The Shape of Water
18/02/18 Filed in: Cinema
Guillermo del Toro has an eye for fantasy, as anybody who saw Pan's Labyrinth will testify. The Shape of Water is no less fantastic. Set in the 1960's, within an entirely believable secret research establishment, the scientists have captured a humanoid sea creature, regarded as a god in its native South America. But in the USA it is an asset, a scientific specimen that is horrendously maltreated by its capturer, Colonel Richard Strickland. He brandishes an electric cattle prod, which he employs to the point where the creature is rendered almost lifeless. He doesn't, however, have things all his own way, losing two fingers in one encounter, which doesn't improve his feelings towards his captive.
Despite the high security level at the establishment, there is a staff of female cleaners who access the restricted areas almost at will, presumably because the bosses don't regard them as a security risk. Among them is Elisa Esposito (Sally Hawkins), a mute orphan who was found by the river as a baby. Esposito in old Italian was a surname given to foundlings. Elisa lives in a flat next to Giles, a graphic designer, who is himself a bit of an odd fellow, but he and Elisa get on just fine. A sort of platonic friendship where each appreciates the other foibles, communication being by sign language. Elis'a morning routine opens the film, a bizarre sequence wherein she puts eggs in water, sets the timer, and then proceeds to take a bath while masturbating. It would seem that this is in fact her regular daily routine.
At work Elisa has a trusty friend Zelda (Octavia Spencer), who watches over her and is there at the head of the queue each morning ready to allow Elisa to punch-in on time. Arriving at literally the last minute being another part of Elisa's regular routine. Elisa and Zelda witness the arrival of the creature, and encounter Strickland, who leaves traces of the creatures blood in a freshly cleaned washroom after placing his cattle prod on the sink.
The total lack of security with respect to the cleaners allows Elisa to eat her packed lunch in the room where the creature is being held, and it isn't long before she is offering it a hard-boiled egg, which it quizzically accepts. This launches a relationship between them that grows, but the visiting General Frank Hoyt has unfortunately given orders for the creature to be killed and vivisected. Dr. Robert Hoffstetler, one of the scientists is horrified. However, he is not all he seems, being a Russian spy. Both the Americans and the Russians see the possibility of extracting advantage from learning the secrets of the creatures breathing mechanisms, this being the age of the space race. When Hoffstetler's Russian superiors also decide that he should euthanise the creature, this leaves him with a dilemma. But he had witnessed Elisa befriending the creature and between them they hatch a daring plot to remove it to the 'safety' of her apartment. They pull it off, just, with the help of Giles, but Strickland is incandescent with rage, particularly when threatened with obscurity by Hoyt should he not succeed in recovering the specimen.
Elisa decides that she must shelter the creature until the rains come in March, when the local canal will fill and her friend can be released to the sea. However, during this period their friendship develops far beyond kind words (or should I say signs!) It becomes full physical love. But Strickland doesn't give in that easily and he is gradually putting things together. Elisa, Zelda, Giles and Hoffstetler are all in great danger as he zeros in.
As you would expect from a film such as this, the ending is no less surprising than the fantasy world that we've been watching. Things come together, as they say.
Arguably a career best performance from Sally Hawkins - Oscar winning perhaps.