Pan’s Labyrinth

The Shape of Water

30/01/18

The release of a Guillermo del Toro movie is generally a cause for some excitement, but The Shape of Water arrives in the UK already garlanded with 13 Oscar nominations – this year’s most nominated film. It’s an unusual state of affairs because fantasy movies rarely get much of a look in at the Academy Awards, apart from the occasional grudging nod for special effects and cinematography. It doesn’t take long, however, to appreciate how this film has managed to garner so much acclaim. It’s a gorgeous, multi-faceted allegory that isn’t adverse to taking risks – The Creature From the Black Lagoon dancing in a Busby Berkeley routine? Hey, no problem!

To my mind, there are actually two del Toros out there – the one that creates eerie fairytale fantasies like Pan’s Labyrinth and The Devil’s Backbone, and the one that offers us the likes of Pacific Rim, where giant robots punch colossal lizards repeatedly in the head until (eventually) they die. Take a wild guess as to which del Toro I personally favour! I’m glad to report that The Shape of Water falls squarely into the former category.

We’re in Baltimore in 1962 at the height of the Cold War. Elisa (Sally Hawkins), a reclusive mute woman, works as a cleaner in a high security government laboratory, alongside her supportive friend, Zelda (Octavia Spencer). When a mysterious new life form – simply referred to as ‘The Asset’, arrives for safekeeping – it is accompanied by its keeper, Richard Strickland (Michael Shannon, excelling in what must be his most repellant role to date). It turns out that the lab’s new addition is some kind of amphibious man, captured in the jungles of South America, where he is worshipped as a god – and it soon becomes clear that Strickland’s job is less to find out about this new acquisition than to make sure the Russians never do. Resident scientist, Dr Hoffstetler (Michael Stuhlbarg), is interested in studying the creature, but the American military seems determined to view it as a suitable candidate for vivisection. Meanwhile, Elisa is beginning to establish a strange and deepening friendship with it…

The outline of the story itself may sound vaguely ridiculous, but it simply cannot prepare you for how utterly compelling del Toro’s film is. It’s a multi-layered affair, beautifully shot and cleverly scripted. Elisa is an outcast, watching from the edges of society, and her best friend Giles (Richard Jenkins), a graphic designer, is in a similar position, exiled from his regular place of work because he is secretly gay. The claustrophobic atmosphere of the early sixties is brilliantly conveyed. All-American diners seem friendly as they sell their day-glo green pies, but won’t allow black people to eat alongside their white customers. The old-fashioned cinema above which Elisa and Giles live plays to nearly empty houses every night because of the growing power of television, and yet every TV screen we see displays a series of classic movie comedies and sumptuous musicals. The Asset too is an outcast, a creature that doesn’t belong in this blinkered, paranoid world. Little wonder then, that both Elisa and Giles fall under his spell.

I cannot recommend this film highly enough. Every frame of it bursts with creativity, the performances are exemplary (special mentions should go to Hawkins – who manages to convey so much without the luxury of words, and to del Toro regular, Doug Jones – who makes us care deeply about his scaly bug-eyed character and about what will ultimately happen to him).

I appreciate that not everybody is going to love this as much as I do. It requires an almost total suspension of disbelief; this is in no way a realistic film. It’s a fantasy that deals in archetypes, a contemporary reworking of a tale that could have bled from the pens of the Brothers Grimm, juxtaposing scenes of beguiling sweetness with ones of graphic violence. I watch it spellbound. I had thought that del Toro couldn’t possibly improve on Pan’s Labyrinth, but you know what? I rather think he has.

5 stars

Philip Caveney

 

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Crimson Peak

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17/10/15

When I last reviewed a Guillermo del Toro movie, I expressed the fervent wish that he would abandon the thick-eared nonsense he was currently engaged on – in which giant robots repeatedly thumped reptilian monsters in the head – and went back to the kind of cinematic terrain he’d mined so brilliantly in Pan’s Labyrinth. While Crimson Peak isn’t exactly that, it’s about a million miles away from Pacific Rim, which is something to be extremely thankful for.

What we have here is a gothic ghost story and if we’re looking for film precedents, maybe the best of Hammer Horror, as directed by Terrence Fisher or Roger Corman’s 60s interpretations of the works of Edger Allan Poe, might be the appropriate places to look. Crimson Peak is a gorgeous piece of film making – the sumptuous look of the production, the painterly evocations of the settings are a cineaste’s delight, while the story exhibits all the conventions of the true gothic horror story – histrionic and compelling in equal measure.

Aspiring novelist Edith Cushing (Mia Wasikowska) (note the tribute to Hammer horror actor, Peter, right there) meets up in New York with baronet and would-be inventor, Thomas Sharpe (Tom Hiddleston) and immediately falls under his spell, despite the misgivings of her rich industrialist father, Carter (Jim Beaver). Almost before we can draw breath, Carter has been brutally murdered (a typically Del Toro scene of extreme violence) and Edith is whisked away to Sharpe’s remote Cumbrian family pile, Allerdale Hall, a derelict mansion that makes the Amityville House look like a cabin in Happy Valley.  Mysterious Sister, Lucille (Jessica Chastain, struggling a bit with her English accent) goes along for the ride. The house itself is an extraordinary piece of design, as much a character as any of the human actors, and Edith soon discovers that there are secrets hidden in its shadows – secrets that are being explained by ghostly apparitions.

It’s not quite a perfect production – there are one or two lines of clunky dialogue that invoke involuntary smirks and, like so many other directors, del Toro needs to learn the basic lesson that CGI ghosts are simply not as terrifying as mere actors dressed up in rags and makeup – but this is the kind of filmmaking that hasn’t been attempted in a very long time, and mostly it pays off handsomely. Literate viewers will spot references to Jane Eyre, The Turn of the Screw and a whole collection of other literary and filmic references, but the best thing about Crimson Peak is the sumptuous look of it. Del Toro’s origins as an illustrator are writ large in every scene. Curiously though, while every imaginable trope of gothic horror is on display here – clockwork dolls, moths, mysterious labyrinths and ghastly spectres – it’s the occasional excesses of physical violence on display that scare us much more than any of the supernatural elements.

This is sterling stuff, though, and should keep del Toro’s legions of fans happy while we wait to see what he will do next.

4.8 stars

Philip Caveney