The Shape of Water 1

THE SHAPE OF WATER

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The shape of water is a paragon of a classic monster and fiction movie that

triggers a delightful experience; Guillermo del Toro elegantly entwines whimsical fairy

tale with a fresh of a monster movie. This latest work of Guillermo del Toro to some

degree may be considered his best work to date. He brakes from his norm of creating

low budget horror movies such as “ Sequel Blade 11, and Hell-boy“. The Mexican-

American movie creator strived to write his name in Hollywood record book in 2006

when he released Pan’s Labyrinth. In this movie, he portrayed a mixture of romance and

horror.Since then, he has consistently advanced to a range of artworks such as the

blockbuster Kaiju-battling robot, Extravagance of Pacific Rim to his work on Gothic

Romance which he featured Crimson Peak. Eventually, he has resurfaced again but this

time with a thrilling project sure to receive the attention of the movie viewers.

The shape of water presents Elisa Esposito (Sally Hawkins), a female mute

night-time janitor at Occam Aerospace Research Centre in early 1960s Baltimore who

routinely watches old musicals with her friend and neighbor Giles, a secretive young man

and a gay who works from homes an artist: a commercial artist working with a talkative

friend by the name Zelda Fuller. Elisa is portrayed as a contented and jovial lady in her

life harvesting joy in little moments but this takes a new shift forever for good for when

the facility purchases a bizarre specimen which they nickname the asset(Doug Jones).

Colonel Richard, Dr Robert, and the other scientists are intending to put the asset

understudy despite the fact that Strickland disdains the creature. Hoffstetler, on the

contrary, is fascinated by the creature

Elisa is depicted as being pleased by the ‘asset’ and makes attempts to be

friends with it by giving it boiled eggs and teaching it sign language too which is her
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main means of communication. As time goes by she becomes disturbingly attached to

the ‘asset’ when she learnt the scientists have decided to vivisect it despite the objection

by Dr Hoffsteler, she plots to escape the ‘asset’ from the facility. However, she doesn’t

manage to execute the plan alone hence requests Zelda and Giles to assist who only

manage by surprise assistance of Dr Hoffstetler who is having vested interest in his

assistance. After freeing the creature Elisa grows intensely closer to the creature thus

falling in love with it and plans to release back to the sea. The hunt of the amphibious

man is intensified by Strickland who also investigates those behind the escape of the

creature. At this point, Elisa and the amphibious creature predicaments escalate and their

feelings for each other does not help save the situation.

The shape of water is a beautiful story that depicts a beautiful mixture of a

classic fairy tale of romance that can be likened to love between the beauty and the

beast. The movie features the amphibious man to pay homage and respect to the

ostensible monster in the creature of Black Lagoon.Further, the movie maximally utilizes

its setting in 1960s Baltimore connoting the cold war stint. McCarthyism offers view of

politic traces and some degree shades light on the mentalityof Strickland who is

perceptibly the villain and the true monster of the movie. In sum, the blending of genres

and tropes impacts to shape of water a fantastic feeling with captivating elements

contrasted by the reality of political undertones. The theme of the shape of water in

more pronounced instances, the co-star being amphibious man provides the movie with

compelling visuals. Water and light are employed in many instances in dazzling manner.

In addition the shape of water that underlines the quality of the movie of

realistic and surreal elements; still make-up and light lend credence to the portrayal of
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the amphibious creature. Execution of the movie by the characters creates more

believability for instance, Hawkins plays on the depiction of a woman who is lonely and

withdrawn especially against the backdrop of merciless conformity in the 1960s. The

lonely and withdrawn woman weirdly finds love in another creature. Through the

significant and heart touching scenes Hawkins infrequently shines, though her performance

in short scenes is humorous and unduly magical. Hawkins thus is reinforced by the

amphibious man. Del Toro in collaboration with his casting crew breathe life into a

unique fairy tale which is composite of both genres to create a movie that is entirely

thrilling; despite instances of tropes and few elements introduced that in the end do not

have much pertinence in assisting characters to exploit the world around them.

This elements lend the shape of water the quality of verisimilitude since in

most occasions reality stories are not tidy storylines with narratives postures that bend

when credits roll. This lends Del Toro’s movie a magical quality reinforced by the

juxtaposition of ideal story elements with classic fairy tale texture.

The superb magical realism of the shape of water is not exaggerated and makes it to be

lauded as unique and creative piece of art. The shape of water is one of the unique

artwork that lends voice to the voiceless and a testament of how the voiceless may find

strength in their silence

The movie is more than a romance story as it is about love that surpasses

kisses and chocolates; it is a love story about championship, comfort, belonging

somewhere and having a voice that someone will listen to.Del Toro overplays his hand

in the character zation of the hero, Somewhere midway through the movie, he portrays

Giles as a gay; he (Giles) visits a restaurant and the owner chases him away together
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with a black couple who came to have a meal. Albeit unnecessary to the story this

scene highlights hospitality to the outsiders and anger to those who constrain them from

it. This is the revelation of the simplistic reduction of cold-war-era when the society has

castes that every individual had to identify him or herself with; for instance, the narrow-

minded villains and the open-minded dreamers. The movie’s point of view is

comprehensible and likeable just as the main character her friends. Del Toro unravels

and decipher every bit that no room is left for counterargument or even just pundit

thoughts. At the end, his point of view is bitten by bit constricting as the giant tank

housing the creature at the lab consequently turning the movie by all its commendable

intentions and visuals imaginations a limitation inexperience

Reference:

Scott, A. O. (2017) The shape of water review, The New York Times

Bradshaw, P. (2018) The shape of water review, The Guardian

O’Malley, S, (20017) The shape of water review, Elbert Digital LLC