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  Oscar favorite "Shape of Water": Love is like water – and everything is swimming – Culture | Bit Updates
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Oscar favorite "Shape of Water": Love is like water – and everything is swimming – Culture

Wednesday, February 14th, 2018 | bitcoin updates

One would have to be able to write about this film in a single sentence, a seemingly endless flow of words. They could take on the consistency of water, dancing like raindrops on a windowpane, drifting like oceanic depths, turning incessantly and meandering across the newspaper page, until they unite into the torrent-to bounce fine waves the next moment, as fleet-footed as Elisa, when she plays the tap dance of the classic musicals. You have to be able to fly, not just in the dream. Just like the genres change. Monster movie, spy thriller, cold war drama, fairy tales for adults, kidnapping comedy, fantasy, melodrama, romance. Guillermo del Toro, the Mexican in Los Angeles and alchemist among the Hollywood directors, amalgamates them into a fantastic theatrical product that puts an old fairy tale in a new, highly topical light. The Beauty and the Beast. The own and the foreign. If you love him, the stranger is no stranger, says this Golden Lion-winning film in Venice, which goes into the Oscar race with 13 nominations as favorite. Love is like the water. It blurs identities, dissolves opposites, pushes boundaries. Even the laws of biology. She transforms herself too. The beauty and the beast are the deaf and dumb cleaning lady Elisa and the fishman of the Amazon, who is held captive in the water tank. It's the early 1960s, it's the time of upheaval just before the Kennedy assassination. America is experiencing the peak of nuclear war fear, the civic movement is building, but the old order is resisting.

Elisa lives in Baltimore above the cinema Morpheum (!), Whose flickering neon sign baths her apartment in a bewitched light. Sally Hawkins gives her the childlike and at the same time expressive face of a silent movie star of the thirties. She speaks sign language – which is why Hawkins is also subtitled in the dubbed version – with her neighbor Giles (Richard Jenkins), who keeps himself afloat as a casual painter and as homosexual homosexual homosexual in homosexual times as the deaf Elisa. And with Zelda, her only friend, as a black woman also discriminated. The fabulous Octavia Spencer plays her as a patronizing person, constantly chattering, the opposite of dumb.A gorgeous, completely impossible love storyThe two work as cleaners in a government high-security lab. Here one day the allegedly highly dangerous water creature from the Amazon (Doug Jones in amphibious suit) is delivered – B-Movie fans think of the fifties horror strip "The Terror of the Amazon". It is supposed to have supernatural abilities, is held in check with a stun gun and bites FBI agent Strickland (Michael Shannon) a finger. Alas, the beast falls into the hands of the Russians. The scientist Hoffstetler (Michael Stuhlbarg), an outsider like Elisa and Zelda, spies for the Russians. Just here, in the inhospitable military atmosphere of a research bunker, Guillermo del Toro unfolds a first shy, then sweeping, completely impossible love story that begins with it That Elisa is attracted to the humanoid being (only at the end does one understand why!) and spills hard-boiled eggs out of her lunch box, soon forging a plan to free him. Otherwise it's usually the man who saves the woman in the cinema. Conversely, a coup comes out. Life is the shipwreck of our plans "Shape of Water" has plunged into the monochrome aura of melancholy. Retro look, desaturated colors, elegant, even sharp dialogues, a thousand sidekicks and details from the quilting musical stars in Giles' TV about the beautiful new American Dream world at home in Strickland's blond-blonded wife to the water storyline in the cinema, where a bible , so desert film is running: The film pours out a cornucopia of crazy, bewitching, also excellently evil moments. The floating, weightless camera of the Danes Dan Laustsen and the jazzy soundtrack of Alexandre Desplat take you into this hypnotic flow.

Everything flows, everything is volatile, already the beginning with Elisa's same daily routine. Tear off alarm clock rings, calendar page, morning immersion (including small bath masturbation), the boiling eggs in the bubbling water, the bus ride with the drops at the window, the snake in front of the time clock at the laboratory entrance, where Zelda smuggles it forward every day. Elisa is a dream dancer, she likes to be late. Time, it is said, is a river that springs from the past. And that life is nothing but the shipwreck of our plans. Where Guillermo del Toro treats his lovers to the great show staircase, a glamorous dance and dream insert as a tribute to Hollywood's Golden Age.Del Toro exposes the true monster in the film – the people similar to his masterful, settled in Franco-fascism after the Spanish Civil War Politfantasyfilm "Pans Labyrinth" does not speak del Toro escapism the word. Also "Shape of Water" does not drift away, but fantasizes itself right into the heart of the dark twentieth century. Love is a question of civil courage. the violence which Elisha has to face in order to save the fishman is inexorable. For all the beauty and grace of the pictures, "Shape of Water" does not look good. Neither the racism of the sixties, which unfortunately is not history, nor the sexism and mistreatment of women, nor the brutality of the state apparatus. The real monsters, as Guillermo del Toro and his co-author Vanessa Taylor quickly make it clear, are the people , The super-friendly young man behind the counter of the cake bar, who refers to a black couple of his shop the moment you start to like him. The cake lover Giles he ensnared exactly until he realizes that the man is gay. Or Zelda's violent husband, who almost thwarted the rescue operation. It takes a lot of lies to sustain a marriage, Zelda sighs once. And Strickland in particular, with the angular face of Michael Shannon: Even his jaw sounds at the bonbon-biting you forget so quickly not again, even the sutured again, as soon as blackish rotting fingers or razor-sharp racism in a subordinate clause. No siblings? He says to Zelda. Unusual for people like you. That's the true greatness of Guillermo del Toro. Even for this monster, his film develops empathy. The brutal Strickland itself is under command of success as a command recipient, fights with fear of failure, reads "The Power of Positive Thinking" and dreams of a Cadillac. He too is lonely, despite the picture book family. And even this monster deserves mercy, salvation. The god of the water is a benevolent god.By Thursday in 18 Berlin cinemas. OmU: Babylon Kreuzberg, Ice Age, Film Art 66, Filmtheater am Friedrichshain, Hackesche Höfe, Moviemento, New Off, Odeon, OV: CineStar at the Sony Center, Delphi Lux, Rollberg


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