Guillermo del Toro’s underwater fantasy highlights its actors talent for turning the obscure into something relatable to all
The film begins moving slowly through a corridor, entirely submerged in water as the sound of woodwind instruments can be heard in the background. This sequence is reminiscent of a fairytale, as we encounter floating chairs and tables in an underwater fantasy world. The voice of a narrator and the image of a sleeping woman adds to the Disney-esque feel, encountering an unconventional princess who floats as she slumbers.
The sequence, however, was the dream of Elisa Esposito (Sally Hawkins) who is entirely mute and reliant on sign language for communication. The real world appears similar to that of her fantasy, dark and bathed in a greenish hue, the neon lights flicker as she boards the early morning bus to work.
Her place of work is a top-secret research facility where she cleans the labs with fellow custodian Zelda (Octavia Spencer). Soon after arriving the pairs services are called into action when there is a pool of blood to clear. Within it they find two severed fingers which belong to Colonel Richard Strickland, the man in charge of leading the creature research team that are studying a new unknown being. It is clear that the creature, referred to as “the asset” is dangerous, but Elisa approaches it unafraid, using the sign as a method of communication. It is clear that the monster has been misunderstood, a feeling that Elisa knows all too well.
The standard of the performances in this film makes the oddness worth sitting through
This interaction is the start of the cross-species relationship, where she begins to teach him the pleasures of the human world such as music and food, all explained through sign language. These secret meetings are seen by one of the centre's scientists, double-agent Robert Hoffstetler (Micheal Stuhlbarg), who seems enchanted by the pairs relationship and the ability's of the mysterious creature.
But the efforts of Elisa to help the creature are threatened by Strickland’s obsessive need to harness its powers through violent and extreme measures. This is brilliantly portrayed by Micheal Shannon, who presents the relationship between toxic masculinity and obsession in an unparalleled way all set within the misogynistic backdrop of the 1960’s.
Opposing Shannon’s antagonist is Richard Jenkins, who plays Elisa’s neighbour and dear friend, Giles, a closeted out of work artist who acts as the shy and doting father figure. The friendship between the two is bonded by their individualities and a sense of comradery against the often cruel outside world. However, Sally Hawkins is, of course, the main star, who somehow without the use of dialogue conveys the frustration of a life lived in silence perfectly, as well as the desire to be loved exactly the way you are.
The film's story is a somewhat odd tale of inter-species love, but the standard of the performances in this film makes the oddness worth sitting through. The fantasy elements of this film are of course far-fetched, which can sometimes remove you from the story, but the individual talents of every actor are for sure the reason for this films critical acclaim and are what make a film worth seeing.
The Shape of Water is screening at Broadway Cinema until Thursday 8th March
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