And the Best Picture goes to....

Guillermo del Toro’s “The Shape of Water” is more than just a simple love story, as it blends the fantastical with themes of water, darkness, and love.  Set against the backdrop of the Cold War in the early 1960s, the film resonates with visual storytelling that feels plucked from a 1950s B-movie, a la “The Creature from the Black Lagoon”

The story follows Elisa (Sally Hawkins), a mute woman who leads a monotonous life as a janitor in a secret government laboratory. Her world is dull and drab until she encounters a creature (Doug Jones)—an amphibious humanoid captured from South America. Since neither Elisa or the creature can speak, their relationship develops through non-verbal means.  This is not a typical “Beauty and the Beast” story, and as Elisa’s connection to the creature deepens, she hatches a plot to free him from captivity and to eventually return him to the sea. 

The film’s antagonist, Strickland epitomizes the stereotypical American ideal of his time—he has a beautiful wife, children, and a Cadillac parked in his driveway. However, he is also portrayed as a cruel and brutal despot who wields his power oppressively. This raises the question of who the true monster really is: the misunderstood creature or Michael Shannon’s character, Strickland?

The supporting performances in the film are outstanding across the board. Octavia Spencer, who plays Elisa’s friend and confidante, brings an endearing presence that elevates even the simplest scenes. Her warmth shines through, even in the gloomiest settings, and in my opinion, she could even make a tuna fish commercial captivating.  While Richard Jenkins plays Giles, Eliza’s supportive neighbor and friend, and much like Eliza he’s a bit of an outcast who experiences feelings of loneliness and a need for connection.  Both Spencer and Jenkins received Supporting nominations for their performances.

The film’s pacing could have benefited from a tighter editing job, particularly in the latter sections. After Elisa helps the creature escape, the story begins to experience parts where it lags.  Also, there were a few adult-orientated scenes that could have been deleted or modified to make it more family-friendly with-out affecting the basic narrative. Despite these issues, the ethereal atmosphere maintained through the cinematography and the score does help to keep the viewer engaged in this journey, where love and sacrifice ultimately triumph over oppression and exploitation.