The beauty of the beast

Guillermo del Toro delivers an ode to outsiders in his beautifully crafted adult fairytale, which asks what would happen if the Creature from the Black Lagoon found a willing romantic partner...

The Shape of Water Dir Guillermo del Toro, US 2017 On UK release from 14 February

Guillermo del Toro has always had a unique style as a filmmaker, and his love of monsters has continued to give cinemagoers colourful and nuanced portrayals of the creatures and stories he holds dear, ensuring that his films stand out from the more onedimensional and disposable paranormal offerings in the contemporary cinematic landscape. While del Toro is no stranger to passion projects, as evidenced by a significant number of his previous works, it is clear from the onset that

The Shape of Water – the tale of a lonely, mute cleaner in a government lab who stumbles upon a captive ‘amphibian man’ and determines to free him – is the very definition of a labour of love.

Del Toro has had a dedicated following for years, and while he has become increasingly well-known outside dark fantasy

The cast is pitchperfect for the story del Toro wants to tell

and horror circles, the Mexican auteur has been considered too much of a genre-specific filmmaker to create something that could appeal to a broader audience without compromising his artistic integrity.

On paper, The Shape of Water has an undeniably del Toroesque appeal, and the story can essentially be described as: what would happen if the Creature from the Black Lagoon did not have to kidnap his love interest, but instead found his feelings reciprocated? However, while del Toro has dismissed any speculation as to possible connections between his latest effort and his Hellboy films, what truly makes the The Shape of

Water work, beyond the appeal of the fantastical elements, is that the story at its core is deeply human and relatable. The film brims with a sincere sweetness and maintains an exquisite tonal balance that serves to perfectly suspend the viewer’s disbelief; most audiences will be hardpressed not to fall in love with the story and the characters that inhabit it.

Having insisted on casting Sally Hawkins and Michael Shannon for the roles of leading lady and callous villain, it is abundantly clear that their parts were written specifically for them. Hawkins brings her radiance and warmth to the character of Elisa, making it another noteworthy addition to her already impressive résumé of thoroughly engaging performances. Shannon takes another turn as a menacing antagonist, but the intensity he brings to the character means that it never feels as if he is merely reprising past turns as other baddies and is an integral part of what makes him such a unique talent.

The supporting characters portrayed by Octavia Spencer, Richard Jenkins and Michael Stuhlbarg add additional depth to the story and help further build the world of the film. Having once again written the part specifically for the actor, del Toro enables Spencer to deliver her trademark, love-fuelled sass in the role of Elisa’s colleague Zelda with great potency. Richard Jenkins is a likable, yet insecure and slightly bumbling gay bachelor with whom Elisa shares an apartment, while Michael Stuhlbarg impresses as a secretive scientist with a highly compelling character arc. This could all be considered typecasting, but by giving the actors such well-written characters to portray, del Toro has ensured that the cast, both individually and as a whole, is absolutely pitch-perfect for the story he wants to tell.

Needless to say, the visual aspect of the film is as stunning as one has come to expect from this director. The score further emphasises the sweet, heartfelt tone of the film’s style and narrative; however, do not be fooled – this is still very much a del Toro piece. Thus, the filmmaker has playfully sprinkled elements of unsettling body horror throughout the film. These elements are genuinely unpleasant, but they never feel out of place and therefore do not detract from the overall sense of the film being an enthralling fairytale for adults.

What del Toro has always done well is world-building. His fascination with dark fantasy and his ability to bring the figments of his imagination to life with such vibrancy attests to the scale of his talent. However, what really makes his films stand out is the sheer heart that he pours into his stories and characters. Easily