The Shape of Water

Tags

2010's, Doug Jones, Fantasy, Guillermo del Toro, Michael Shannon, Michael Stuhlbarg, Octavia Spencer, Richard Jenkins, Romance, Sally Hawkins, The Shape of Water

The winner of four Academy Awards, including Best Picture, The Shape of Water throughly merited this acclaim with its imaginative and universal story, beautifully haunting direction from Guillermo del Toro and top notch performances from an outstanding cast of actors. Plus, it stands as one of Guillermo del Toro’s finest films put to screen.

The year is 1962 and in a coastal area of Baltimore, Maryland, Elisa Esposito(Sally Hawkins)lives above a picture house that screens old movies to a pretty absent audience. She has been mute since childhood when she was found by the river with marking on her neck. An orphan who lives an ordered, almost ritualistic life, Elisa’s forms of companionship are closeted gay artist Giles(Richard Jenkins) and wise cracking and loyal co-worker Zelda Fuller(Octavia Spencer). Elisa and Zelda work in a government facility as cleaners, where they are expected to make things tidy and not ask any questions about the goings on within their workplace. One day, the facility has an arrival of a humanoid creature(Doug Jones) that comes courtesy of the finding of nasty government agent Colonel Strickland(Michael Shannon). He is head of the operation regarding investigating the creature, which mainly involves torturing it as he sees it as unholy, yet who himself is a self righteous hypocrite. Elisa becomes curious about the creature and begins to spend time with it. The creature responds to her and though it doesn’t talk either, they find a way to communicate with one another. Over time, a genuine love forms between them. This places her in danger as the people higher up than Strickland want to vivisect the creature and an enigmatic scientist by the name of Robert Hoffstetler (Michael Stuhlbarg) has his own motives for studying the humanoid. Elisa, feeling emboldened by her newfound love and understanding, decides to help the humanoid escape. Though this is not going to be an easy operation and Strickland has grown suspicious of her and the consequences could be deadly for Elisa if she does not succeed in saving her lover. 

From the moment The Shape of Water opens with a submerged dream sequence involving Elisa’s water filled apartment and with narration from Giles, you know it’s a film by the masterful Guillermo del Toro. His strong presence and boundless imagination are on full display, twinned with a sensitive story of acceptance, love across the boundaries and understanding of what is deemed different. He was rightly rewarded with an Oscar for his poetic direction of this dark yet endearing movie that pays homage to monster movies of the 50’s, old Hollywood and Cold War intrigue, all wrapped in the confines of his exceptional vision. The Shape of Water is many things that it can be difficult to classify it as it mixes intense thriller suspense, socially aware drama and budding romance. His script, co written with Vanessa Taylor, grounds fantasy in a historical prism, exploring prejudice within the narrative. The main players in the story are all deemed outsiders;Elisa is mute, Giles is having to conceal his sexuality and Zelda faces adversity due to her skin colour. By featuring this aspect, it seems wholly appropriate that Elisa would find solace in the arms of a humanoid creature, who himself is tortured for being different at the hands of the ignorance of others. The message of accepting everyone’s differences and uniqueness is rendered excellently into the fantasy realm with a very human touch that’s simply irresistible. The Shape of Water is a beautifully engaging and unusual fairy tale, that retains a sense of almost childlike curiosity and wonder but is definitely a fantasy for mature audiences owing to violence, brutality and sexuality displayed in the story. This is aided by amazing, award winning production design that captures a darkness of the 60’s in terms of historical context and the ravishing cinematography( blue, green and red feature heavily) that transport us into the distant past via a fantasy romance that’s not afraid to be strikingly adult or daring. Alexandre Desplat earned his second Oscar for his sublime score that captures a wistful, romantic longing and sense of dreamlike joy, coupled with darkness and action when events start to deepen and the stakes of the story increase. 

One of the strongest aspects of The Shape of Water is the sensationally talented cast it boasts. Front and centre is the talented Sally Hawkins, who never lets me down when it comes to convincing acting that feels so true. She’s required to not speak a word, but displays a silent symphony of feelings from quiet delight, aching sadness and growing, admirable bravery in an exquisite anchoring portrayal. You buy all of this because of just how darn good Sally Hawkins is in this part. Hawkins injects Elisa with a deep humanity and sense of authenticity that it stands as one of her finest performances that truly shines in this romantic fantasy. She’s the beating heart of The Shape of Water and it simply wouldn’t be the same without her layered performance of dazzling emotion and winning, hopeful clarity. Hawkins is supported delightfully by Richard Jenkins and Octavia Spencer as the two people closest to her. Jenkins, who has been one of the most reliable character actors in what seems like forever, gives life and pathos to his acting as the artist having to suppress his sexuality in a world of ignorance. He’s something special here it must be said with his notes of humour and sympathy splendidly telegraphed. Octavia Spencer also brings her A-game as the loquacious best friend with attitude and conviction. You feel the energy of Spencer and also her understanding of the part, which shows her as tough but deep down longing, hurting yet extremely loyal to those closest and willing to defend them until the end. All three actors were rightfully nominated for Oscars for their respective performances here and they were much deserved.

As the Amphibian creature, Doug Jones, although covered entirely in a scaly suit and make up, brings out a curiosity and sinuous movement in his role. It’s a credit to him that we see the soul of the misunderstood creature and that’s high praise indeed. Although the humanoid is seen as the monster in the story, that title actually the fits the part of the vicious Strickland, played by the incredibly reliable Michael Shannon. He’s excellent as the bible spouting, bullying government agent who always needs to be in control. Shannon is fine when giving voice to Strickland’s frustrations and nastiness, but it’s often when he is silent with emerging rage and intensity that he’s most riveting to watch. Not to say that he’s better at one than the other, he’s amazing at blending both but there’s just something about the way he uses body language and his face that really sells it. Michael Stuhlbarg displays his skills as a secretive scientist with more going on that it seems behind the appearance of studious investigation. He’s nicely understated with his subtle turn as a man who ends up conflicted on what to do with regards to the creature. 

A beguilingly unusual but very touching fantasy romance about acceptance, love and bravery, The Shape of Water is a different but enthralling film that knows how to move the audience with its story, compelling craftsmanship by Guillermo del Toro and simply stellar cast, headed by the sublime Sally Hawkins.

The Life Ahead

Tags

2020’s, Abril Zamora, Babak Karimi, Drama, Edoardo Ponti, Foreign Language Film, Ibrahima Gueye, Renato Carpentieri, Sophia Loren, The Life Ahead

Sophia Loren, following an absence of ten years from screen comes back gloriously with a wonderfully warm, fierce and emotionally nuanced performance in The Life Ahead. The story is rather familiar but is nonetheless very moving and the acting from Sophia Loren and newcomer Ibrahima Gueye is something to behold. It’s a great movie I discovered on Netflix and I recommend it to my audience.

In a seaside town in Italy, Senegalese orphan Momo(Ibrahima Gueye) lives an existence of aggression and mixed up feelings. Though he is cared for by Dr. Cohen(Renato Carpentieri), the 12 year old Momo feels isolated and not at all happy with life. He takes his anger out on others, while resorting to theft and drug dealing with others. One day, Momo steals the belongings of Madame Rosa(Sophia Loren), a former prostitute who is now seen as a respected figure in the community. When Cohen gets word of this crime, he takes Momo him to her to say how sorry he is. The ageing Madame Rosa recognises as the one who stole from her and is not at all interested in helping Momo. Cohen is getting older and feels he can’t look after the troublesome Momo, yet senses that Madame Rosa might have something more to offer. Knowing that Madame Rosa makes money as an unofficial carer to the children of streetwalkers, Cohen persuades her to take care of for a decent amount of money. From the start, the two do not get along. Momo is a tough kid with a chip on his shoulder and a feeling of loss that he expresses with violence and dealing drugs to people nearby, while Madame Rosa is kind but firm, yet haunted by a past that includes her imprisonment in Auschwitz because of her being a Jew. It looks like things won’t be going well for the mismatched duo as they are both incredibly stubborn in their own ways. Over time and little by little, a bond develops between and they seem to bring out the best in the other while attempting to overcome their adverse pasts and unknown futures.

Edoardo Ponti, Sophia’s son, beautifully directs this gently touching tale of two people of different backgrounds and forming an unlikely bond across the. Ponti knows how to strike the right tones of feeling to the piece and elevates the rather simple material into something a step up from the usual wrought dramas, his chief asset being the development of the two central characters of Momo and Madame Rosa. The Life Ahead does strike many familiar notes that you’d expect but it should detract from the emotional heft of the story that make it worth treasuring. I feel the movie could have ran a little longer for some more details, but the relationship between is nicely explored enough to compensate for that. Italy is captured beautifully through the cinematography of Angus Hudson, while most of the often sparse music score is nicely heard and though sometimes intrusive, it does the job well enough . There is a heartfelt song, given stunning voice and resonance by Laura Pausini and with lyrics by Diane Warren by the name of ‘Io sì’. It is quite a beauty song that rounds off The Life Ahead gorgeously and deeply.

Sophia Loren is the big standout and takeaway from The Life Ahead. The biggest piece of praise I can give to the wonderfully talented Loren is that the film wouldn’t be the same without her. She is ideally cast and embodies so many shifting feelings in a way only she can with her innate magnetism. She’s spiky yet hauntingly vulnerable, funny yet morose, sparky yet slowly succumbing to the ravages of old age. You warm to her so much and it’s a treat to see all of these emotions displayed, often with only a simple look that speaks volumes from those dazzling eyes. It’s fantastic to see her back on screen and on sensational form with this vivid portrayal of maternal love and haunted memories. Newcomer Ibrahima Gueye plays beautifully off the classic Loren with a feeling of naturalism and authenticity to his work. It hardly seems like he’s acting at all, that’s how convincing Gueye is as the scrappy kid discovering that happiness can occur in what he originally saw was a life of sadness. And considering he’s starring opposite an icon of world cinema, he shows no nerves whatsoever and rises to the occasion. They are commendably supported by the gravitas of the excellent Renato Carpentieri as the doctor who sets things in motion, the fantastic Abril Zamora as a loyal trans woman who is best friends with Rosa and Babak Karimi as a carpenter/shop owner who takes Momo under his wings at work. But above all, The Life Ahead is a showcase for the undimmed power of Sophia Loren and a great introduction to Ibrahima Gueye.

A touching film of emotion and heart directed with grace and elegance by Edoardo Ponti, The Life Ahead won’t win any awards for originality but should definitely be in contention for plaudits for acting, partially from the iconic and still amazing Sophia Loren.

Empire Records

Tags

1990's, Allan Moyle, Anthony LaPaglia, Brendan Sexton III, Comedy, Coming-of-Age, Coyote Shivers, Debi Mazar, Drama, Empire Records, Ethan Embry, James 'Kimo' Wills, Johnny Whitworth, Liv Tyler, Maxwell Caulfield, Renée Zellweger, Robin Tunney, Rory Cochrane

The wonderful Gabriela asked me to take part in a blogathon to pay tribute to Maxwell Caulfield.I thought of the perfect film for it and that film is the coming of age comedy/drama Empire Records. My entry is a day early but I don’t think anyone will mind. 

Set over a day in the lives of the workers at the titular music store, Empire Records is a 90’s movie with plenty of good music and filled with many stars on the brink of making it. Plus, you’ve got offbeat characters and fun antics so it’s a great way to spend an hour and a half. Don’t go in expecting anything revolutionary and you’ll have a good time with this cult classic that’s stature has grown in recent years.

Empire Records is a funky little independent record store in Delaware, that provides a solace for the teenagers who work there under the caring eye of store manager  Joe(Anthony LaPaglia). The store prides itself on being independent and doing its own thing, not complying with corporate pressure to be mainstream, but all that could be in jeopardy. The sarcastic and wisdom dispensing employee Lucas( Rory Cochrane) discovers that there is a plan to sell the store and for it to be changed into a soulless music chain. Determined for this not to happen, Lucas takes the store’s takings and heads to Atlantic City. He plans to increase the money at the casino, yet his luck runs out quickly and the money is gone thanks to his harebrained scheme. The next day, the store opens for the arrival of has been former teen idol Rex Manning(Maxwell Caulfield), whose attempting some form of a comeback. It’s here that the rest of the characters are introduced. We have beautiful over achiever Corey(Liv Tyler) , a good girl who wants to lose her virginity to celebrity crush Rex, sexy and sassy Gina( Renée Zellweger) who goes through men like clothes, artistic A.J( Johnny Whitworth) who is in love with Corey but hasn’t had the courage to tell her, wild eyed stoner Mark(Ethan Embry) and troubled Deb(Robin Tunney), who announces herself by shaving her head within minutes of entering the store. Also appearing later are Deb’s on/off rockstar boyfriend Berko( Coyote Shivers)and Mark’s fellow stoner Eddie(James ‘Kimo’ Wills) .

Once Joe notices that the money is gone, he is furious and waits for Lucas to show his face. After animosity following Lucas resurfacing, Joe attempts to explain a plan that could stop the store becoming mainstream while still nursing anger towards the well meaning but careless Lucas. It seems that the money Lucas lost was going to be used to buy the store outright by Joe. Meanwhile ups and downs within the store flesh out the eventful day before them. A whole host of things take place in the twenty fours like a belligerent thief going by the pseudonym Warren Beatty( Brendan Sexton III) causing havoc, Corey and Gina falling out over their respective reputations, Deb’s feelings of alienation and indifference and the appearance of the washed up Rex who has seen better days and isn’t blessed with the kindest of egos . Above it all, feelings are aired and the misfits begin to band together to stop the takeover in an attempt to sock it to the man. 

Allan Moyle is on director’s duties and he seems to have a good grasp of teen angst and how music is always there for us. Complete with messages of fighting the system and being yourself even when you’ve got problems, Moyle injects Empire Records with a certain nostalgia value and the script sizzles with great one liners and plenty of hip dialogue. Moyle keeps the pace flowing as more crazy events mount up within the store, many of them overlapping and entertaining. Empire Records is far from flawless( parts feel rushed and sometimes there is one music montage too many). It isn’t exactly going for being the most original movie out there, but I think therein lies the appeal of Empire Records. Sure it has foibles and the characters are largely archetypes, but it’s not attempting to be a game changer and is going for showing teenagers and their problems/ antics shared with each other and the audience. It’s got a good nature to it and is hard to resist for its sheer quirkiness and witty nature. You get the feeling that for all the angst and eventfulness in the character’s lives, that there’s some light out there for them at the end when surrounded by friends and music. Fun can be gleaned from seeing certain stars at the beginnings of their careers in this comedy drama( chiefly Renée Zellweger and Liv Tyler) that has earned itself its place as a cult classic. Plus it provides one entertaining capsule into the 90’s complete with the fashions, records, VHS and lingo that dazzle. And you have to love the soundtrack that truly singles it out as a 90’s movie of the highest order.

 A game cast fit into their arguably archetypal parts that are well suited to them in an offbeat and idiosyncratic way. As the main sense of parental authority that isn’t stuffy or condescending is Anthony LaPaglia, who combines both a fatherly charm and a gruff  visage to the craziness around him. He’s a softie at heart though and functions wonderfully as the person who provides a sense of fun and respect towards his workers who all look up to him. Much humour and astute observation comes courtesy of Rory Cochrane as the witty yet unlucky Lucas. His deadpan humour and almost mystical advice to his friends is both in check and makes for most of the movie’s laughs. A luscious Liv Tyler is on hand to present pressured angst and a want to be more than just a goodie two shoes, coupled with notes of humour and sadness. Her blend of winsome appeal and longing is employed excellently here. Renée Zellweger in an early role aces it as her best friend who has a bad reputation but is a lot more than meets the eye. Zellweger savours the sassy one-liners that her part presents and delivers them with a wicked edge. Johnny Whitworth has the right attitude for the part of lovesick A.J, who can produce great art but it seems is unable to fully express his feelings of romance, while the main points of comedy come from the crazy and uninhibited turn by Ethan Embry as the stoner. Robin Tunney rounds out the main group with a decidedly dark yet acerbically funny performance as a girl crying out for help but also letting loose and just holding nothing back. 

And we now come to the man of the hour that is Maxwell Caulfield. He’s splendidly cast as the has been pop star whose attempting a comeback yet is never taken seriously by anyone. Caulfield captures the sleazy and entitled attitude of someone who doesn’t realise that their heyday is in fact over and that he’s an embarrassment full of arrogance and swagger. Complete with bouffant hair and bad spray tan, he’s a funny figure to witness and one that Caulfield plays very well. It’s really evident that Maxwell Caulfield is having a ball with this peach of a part. I enjoyed seeing a young Brendan Sexton III as the surly and amateur thief who begins to feel at home inside the confines of the store. In support there is Debi Mazar as his personal assistant who actually can’t stand him and sides with the store, plus the music stylings of Coyote Shivers and slacker humour from James ‘Kimo’ Wills.

So while it has its moments that detract from the overall product, Empire Records is still an entertaining film to watch, mainly for the performances and of course the music