By Breanne Brennan It difficult not to savor a Guillermo del Toro film. From PAN’S LABYRINTH to CRIMISON PEAK, many of his works are gorgeous works of art that create a rich sensory experience for the viewer, but sometimes lack a much-needed punch to make them truly exceptional. However, with THE SHAPE OF WATER, del Toro has finally brought everything together in an exceptional magical package. Set in Cold War-era Baltimore, the film opens with a glimpse of mute heroine Elisa Esposito’s (the magnificent Sally Hawkins) mundane existence, and working the night-shift as a cleaner at an austere government facility. Her world gets turned upside down when she forms a bond with a mysterious water creature (Doug Jones) that is brought to the lab and antagonized by ruthless agent Strickland (Michael Shannon). Espionage, romance, and suspense ensue. The film is very much an adult fairy tale, grappling with themes of loneliness, unhappiness, and obsession, not only with Elisa, but with all of its motley supporting characters. Octavia Spencer gives a reserved and nuanced performance as Elisa’s friend and co-worker Zelda, whose humorous jabs about her idle husband are buried beneath a layer of cynicism. Shannon easily captures Strickland’s formidable desire to succeed by any means necessary, while seemingly unravelling in the process (and with a bit of scenery chewing in the end). MVP Richard Jenkins as Elisa’s closeted neighbor Giles, offers some comedic bits, but harbors a deep desire to make something out of his life. Michael Stuhlbarg also rounds out the cast as conflicted scientist Dr. Hoffstetler. However, it’s Hawkins who makes her job playing the mute Elisa look effortless, deftly signing her dialogue and carrying the weight of the film’s emotional moments through her expressions. She’s a joy to watch, and gives one of the best performances of her career. Also worth mentioning is Paul D. Austerberry’s stellar production design. In particular, the environments are saturated in a palette of green hues, from the candy that Strickland continually pops, to the décor in Elisa’s apartment. It’s also filled with nods to old-Hollywood film and style, which Austerberry comments on more in detail here. In addition, Alexandre Desplat’s romantic and wispy score elevates the film’s dreamy tone. The wavery whistling, punctuated by a romantic little accordion and fluttery flute that feels reflective of the film’s gilled subject and time period. But what Desplat seems to have easily achieved here is giving life to water in his melodies. Whether it’s the ebb and flow of waves or the sense of floating underwater, these feelings can be found in a number of themes in this tender score. While the movie won’t be for everyone, (some might find the overall message preachy or cliché, or the overall subject matter off-putting) this viewer found the film exceled in its intriguing storytelling, adept performances, and bold technical elements all successfully blending together to create one of 2017’s best films.
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