Movie #8 of 100: “The Shape of Water”
Overall Thoughts:
It only took me eight movies, but I finally got to my first
Best Picture winner, and unlike some other entries in that group (I’m looking
at YOU “Crash”), “The Shape of Water” was a delight in every conceivable way.
For starters, the performances in the movie were all top
notch. While I’ll get more into that later when I reveal my favorite
performance of all, a lot of credit has to be given to Sally Hawkins, whose
Elisa was a distinctive and wonderfully nuanced character, despite the fact that
she doesn’t speak a line of dialogue in the movie.
Her artful grace as she signs words to her friends and
colleagues was a treat to watch, and one of the movie’s most distinctive
features.
Of course, no collection of thoughts on the film would be
complete without praising the work of Guillermo del Toro, who has been
thrilling me with movies since I first saw “Hellboy” all those many moons ago.
I have not seen all of his movies, but he has put together quite a resume, as “The
Shape of Water” may rank right up there with “Pacific Rim” and “Pan’s Labyrinth”
in my ranking of top del Toro flicks.
The vivid colors and visuals that are the hallmark of del
Toro films are all present here, and with painstaking detail, the director
creates a world that simply feels right, and feels like one that you want to be
in, even as the amphibious creature unnerves you with its realism and its
unpredictability.
Finally, praise must be heaped upon the score of Alexandre
Desplat, who’s been on a real roll lately with his incredible work in really
strong films, including “The Imitation Game” and “Isle of Dogs.”
Favorite Performance:
I have not seen “Three Billboards Outside Ebbing, Missouri,”
but I get the sense that when I do, I’m going to be even more irritated that
Richard Jenkins did not win Best Supporting Actor at the Academy Awards for
this film (and this is coming from someone who has always picked Sam Rockwell
as the “guy I’d love to play me in a movie”).
Jenkins, who plays Elisa’s confidant and accomplice, gives
probably my favorite performance that he’s ever given, playing Giles with a mix
of endearing honesty, good humor, and desperation at improving his lot in life.
That sadness and tension that Giles feels in his heart as he
deals with the disappointments, joys, and frightening moments of life are all
apparent in Jenkins’ acting, but he never loses his core optimism that the
world can be a good place, and that quality is something that is continuing to
linger in my mind as I think about the film.
It’s blindingly obvious that Hawkins did a great job as
Elisa, Michael Shannon jumped off the screen as Richard Strickland, and that
Octavia Spencer is a goddess among mortals, but for me, Jenkins’ turn in this
movie narrowly edges out ahead of a field of truly incredible work.
Favorite Scene:
In the interest of avoiding spoilers, I won’t reveal my
favorite little moment in the film, which is part of a larger scene in which
Elisa is beaming with happiness after spending time with the “asset,” so
instead I’ll say that the scene in which Elisa aims to help the creature escape
captivity is my favorite, simply because of the fact that it so deftly mixed the
undercover agents’ attempts at springing the creature free with the
amateur-planning of Elisa and Giles, who get an unwitting assist from Zelda in
the process.
Any scene involving Giles and Elisa talking for an extended
period, whether at the diner or in their apartment building, was worth
rewinding again as well, if for nothing else than the way it captures you in
the spirit of the early 1960’s, when things seemed simpler and we were a
country fighting a just war against oppressors, instead of worrying that we’re
being oppressed by those in power.
Naturally, the scene in which Elisa forces Giles to say, out
loud, what she is signing to him as she tries to explain why she wants to help
the creature escape was a painful and remarkable moment in the movie. It got
plenty of attention during awards season, and with very good reason.
Stars: 4.5 out of 5
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