Shape of Water: Strangely Poetic

Rating: 8/10 (10 February 2018)

There are many dimensions to the Shape of Water. Ultimately it is a love story. It is a love that seems to defy reason. Elisa (Sally Hawkins) is a janitor working at a government facility, where one day she comes across a mysterious amphibian man like creature (Doug Jones), captured by government agent Richard Strickland (Michael Shannon). Due an injury as a toddler, Elisa cannot talk, and neither can he. From the outset, this relationship between Elisa and the creature is bizarre, and difficult to comprehend. But, if you look closer, their love is the most pure, and the simplest form you could find.
They saw each other for who they are, and accepted it. To her, he isn't just a freak of nature. She is fascinated by who he is, and shows kindness and respect for him. Having been isolated and repressed for so long, she finally had someone who didn't judge for her for disability. Although neither of them could talk, they communicated most honestly and warmly. Hawkins and Jones ensured that Elisa and the creature's common language was their authenticity and their vulnerability.
Water had a profound symbolic significance for this story. The Shape of Water suggests something is undefined and has no distinctive shape. Water gave oxygen to Elisa and the creature's love. Two of the most memorable scenes in the film involved masterful, artistic use of water. Without water, he could not survive, and she shows her love through being in water with him. Water is their love and freedom and director Guillermo Del Toro lets it bring to the scenes an elegant tranquillity.
Hawkins, who was terrific in Blue Jasmine, gave another outstanding performance here. Although she didn't utter a word here, we could still see her soul. Her character and performance reminded of Amy Adams in the Arrival - the anticipation, the apprehension, and curiosity is all portrayed with heartfelt emotion. Del Toro cleverly employs a couple of side-characters to act as her interpreter for us. Through them, we get clear confirmation for what she is thinking, but really, Hawkins had already communicated what she needed to. Those side characters - Giles (Richard Jenkins) - a gay artist Elisa lives with, Zelda (Octavia Spencer) - an African American janitor who works with Elisa and Dr Hoffstetler (Michael Stulbarg) - a scientist who is also a Russian spy during the Cold War, all had something in common with Elisa, they are oppressed and have struggled through torment. Perceived as underdogs, and not really belonging to society, perhaps Del Toro wanted to show that the greatest tolerance comes from those that are already repressed.
A monster isn't defined by its appearance. Del Toro boldly contrasts Shannon's Strickland with the creature, and let us decide who the real monster is. I could always rely on Shannon to portray a villain who is despicable, yet immensely intriguing. Strickland is icy cold, and Shannon infuses him with a fierce desperation that is deadly, but relatable. He is tortured on the inside and on the outside, and is often infuriated with himself. I found it amusing that he forces himself to only have positive thoughts - it shows that he is constantly running from the truth. We can see that he constructs a façade that isn't him - a family, a luxury car. It is quite intelligent that Strickland's character accentuates the qualities we value in our protagonists - that is truth, honesty and kindness.
I could always trust Del Toro to imagine a world that is exquisitely colourful and exuberant (much like Crimson Peak, Pan's Labyrinth). I have always thought of the theatre as a very romantic place, and to have Elisa live on top of one, was the perfect setting for her romantic heart. The introduction of Elisa and the exposition was expertly crafted, with Alexandre Desplat's buoyant score skilfully complementing the vibrance of her character. The only thing I would have loved to see more of, was the development of Elisa and the creature's relationship, But perhaps it was that simple. We humans tend to complicate love. Perhaps silent dialogue is more truthful than a spoken one.
The Shape of Water has elements of many genres. It is not an extremely comfortable film to watch - there are some graphic details of violence, and for some, it will be a strange film. I'd like to describe the film was strangely poetic, and it is fantastic in that once you have a think about what the film is trying to convey - it is actually done in the most poetic way.