‘The Shape of Water’ is strange, beautiful, subtle, romance (review)

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Guillermo del Toro, master of special effects combined with masterful storytelling, presents arguably his finest work in 2017 fantasy film “The Shape of Water.” Replete with gorgeous scenery, am ensemble cast, and imaginative yet grounded storytelling, “The Shape of Water” is one of the most romantic movies to grace the screen.

In 1962 Baltimore, Elisa Esposito (Sally Hawkins) lives alone in a apartment above a movie theatre, employed as a janitor at a secret government facility. Discovered as a child in a river with scars on her neck, Elisa is mute, communicating through sign language. An avid cinema lover, Elisa frequents the theatre below her apartment and enjoys watching musicals with her neighbor Giles (Richard Jenkins), an illustrator and close friend.
A strange creature, dubbed “the asset,” (Doug Jones) arrives onsite at the lab, dragged from a South American river by Colonel Richard Strickland (Michael Shannon). Intrigued by the amphibian, Elisa begins covertly infiltrating its lab on her lunch breaks. Wordlessly, she fosters a bond with the creature through her actions: offering it a hardboiled egg, teaching it sign language, playing records. However, Elisa learns of plans to vivisect the amphibious humanoid in an attempt to learn more about it and lend an edge in the Space Race against the Soviets. Aided by her co-worker, de facto interpreter, and friend Zelda (Octavia Spencer), as well as a Soviet spy and scientist, Dimitri Mosenkov (Michael Stuhlbarg), Elisa rescues the creature from the lab, prompting an investigation to recapture the asset.

From a technical standpoint, “The Shape of Water” is a masterpiece. Directed, produced, and written by Guillermo del Toro, it’s a film ripe with exquisite cinematography. Rippling with bluish-green hues, lighting lends an ever-present underwater vibe. Settings vary from an ornate cinema to the utilitarian government lab, and a picturesque pie shop. Bolstering the onscreen imagery, Alexandre Desplat composes the lush soundtrack which paints a carefree portrait that matches the smooth flow of the plot.

Acting is top-notch, with Hawkins stealing every scene. Notably, Doug Jones as the creature, mimics Hawkins in his silent yet clear narration. Jones, a frequent del Toro collaborator, possesses the uncanny ability to transform even the most atrocious cinematic abominations (read: “The Bye Bye Man“) into mildly watchable films. The veteran Jones once again morphs into an otherworldly creature. The practical effects glisten, creature design resembling the creature from the Black Lagoon. Thankfully, “The Shape of Water” remains beautiful on its own, and Jones’s presence is merely a garnish.

It’s the subtleties which make “The Shape of Water” the artful presentation that it is, and infuse its romance. An unconventional love story, the relationship between Elisa and the mysterious water creature blossoms naturally. Unable to speak, it’s their actions which begin to hint at, then concretely convey, a mutual attraction. “The Shape of Water” more successfully depicts love through its visuals than with words. There’s no trite dialogue, instead a strange, beautiful, complicated yet unsophisticated romance which bubbles forth.

Moreover, unlike formulaic love stories, “The Shape of Water” lacks a turning point or defining moment of falling in love. Rather, it’s apparent in the details: Elisa’s altered morning routine, a fluid, dance-like step while mopping the floor, a genuine smile at nothing in particular while riding on the bus. Showing, not telling, aids “The Shape of Water” in fostering an organic romance.

While it’s mostly strong, occasionally the highly-stylized film gets a bit too heady. During the gripping third act, Elisa dines with her creature lover. In a daydream sequence, Elisa transports into a black-and-white musical featuring a dance number with the humanoid amphibian. Although on its own, this scene shines with a graceful elegance, it’s a rapid departure from the rest of the film and feels unnatural. Similarly, a few scenes feature dialogue which explicitly, and unnecessarily, state what’s made obvious by the onscreen action. Nevertheless, the overall film remains smooth and subtle.

“The Shape of Water” finds Guillermo del Toro, whose directorial credits include “Blade II,” “Hellboy,” “Crimson Peak,” and “Pan’s Labyrinth,” at his finest. It’s a majestic movie which features a lovely atmosphere, superb acting performances, and arguably the most realistic depiction of romance in any film.