro has said that he wanted to make a film for adults. I was surprised by the film’s lack of prurience in showing a naked Sally Hawkins, but I’m sure she agreed to it because it is beautifully presented and completely in line with the character’s other actions. The film does have its moments of violence and I felt that the most violent actions were those with direct cultural references – such as the use of the electric cattle prod by Strickland (Michael Shannon) and arguably the most ‘difficult’ scene, the same character’s violence in making love to his wife. Perhaps an ‘R’ rating isn’t as excessive as I thought? On the other hand, the film has a ’15’ in the UK with 15/16 common across Europe (lower still in France) and the highest rating of 18 can be found in Russia and South Korea. I’m not sure what all of this means, except possibly that Guillermo del Toro has more of a European sensibility than a Hollywood one. I wish he’d make Spanish-language films again.

The creature (Doug Jones)

My constant referencing of del Toro doesn’t mean that I under-estimate the other creative contributions to the film. Vanessa Taylor was the co-writer and Dan Laustsen the cinematographer. All the design team deserve congratulations and Doug Jones and the VFX team create a wonderful creature based around the concept introduced in Jack Arnold’s Creature from the Black Lagoon (US 1954). All these contributions are important but it is del Toro’s overall vision which holds the film together. I’ve no idea how the film is performing with younger audiences. Perhaps they prefer the fast action of superhero movies, but the slower pace of del Toro’s narratives is more to my taste.

Strickland interviews the scientist ‘Bob’ Hofstetler (Michael Stuhlbarg)

I’m amazed to see that IMDb lists the estimated budget at $20 million. I would have guessed twice that amount (is it lower because there are no so-called ‘A list’ stars?). Even if it was $40 million, the film is heading for profit – and seemingly for an International Hit. North American box office has been less than stellar but overseas the film is starting to rack up good figures and it should reach at least $170 million in total worldwide. Another triumph for Canadian facilities I see, since the whole film was made in Ontario in 2016. Sally Hawkins must know quite a bit about filmmaking in Canada by now as she was in the Maritimes the year before shooting Maudie.

I realise that I haven’t acknowledged that The Shape of Water is a fantasy drama. I don’t like most pure fantasy films, but I love del Toro’s films because they speak about the ‘real world’ so elegantly.

The success of The Shape of Water has raised the possibility that Guillermo del Toro may be able to find a studio prepared to support him with the $35 – $40 million he needs to make his ‘darker’ version of Pinocchio set during the rise of fascism in Italy in the 1920s. It’s intended to be an animation for adults. It still seems unlikely that an American studio will come though with the money but it would be good if they did.

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One comment

  1. keith1942

    I enjoyed the film though I think ‘Pan’s Labyrinth’ is superior: partly down to this being more generic. It certainly deserves the praise offered by Roy.
    I was confused by the period. At he opening I guessed the 1940s, then possibly the 1950s. It never, for me, looked like 1962. As a fantasy this is probably less important. I think del Toro and his team were fitting the décor to the films referenced.
    I wondered if the US ‘R’ was down to cross-species sex?

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