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MOVIE REVIEW

Movie review: Compassion not trumped by hate here

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Movie review

Sally Hawkins, right, with her visitor from below (Doug Jones) in Guillermo Del Toro's "The Shape of Water."

(Editor's note: "The Shape of Water" was originally scheduled to open Friday in the Twin Cities; its opening date has been pushed back one more week, to Jan. 26.)

Guillermo del Toro’s creature feature “The Shape of Water,” a grotesquely gorgeous fairy tale, just might be the most epically romantic monster movie ever.

Del Toro makes films that straddle the line between horror and beauty, fascinated by attraction to the unexpected and the weird.

The film, co-written with Vanessa Taylor, is a delightfully subversive and heart-rending love story; deeply original, boundary-pushing and genuinely emotional and moving.

“The Shape of Water,” set in the early 1960s, stars Sally Hawkins as Elisa, a mute woman who lives in a dank apartment above a glorious old movie palace in Baltimore.

She leads a nocturnal life, caring for her neighbor Giles (Richard Jenkins), a closeted, struggling illustrator, before her graveyard shift cleaning a government facility, working with the brash and funny Zelda (Octavia Spencer), her translator and protector.

One night, the women witness a new “asset” being wheeled into the building in a rusty iron water tank, guarded by a menacing security director, Strickland (Michael Shannon). Intrigued by the flapping of fins, Elisa lingers in the lab whenever she can to catch a glimpse of the mysterious amphibian.

In the murky waters, she discovers that the greenish-gold fish-man — powerfully strong, able to rip off a man’s fingers with a single swoop of a webbed hand — is as gentle as a lamb when she woos him with hard-boiled eggs and big-band records.

She forges a close bond with the strangely beautiful creature, which is masterfully communicated by del Toro, using visual storytelling for this couple who doesn’t speak.

However, Hawkins’ performance is the linchpin — she’s mesmerizing in wordlessly expressing every corner and facet of her character’s emotional journey, like a starlet from the silent era.

It’s not easy for these two to be in love, especially when the violent, cattle prod-wielding Strickland has dark intentions.

Locked in a Cold War-era space race, the U.S. government is convinced that the creature could be their “space dog,” thanks to his unique breathing system, and are racing the clock against the Russians.

“The Shape of Water” is a movie that’s in love with the movies, but it happily upends genre, too, drawing out the sub-textual love themes found in many monster movies, spinning a Cinderella-story romance.

The Creature from the Black Lagoon becomes the leading man, and the strapping military officer is the force of destruction and evil. 

“The Shape of Water” hits that sweet spot among lovely, dark, poignant and bloody. It is pure of heart but is a profoundly adult film, with sex, violence and serious themes about identity and politics.

The extended climax feels prolonged, but del Toro uses that time to establish the characters and motivation so that the bloodshed is earned.

The heroes are outsiders — long discriminated against and ostracized by white patriarchy — who band together to save this vulnerable, curious creature, far from home.

In the face of terror, they champion love against hate, acceptance against destruction.

What a simple but powerfully resonant message.

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