I see you: Elisa Esposito (Sally Hawkins) opposite the creature (Doug Jones). Photograph courtesy www.indiewire.com
YOU MIGHT SIT there in the auditorium watching Guillermo del Toro’s film The Shape of Water, and quietly begin to think you’ve stepped into a time-zone. This beautifully crafted fantasy love story is like a rendition of 1950s schlock horror tradition ramped up all the way. It’s a delight to watch from beginning to end and contains all the fabulously one-dimensional stereotypes that leave you in no doubt as to who the good guys and the baddies are.
Set in the early 1960s in the mad little heart of the Cold War, the piece presents the American guys opposite the Russians in a quest for scientific advancement. At the heart of all of it, is a kind of amphibious beast with an utterly beautiful texture and a guileless face. Played by Doug Jones, he’s the quintessential colonialist’s dream: exotic and unknown, he’s kept as a government secret and both sides want to do a spot of vivisection to see what he’s made of.
That is, until Elisa Esposito (Sally Hawkins) discovers him.
Endowed with a peculiarly self-deprecating physicality, fitting a mute, damaged and introverted young woman who is almost completely alone, and works a strange routine, where her job, alongside her pal Zelda (Octavia Spencer) is to clean the latrines of the facility, Elisa is the “Fay Wray” in this quirky love story. And it will wring your heart in the finest of ways.
There follows a delicious tale of discovery and boiled eggs, of explicit white male malevolence, homophobia and racism, and a rip-roaring adventure which sees rotten fingers tossed on the lounge carpet, a smashed up teal Cadillac which will make you roar with schadenfreude and some monster sex, not to mention the seductive use of Glenn Miller’s wonderful swing standard I know why. Oh, and water, there’s lots of water.
It’s as poetic an extrapolation of the genre as you can imagine and the sentiments sing with the kind of monster narrative that saw Wray in the arms of King Kong more than 80 years ago, and left audience members weeping. Replete with the dark green Art Deco tiles on the walls everywhere, and the insane nuances of Hawkins with her other friend in all the world, Giles (Richard Jenkins) a gay graphic designer who mourns his lost hair, the work is completely delicious, offering as it does, insight into the complexities of Cold War society with all its crude and petty races for new technology, and its deep biases and tendency toward social violence.
Featuring a lovely little cameo with Michael Stuhlbarg (of A Serious Man fame), as the Russian Dr Robert Hoffstetler, aka “Dimitri”, who recognises the ability of the monster to communicate and indeed to love, it’s the kind of film that will leave your heart dancing with a mix of nostalgia for comics and how stories were told, and a love of the underdog monster who is neglected or ousted by social etiquette.
The Shape of Water is directed by Guillermo del Toro and features a cast headed by Evgeny Akimov, Stewart Arnott, Nigel Bennett, Shaila D’Onofrio, Madison Ferguson, Deney Forrest, Diego Fuentes, Allegra Fulton, Karen Glave, Jayden Greig, Jonelle Gunderson, Sally Hawkins, David Hewlett, Richard Jenkins, Doug Jones, John Kapelos, Marvin Kaye, Morgan Kelly, Cameron Laurie, Dan Lett, Wendy Lyon, Brandon McKnight, Sergey Nikonov, Vanessa Oude-Reimerink, Alexey Pankratov, Martin Roach, Nick Searcy, Michael Shannon, Lauren Lee Smith, Octavia Spencer, Michael Stuhlbarg, Cody Ray Thompson, Edward Tracz, Dru Viergever, Danny Waugh and Clyde Whitham. Featuring a screenplay by Guillermo del Toro and Vanessa Taylor, it is produced by J Miles Dale and Guillermo del Toro and features creative input by Alexandre Desplat (music), Dan Laustsen (cinematography), Sidney Wolinsky (editing), Robin D Cook (casting), Paul D Austerberry (production design) and Luis Sequiera (costumes). Release date: January 19 2018.
TAKING the world on with integrity: Molly Bloom (Jessica Chastain) and Charlie Jaffey (Idris Elba), her lawyer. Photograph courtesy www.theverge.com
THE CHALLENGE OF telling a complicated story in bold brush strokes in such a way that detail and nuance are not part of the casualties is a stiff one. The creative team behind Molly’s Game has achieved almost the impossible with this finely honed piece of filmography that is at once beautiful and sexy, intelligent and thought-provoking. It is informative and has a moral core; it’s magnificent to look at and will keep your conversations for weeks after you’ve seen it, peppered with suppositions and reminiscences.
On one level, it’s a poker movie. But if you’re not a poker buff, it doesn’t matter. The game and its morality, the energy behind its allure, are portrayed with a slick suaveness that never becomes self-indulgent. Indeed, there are explanatory overlays that speak of the potency of different hands, and it’s a directorial feat achieved with balance.
Similarly, the story is told on an almost documentary level. There’s a narrator to the work which fills in the narrative interstices and lends the story historical flow without dumbing down the performances or making them illustrative.
And then, there is Jessica Chastain in the leading role. She’s beautiful in the sense that LA-film critic Mick La Salle describes French actresses: there’s a realness, an almost harshness, to her which lifts her stature beyond that of bimbo and into the messy realm of high-end gambling behind closed doors. She really looks at the characters she interfaces with, and she embodies her character with a wrenching earnestness that never feels forced.
As the trailer will show you, there’s lots of high velocity gambling, with the lights, the bling, the revealing dresses and the dodgy rich men. But what the trailer doesn’t show you is the deeply intellectual soul of the story.
It’s the true tale of Olympic skier Molly Bloom, who is shaped by the urge to conquer the most difficult challenges, an urge which takes her in a completely different direction to what any of her fans or enemies might have imagined. It’s a tale with heart and soul, blending and twisting James Joyce’s Ulysses and Arthur Miller’s The Crucible deliciously into its narrative and its screenplay.
With honed and strong performances by Idris Elba and Kevin Costner, it’s a work that foregrounds a young woman’s relationship to men in power, and there are psychological themes and intellectual choruses in the work which are allowed to develop in strata.
In short, this yarn, which touches all mythologist Joseph Campbell’s values about the way in which a hero’s life story is constructed, is tight and intelligently made. There are simply no flaws in it. And you will not be satisfied with a single watching of it. This is one of those films that slides into classic status automatically.
Molly’s Game is directed by Aaron Sorkin and features a cast headed by Gurdeep Ahluwalla, Mary Ashton, Nicholas Banks, Jon Bass, Tom Black, Jacob Blair, Chris Boyle, Steve Brandes, Gary Brennan, Joey Brooks, Catherine Burdon, Bill Camp, Jessica Chastain, Michael Cera, Laura Cilevitz, Ari Cohen, Michael Cohen, Kevin Costner, Brian d’Arcy James, Karl Danhoffer, Todd Thomas Dark, Lizzy DeClement, Linette Doherty, Dennis Drummond, Dan Duran, Idris Elba, Frank Falcone, David Gingrich, Jake Goldsbie, Zachary Goodbaum, Angela Gots, Graham Greene, Shane Harbinson, Thomas Hauff, Daoud Heidami, Stephanie Herfield, Kjartan Hewitt, Chris Hoffman, Piper Howell, James Hurlburg, Samantha Isler, Morgan David Jones, Tommy Julien, Jeff Kassel, Joe Keery, Robert B Kennedy, Justine Kirk, Khalid Klein, Michael Kostroff, Natalie Krill, John Krpan, David Lafontaine, Maria Lerinman, Dan Lett, Ken Linton, Alanna Macaulay, JC MacKenzie, Bo Martyn, Matthew D Matteo, Madison McKinley, Elisa Moolecherry, Timothy Mooney, Duane Murray, John Nelles, Randy Noojin, Chris O’Dowd, Chris Owens, Vasilios Pappas, Jeffrey Parazzo, Whitney Peak, AC Peterson, Jason Pithawalla, Phil Primmer, Jonathan Purdon, Claire Rankin, Robin Read, David Reale, Amy Rutherford, Victor Serfaty, Chris Siddiqi, Rachel Skartsten, Tony Stellisano, Amy Stewart, Rae Anne Stroeder, Jeremy Strong, George Tchortov, Dov Tiefenbach, Vladimir Tsyglian, Rico Tudico, Alyssa Veniece, Bruno Verdoni, Leo Vernik, Jason Weinberg and Moti Yona. It is written by Aaron Sorkin, based on Molly Bloom’s autobiography. Produced by Mark Gordon, Matt Jackson and Amy Pascal, it features creative input by Daniel Pemberton (music), Charlotte Bruus Christensen (cinematography), Alan Baumgarten, Elliot Graham and Josh Schaeffer (editing), Francine Maisler (casting), David Wasco (production design) and Susan Lyall (costume design). Release date: January 12 2018.