Ratings: 4.5/5 Starts

Guillermo Del Toro (“Troll Hunters”) wrote the screenplay, directed and produced the film, “The Shape of Water.” As a loyal fan of Del Toro, there were no worries that this film would be anything less than incredible. Many people on the internet, however, were concerned that this would be a weird monster-porn movie. So, if you know nothing about Del Toro, or even if you are his biggest fan, the idea of an eccentric, mute, introverted female falling in love with the creature from the Black Lagoon can be rather shocking.

At first, the film is a light-hearted romance where Elisa Esposito (Sally Hawkins, “Paddington 2”) is a mute woman who lives above a movie theater. The film opens with her daily routine, which consists of showering, boiling eggs, visiting her neighbor, Giles (Richard Jenkins, “Berlin Station”), and then taking the bus to work. Upon arriving to work, the audience is introduced to Elisa’s friend and polar opposite, the loud, unapologetic Zelda Fuller (Octavia Spencer, “The Goldbergs”). The contradicting personalities between Giles, Zelda, Elisa and the scientist Dr. Robert Hoffstetler (Michael Stuhlbarg, “The Post”) provide for an atypical group who try to rescue the Amphibian Man (Doug Jones, “Beneath the Leaves”).

Before seeing the film, one could assume that it would be similar to an adult version of “Beauty and the Beast.” This turned out to be true, however, this movie was so emotional and moving that it did not feel like a copy. In “Beauty and the Beast,” the relationship between Belle and the Beast felt forced and  similar to Stockholm Syndrome. In “Shape of Water,” the romantic feelings between the amphibian man and Elisa form a genuine connection, as both are minorities and mute, and she was the first person to show him love. 

Throughout the movie, each of the characters struggle with what made them minorities in American society. Zelda is a black woman, and Giles is a homosexual male. The main antagonist, Richard Strickland (Michael Shannon, “What They Had”), was originally less of a villain and more of a representation of the government, but through his actions, it became more apparent that he was, in fact, a symbol for toxic, white masculinity in the 1960s.

One moment in the film that felt weak and unnecessary was a scene where Elisa was dressed in a beautiful gown and sang a love song to the amphibian man, when in reality she was just signing the song in sign language to him. It was trying to draw a metaphor to the love and the ability to express that love that Elisa wanted, but the scene itself felt corny, too long and unnecessary. The only other weak part of the film was the acting of General Hoyt (Nick Searcy, “Three Billboards Outside Ebbing Missouri”). It felt fake and not as authoritative as one would expect from a general.

The film was yet another work of art from the incredible brain of Guillermo Del Toro. He gave up the “Pacific Rim” franchise, which was guaranteed to succeed, and instead worked on something that he was passionate about. The love he and Sally Hawkins put into the film is incredible, making this movie a must-see.

Image from FoxSearchlight via YouTube.com