At first one would think that The Shape Of Water is another science fiction movie with a bizarre story, but it turns out to be a story that’s a lot more than that.
Eliza Esposito is a mute woman in Baltimore in 1962. Orphaned at a young age, she lives in an apartment just above a movie theatre and works as a janitor in a secret government laboratory. She only has two friends. The first is Giles: a gay advertising artist who lives next door to her. They often eat pie and watch entertainment together. The second is Zelda: an African American woman she communicates with in sign language. It’s through Zelda she can tell her biggest secrets.
One day, a creature is brought to the laboratory. It’s a sea creature from South America captured by Colonel Richard Strickland. Right when she sees the creature, she notices something about him. That the creature has some human-like traits. Both Zelda and Eliza sense something wrong with Colonel Strickland as he comes across in a gruff manner. They also notice he brought a cattle prod that has blood on it. Eliza notices the blood travels in a unique pattern.
Later Strickland is attacked by the creature, bleeding badly and lost two of his fingers which get reattached shortly after. As Strickland is being tended to, Eliza wonders who is this creature and what do they want from him? Eliza soon develops a bond with the creature and discovers it’s a humanoid amphibian. She gives him eggs to eat, music to listen to, and communicates with him through sign language.
There are different plans people have for this creature. General Hoyt wants Strickland to dissect it for the possibility of an advantage in the Space Race. Scientist Robert Hoffstetler, who is secretly a Soviet spy, tries to convince his masters to keep the creature alive for scientific study. The Soviet spymasters disagree and want him euthanized.
When Eliza learns of Hoyt and Strickland’s plans for the creature, she tried to persuade Giles to assist, but he rejects at first. It’s after a failed attempt at hitting on the pie man that he agrees to comply. Zelda is also opposed to it at first, fearing for but her job and Eliza’s, but she agrees to help. Hoffstetler tells Eliza he’s aware of her plan and is willing to help.
The plan is to help the creature escape where no one can see. Zelda keeps a close eye on the coast. Hoffstetler helps in the distracting of the surveillance cameras just as Zelda makes the adjustment, and even has a bomb on the power base set to explode at the right minute. Giles rents a truck and paints it to look like the laundry pick-up truck. Eliza is able to get the creature into the laundry bin. Just as it appears that Giles is about to get stopped by security, Hoffstetler injects sleeping medicine into the guard’s neck. The pick-up and escape is successful, but not without smashing Strickland’s new blue Cadillac!
Eliza keeps the creature in her apartment. She keeps it in her bathtub which she mixes with salt and plants. She plans to release it into a canal in a few days one it opens to the ocean. She’s well aware that Strickland still wants the creature. Strickland even meets with Eliza and Zelda to interrogate, but both are able to keep the truth hidden from him.
Back at the apartment, the creature leaves Eliza’s suite and visits Giles’ suite. He takes an interest in his drawings and the television, and thinks one of his cats is food! The creature runs off again just after he slashes Giles’ arm. Eliza goes searching for the creature and finds him in the movie theatre staring at the screen. The relationship between Eliza and the creature grows. She becomes more than just his protector, but his lover. She herself can even acquire the ability to make shapes with water. She even tells all to Zelda, to her surprise. The creature even helps Giles heal from his wounds. Giles eventually opens up to him just after. Eliza gets sexually involved with the creature even to the point she tries to flood her whole bathroom to have underwater sex! Much to the disappointment of the cinema owner down below!
However time is running out for all. General Hoyt gives Strickland an ultimatum of 36 hours to return the creature back. For not helping with keeping the creature, Hoffsteler is told by his superiors he will be extracted in two days. However the creature’s health is failing and he will have to be returned to the water. The day Eliza planned to take the creature to the canal comes. Giles agrees to help drive the creature to the canal when the day comes.
Meanwhile Hoffsteler meets with his handlers and is shot, but not until Strickland intervenes and shoots the handlers dead. He forces Hoffsteler to reveal who took the creature. Strickland then goes to Zelda’s house. To the shock of her and her husband, Strickland arrives and threatens Zelda to reveal Eliza has been keeping the creature. Zelda then telephones Eliza and Giles warning them of Strickland. The time to take the creature to the canal is now. The creature wants Eliza to come with him, but Eliza insists it’s better for him to go alone. The scene ends on a dramatic note and an ending that’s unexpected, but is the right ending for the film.
This does make for a bizarre story of a recently-discovered sea creature and a woman’s romantic connection to the creature. We’ve seen Beauty-And-The-Beast type of movies before like King Kong or Creature Of The Black Lagoon. The funny thing about this is that it actually succeeds as a romance. The first thing that makes it work is that there’s a real connection between the woman and the creature. Rightly so because Eliza is the first to connect with the creature and connects with him in the biggest way. All Eliza had before was her job and the friendships with Giles and Zelda. Here she finds a being that she not only connects with, but becomes her soul mate. The one that completes her. They were two lonely people who were united by fate of the most impossible kind. You could understand why the ending made sense. It was through the magic of the creature’s healing that she is able to live in his world and his world only.
The most interesting thing of the film is its connection of the various arts. It’s more than just nostalgia. It reminds you of the charm and the feel of such entertainment back then that most people overlook. However it’s through those various arts that the sea creature gets a sense of human vitality and even embraces it into his own life. The art he comes across helps him communicate in the human world and gives him his human-like qualities. From the music Eliza plays to the images on the movie screen to even watching a hokey episode of Mr. Ed on Giles’ television, the entertainment is his connection to his human traits. It even helps him experience his feelings of love which he has for Eliza. You could understand why that one scene where Eliza was not a mute –that musical number where she dances with the creature– makes sense. It’s through art that she’s able to express her love for the creature: the one being that doesn’t make her feel like an outsider at all.
The creature doesn’t just affect the lives of Eliza, but of the two closest to her too. Soon after Giles has a change of heart and helps the creature’s escape, Giles opens up to the creature and soon makes him a part of his own art. As Zelda helps the creature escape, she too develops an inner strength in her and is able to stand up for herself to her husband. It’s something to think about. The three main characters are all misfits in 1962 Baltimore. Eliza is a mute, Giles is gay, and Zelda is black. However it’s through this creature that Eliza finds a soul mate, Giles finds a purpose and Zelda finds an inner strength.
I give top credit to Gullermo del Toro. The story he directed and co-wrote with Vanessa Taylor is comical and had a lot of good drama, but it’s the human element that shines in the story line. Del Toro would admit in an interview that this is inspired by The Creature From The Black Lagoon and always dreamt of seeing Gill-Man succeed in the romance to Kay Lawrence. I can sometimes see hints of Pan’s Labyrinth in the story. It’s interesting how he creates this story that romanticizes the entertainment of the time as well as reminds us of the hysteria of Communism at the time too, as well as the racism. All of this makes the charm of the film.
The acting is the biggest strength of the film. The best comes from Sally Hawkins in playing a mute who best communicates to the sea creature with her feelings and with the power of art. Richard Jenkins is also excellent as Eliza’s loner friend who finds a new purpose in life through the creature. Another excellent performance is from Octavia Spencer playing the friend closest to her side. Also very good acting from Michael Shannon. You often wonder if Strickland is heartless or just plain under the thumb of the Colonel. You know he’s troubled when you see the amount of pills he takes. Excellent work for Doug Jones. One again, he does excellent work as the creature in Guillermo del Toro’s movies. Most of you remember him as the Faun in Pan’s Labyrinth. You could say Doug Jones is to del Toro’s movies what Andy Serkis is to Lord Of The Rings’ Gollum.
The film has a lot of excellent technical aspects too. There’s the costuming and make-up team that made up the costume of the creature, as well as the visual effects team that made the ‘blue effect’ of the creature’s skin. There’s the production design team that made an excellent set that dates back to the early 1960’s to a tee, even with the movie theatre. There’s Luis Sequeira that designed the right costumes and outfits for the actors as well. Finally, there’s the mix of the music of the time mixed with the imaginative score of Alexandre Desplat. Desplat knows how to compose for a movie.
The Shape Of Water is more than just a creature-and-woman romance we’re familiar with. It succeeds in having the feel of an actual romance and successfully convey the feelings of love. In the end, the romance looks so right! That’s its magic.
The premise of Philomena may make many people nervous about seeing it. The questions before watching it will be “Will it be too disturbing?” or “Will the Catholic Church get knocked on screen again?” There’s only one way to find out.
The film begins in 1951 with a teenage Philomena Lee. She meets a young boy at a town fair whom she completely falls for that one day. Fast forward to 2004. Martin Sixsmith is an unemployed journalist since the Labour Party, the party he works as a government advisor, is beset by scandal. He goes to a party and meets the daughter of Philomena Lee who encourages him to write a story about her mother who was forced to give up her baby boy Anthony more than 50 years ago. Martin is uninterested in writing a human interest story and is more intent on writing a book on Russian history. However it’s after he meets Philomena and hears her story about how it all happened that he changes his mind and investigates further.
Once she was pregnant, she was sent by her father to Sean Ross Abbey, a mother-and-baby home that young unwed pregnant girls were sent to. It was terrible to live there while under the orders of the strict Sister Hildegarde, especially if she was assigned to do the laundries for four year to cover her stay. Nevertheless she was able to see her baby Anthony whom grew attached to her friend’s girl Mary. Then one day Philomena saw Mary and Anthony adopted out of the house. All Philomena could do was watch in heartbreak 30 feet away as her infant son was taken away.
Philomena had tried for years to find out what happened to her son by visiting the convent to no avail. Martin goes with Philomena to the convent only to hear from the nuns the records were lost in a fire years earlier. It’s over at the pub they hear from locals that the records were purposely destroyed in a fire and the children were sold to rich Americans. It’s after Martin’s searches in Ireland coming to a dead end that he decides on an arduous task. He decides to get the answers by visiting the United States and having Philomena accompany him.
Upon arrival in the United States, he learns through various search sites that Anthony and Mary were adopted by Doc and Marge Hess who renamed him Michael. Michael grew up to be a lawyer and a senior official to the Republic Party during the administrations of Ronald Reagan and George Bush Sr. He also learns news of heartbreak. Michael died in 1995 at the age of 43. The news naturally breaks Philomena’s heart but soon she wants to meet with people who knew Michael.
She meets one colleague and learns Michael was gay and died of AIDS. She meets up with Mary who grew up with Michael and eventually became a mother. Mary reveals Michael had a boyfriend named Pete Olsson. Pete is unwilling to cooperate despite Martin’s please but it’s not until Philomena pleads face to face with Pete that he complies. The visit with Pete is warm as he tells her of Michael’s childhood and even shows home videos. It’s when Philomena sees a video of Michael at the Sean Ross Abbey that she learns Michael tried looking for her while he was dying. She also learns he was buried over at the Abbey.
It’s then when Martin and Philomena return to the Abbey where it all started. It’s there where Martin can confront Sister Hildegard for being strict on the girls and being deceptive to both Philomena and Michael, whom she told Michael he was abandoned and they lost contact with the mother. Hildegard is unrepentant but surprisingly Philomena approaches her and forgives her. It’s right at Michael’s grave that she can finally meet the son she’s always looked for and finally make peace with her past.
The best quality of the movie is its unpredictability for those who’ve never learned the story. There may be some who have already learned the story of Philomena Lee but most who haven’t. If you don’t, then this movie will surprise you in many areas. It’s not just about Philomena’s search but learning of her son and what happened in the end. The film is full of moments. Moments of happiness, moments of tension, moments of relief, moments of surprise, moments of sadness and moments of humor. The film shows that the trip Philomena went on was not just about leaning about what came of her son but also her own personal journey of healing. A healing that needed to happen and occurred in unexpected ways.
Another great quality is the portrayal of the characters themselves. Philomena comes across as a very likeable and charming woman. Nevertheless one would question how smart she is at times and even question her faith if it’s just routine or even strong. Philomena is seen as simple and sometimes blames herself for a lot of wrongs in her life. However she comes across at the end as a stronger person than one would originally think. The biggest surprise is it would be Martin who most seems to have problems and issues while Philomena, who is the one who actually endured trauma, who still smiles at life in the end despite the harshness she went through.
Martin himself comes across as your typical egotistical journalist who appears to want to destroy the Catholic Church with his pen but somehow has a softening of heart once Philomena comes into his life. He will first make one wonder what his true intentions of helping Philomena learn of her son is: to really help Philomena or to get a great story published. In the end, he comes off as rather likeable for a journalist. Proof that even a journalist can have a heart!
I know there may be some Catholic readers that may be hesitant about seeing this film and the way the Catholic Church is portrayed. Yes, it’s surprising that Catholics would be more concerned about their depiction of the Church in a film that’s not by Martin Scorsese than whether Scorsese’s latest has another slamming of the Catholic Church in his latest. Even I myself was a bit concerned about seeing this as I saw The Magdalene Sisters ten years ago and it really was a nasty depiction of nuns and priests as well as a harsh but true look at the abuse the girls received. Philomena doesn’t show the girls in the laundries suffering abuse. It shows then doing the laundry but it does show the heartbreak of a teenage Philomena as she sees Anthony taken away from a distant window. It also shows Sister Hildegard to be unapologetic for all she’s done, not even for the girls that died during childbirth.
Actually in retrospect, I think it makes the Catholic Church look like the bad guy while the Catholic faith comes across as a positive thing in the end. One will first think of Philomena’s Catholic faith as something too ritualistic or forced upon her and even prone to break at one point but one will see in the end that it’s her faith that helps her through her hard times. In fact Philomena’s response to why she forgives Sister Hildegard in from of Martin will astonish the audience and will surprise many about how forgiveness is actually a form of personal strength. As for The Wolf Of Wall Street, Catholics should relax as the most there is in it is a joke about nuns which is the tamest taunting of the Catholic church I’ve seen is a Scorsese movie in years. I feel Philomena’s story of her search is an uplifting story of hurt and eventual healing.
Without a doubt, the standout of the film is the performance of Judi Dench. Judi is one of those actresses who really knows how to excel with age. I may have seen better acting performances from her but her portrayal of Philomena was excellent in showing the many dimensions of Philomena Lee as well as adding a charm to her. Steve Coogan was also very good in what I feel to be the best acting I’ve seen from him. His role as Martin didn’t have the same dimension as Philomena but it was a very good performance. Coogan also did a very good job of scriptwriting with Jeff Pope. The story keeps one interested especially for those who don’t know the story of Philomena Lee. Stephen Frears may not as done as spectacular job in directing as Judi did in acting and as Jeff and Steve did in writing but it is worthy of respect. It may not be as great as his Oscar-nominated directing in The Queen but it’s still a very good job. Finally, Alexandre Desplat does it again in making the film with his score composition.
Philomena may first appear like a harsh movie about a woman hurt by her past and finally looking for answers. In the end it turns out to be more bittersweet than harsh and will leave one feeling Philomena did win in the end.
Moonrise Kingdom is one of those films one who wants get off the beaten path might want to see. Knowing that Wes Anderson is directing it is one sign this is something out of the ordinary. But is it enjoyable?
The film starts with a young girl, the oldest of four children and only daughter, has her binoculars out for a search. She leaves her house on the search with her cat, six books and a record player but we don’t know what she’s searching for. Her name is Suzy Bishop. Meanwhile it’s rise and shine for the Khaki Scouts at Camp Ivanhoe. Only one scout is missing and no one can find him. His name is Sam Shakusky.
Flashback a year ago. Suzy is about to perform for a church musical for Noye’s Fludde by Benjamin Britten. Sam sneaks in and meets Suzy. It was like love at first sight for the two. Over the year’s time, they were pen friends and they made a secret pact to reunite in the summer and run away together. Now today is the day. As Suzy is walking to the area with binoculars in hand, Sam paddles his canoe over the lake well-equipped with camping equipment. They meet and camp out for several days on a secluded cove which they call Moonrise Kingdom. Their love blossoms as the days pass and as Sam paints pictures of her.
Eventually the two are located by the scoutmaster, the police and Suzy’s parents. They’re first able to evade escape by the scouts after Suzy stabs one in the side with lefty scissors. But it’s all too late as they are caught. Suzy is taken home by her parents and is ordered never to see Sam again. Sam is in custody with Captain Sharp and is about to be sent to ‘juvenile refuge’ because he is an orphan and his foster parents no longer wish to house him. The two run off again and hide. One other thing to add: a hurricane is expected to hit the area in a matter of days.
It’s this second incident that people are more cooperative. The Scouts learn of the love of the two and believe it their duty to help them hide. The Scouts even seek out the help of Cousin Ben to help them in the hiding out. It appears to be successful but there are many twists and turns including a flash flood within the camp and the recovering stabbed boy blockading Sam’s escape. After a lengthy chase, they return back to the church as it is about to do a musical. Problem is all those attempting to chase the two down head there too and the hurricane is slowly but surely approaching. Sam and Suzy refuse to give up and even go as far as going to the top of the church steeple while the storm is at its wettest and windiest to evade capture. The ending ends in an offbeat way but it’s a happy ending that ends in a charming manner.
I’m unsure if Wes was trying to get a point across in this movie or if he was just trying to deliver a quirky but nice story. It’s easy to sense that there may be a message here with a lot of elements in the story: 1965, New England, scouts, church plays, lawyer parents, an orphan who runs away a lot, a girl with behavioral problems. Whatever the situation, Wes succeeded in making this offbeat kiddie-romance quite charming. Wes has had a history of doing charming but quirky movies like Rushmore, The Royal Tenenbaums, The Darjeeling Limited and even the animated family movie The Fantastic Mr. Fox. Here he has a story of children in love that commonly make for a typical cutesy story, adds his own quirks in there, gives the two children in love unique characters and delivers a winning and entertaining story. How often can a director accomplish that?
Besides Anderson’s filmmaking, the film has other great qualities too. The script he co-wrote with Roman Coppola, son of Francis Ford Coppola, adds to the charming quirkiness of the movie. The acting performances of the leads Jared Gilman and Kara Hayward were very good, especially since they’re debut performances. The one thing is that Wes Anderson wanted the two to act in a certain style of acting that would fit the movie instead of your typical acting. Both did a good job of not only doing their character but succeeding in making the chemistry both quirky and a perfect aspiring at the same time. Anderson also brings back actors he has worked with in past movies like Bill Murray, Jason Schwartzman and Larry Pine and he also includes Edward Norton who will star in his upcoming The Grand Budapest Hotel. Their addition as supporting players also add to the story as well as supporting performances from other established actors like Harvey Keitel, Bruce Willis, Frances McDormand and Tilda Swinton.
It wasn’t just the writing, directing and acting. The music also added to the movie as well. The first is the inclusion of Benjamin Britten’s music in the movie. It’s obvious Wes had a liking to Britten’s music as a child. In fact we hear the Young Person’s Guide To the Orchestra played by Suzy’s little brothers at the beginning. The original music from Alexandre Desplat also added to the movie’s charm too. Many can agree that the use of such music had a lot to do with the movie’s charm.
Moonrise Kingdom is an odd and quirky story that will win you in the end. Great movie to watch for moviegoers who want to get off the beaten path.