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The Shape of Water (2017)

From the incredible mind of Guillermo del Toro comes the Best Picture winning The Shape of Water, an adult fairytale following mute Eliza (Sally Hawkins) who works as a cleaner in a government lab and falls in love with a creature (Doug Jones) who is held captive for experiments. Working with various parties including her neighbour Giles (Richard Jenkins), best friend and colleague Zelda (Octavia Spencer) and scientist Robert Hoffstetler (Michael Stulbarg) Eliza seeks to break the creature out and escape with him despite the efforts from the evil Richard Strickland (Michael Shannon), the man who captured the creature in the first place. There are a lot of moving pieces in this film but that’s not to say it’s difficult to follow. It gives the film multiple layers and changing motives and sides makes it exciting to watch. The film is definitely del Toro’s best since Pan’s Labyrinth and has become an instant classic. His direction and script are beautifully sharp and consistent with the universe he wants to create. Everything has been carefully thought through from the Baltimore setting to the oceanic colour palette. It’s no coincidence that we first see Eliza in a room of deep green hues and Richard covered in bright red blood. It’s a striking visual representation of which characters are good and evil.

The characters are fantastically developed, particularly Eliza. Hawkins brings a career best as the movie loving dreamer who longs to find love. Eliza leads a simple life which we gain a glimpse of as we view her morning routine which consists of boiling eggs, running a bath and masturbating. The genius of this character is that Hawkins physicality allows Eliza to be expressive and can communicate her emotion with a simple glance. Eliza is fearless when encountering the creature. She is unfazed by the blood and threatening build of the creature and instead encourages it to get close to her so she can teach it sign language and music. One of the most intense scenes comes when she is asked where the creature is and she signs “FUCK YOU” to Strickland. The latter is naturally confused as her signing as he does not understand and it creates a truly terrifying moment as Eliza takes control of the situation. Eliza knows when to take advantage of her condition and is deeply observant of those around her. Her main development comes in the form of rejecting everyone else’s wishes and learning to do what she wants. She subverts the traditional idea of love and finds her identifying more with the creature than humans because they can communicate and understand each other in ways that Eliza can’t with other humans.

The supporting cast also perform a stellar job and there isn’t a particular highlight because everyone does a fantastic job. The support cast is male-dominated due to Eliza’s job working in a government facility in 1920s Baltimore. Working in the facility are Strickland and Hoffstetler on opposing sides of the creature’s treatment. Shannon is truly evil in his role bringing the scariest performance of his career. His presence onscreen immediately brings silence as there is an unpredictability to his character. He is strict on control and when Hoffstetler threatens the slightest bit of control, this bothers him. Stulbarg’s performance is one of tenderness and concern. He winces at the sight of violence and blood which is unusual for a man with his profession. Stulbarg’s performance is layered with multiple characters and motivations. His stance and reasoning is even more unpredictable than Strickland’s. On the other hand there are Zelda and Giles who reluctantly go with Eliza’s plans. Earning Oscar nominations for their Supporting performances, Spencer and Jenkins provide Eliza’s voice at times when she needs it. Each actor is cast perfectly as they embody their roles perfectly. Zelda and Giles are also members of minorities themselves with Zelda being black and Giles being openly homosexual. Together, the trio help to support each other in a society that is dominated by the straight white men.

Music is such a crucial part of this film as it gives Eliza a voice when she doesn’t have assistance. In scenes where she communicates with the creature, she uses a record player to convey her emotions towards him. The soundtrack is a mix of classical original score and songs from the 1920s that were used in television specials and films. Not only does it give the film it’s chronological context but it also allows del Toro to delve into his own love of Old Hollywood and push this personal perspective to the front. In terms of the score, we are treated to a fantastic selection of pieces composed by Alexandre Desplat. Just like the film, the score is a mix of genres taking mainly from fantasy by adding in the whimsy of musical and light and dark tones to reflect comedy and drama. It’s a truly captivating soundtrack and well worth the second Oscar that Desplat received.

As I have mentioned before, the cinematography is fantastic. The film is quintessentially del Toro with his distinctive use of colour and impeccable ability to build his own universes. The audience is immediately immersed from the first shot when we see Eliza’s apartment underwater as Giles narrates in a fairytale manner. What works so well is that del Toro easily merges the fantasy with the real by making his world as realistic as possible but adding whimsical qualities. There are some gory scenes in the film and as expected, del Toro doesn’t shy away from showing the audience this but it’s because of the film’s primary genre being fantasy, it doesn’t feel overwrought or overwhelming to those who don’t like horror films. The film feels suitable for any genre because the topics are so universal and the vision so distinctive.

There are few films that impact me so much immediately but after I viewed The Shape of Water, I completely fell in love with everything about it. It was wonderful seeing del Toro deliver a film that feels so personal and poignant. The film feels like del Toro’s love letter for films and the many influences such as The Creature from the Black Lagoon are really felt here.

What do you think about The Shape of Water? Let me know in the comments below!

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Disneyland Paris – November 2019

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Obviously, my blog focuses on the wonderful world of film but I thought that I would take a “half break” and write a post all about my time at the happiest place on Earth. Disneyland Paris is situated outside the city with the Eurostar station located right outside the Disney Village entrance. This was my third time going after previous visits in 2003 and 2016 but this one would prove to be the most successful in terms of rides (the 2016 trip saw several major ride closures) and also FINALLY meeting Snow White which if you know me or read this blog is a big deal. But that is all to come later. We arrived on Monday 4th November and departed Wednesday 6th November which was perfect because a) the park is barely busy and b) we got a chance to see both Halloween and Christmas decorations. Rather than go through the holiday day by day, I thought it would be good to talk about my experiences collectively. It’s hard to talk about one day without talking about another.

We stayed at the Sequoia Lodge Hotel which resembles a forest cabin with decoration inspired by Bambi. Our room was part of the Golden Forest section meaning that we had our own check-in desk and an exclusive lounge where we have breakfast. The room was beautiful as expected and sleeping in the bed was like being inside a giant marshmallow. We struggled to choose between the VIP Golden Forest room at the Sequoia Lodge or a standard room at the Newport Bay Club but what convinced us to go for Golden Forest was the easiness of not waiting for check-in or luggage transfers as we collected it and dropped it off at the counter. Also, being able to start the day in a peaceful and spacious room with no queues for food meant that we could go at our own pace and feel relaxed.

So where to begin? Well, perhaps I should start with the experience of the parks as a whole. As expected, walking into the main park on arrival was incredible as you are greeted by smiles and joyful music that runs through the park. Since we came at the short period between Halloween and Christmas, it did mean that the main square was closed so no lovely photos of the iconic Walt Disney and Mickey statue but that didn’t take away for the always breathtaking view of Main Street as it leads down to Sleeping Beauty’s Castle which acts as a centre point for the park and serves as a handy guide for where to go next. We visited the main park on all three days and Hollywood Studios on days 2 and 3 and the lack of queue times meant we were able to go on the rides more than once which was super handy. This was surprising since two of the biggest rides, The Rock’n’Roller Coaster and Crush’s Coaster in Hollywood Studios were closed for refurbishment. This did not affect the queues for other rides as the longest we waited was 20 minutes for Les Voyage de Pinocchio ride.

The best part about Disney parks is that there is no shortage of things to do. If you’re not fond of rides, you will still find enjoyment in the walkthrough attractions such as the dragon that lies beneath the castle. There is so much detail in the park and Easter eggs for the most obscure films (the Eurostar station has images from Return to Neverland above the luggage pickup kiosks) which is nice to see.

Luckily, my partner, Adam, and I absolutely LOVE rides so we went on as many as we could and because the park was at a low capacity, we were able to go on the rides multiple times. We went on:

Big Thunder Mountain x4

Phantom Manor x4

Star Wars Hyperspace Mountain x4

Blanche-Neige et les Sept Nains (Snow White and the Seven Dwarfs) x3

Peter Pan’s Flight x3

Pirates of the Carribbean x3

Ratatouille: The Adventure x3

The Twilight Zone: Tower of Terror x3

Le Pays des Contes de Fées (The Land of Fairy Tales) x2

Buzz Lightyear Laser Blast x1

It’s a Small World x1

Le Labyrinthe d’Alice (also known as Alice’s Curious Labyrinth) x1

RC Racer x1

Les Voyage de Pinocchio x1

That brings the total times we were on a ride to 34 which averages just over 11 rides a day. Overall, we walked around 60,000 steps over the course of the three days which is equivalent to approximately 25.92 miles. That’s just shy of the length of a marathon! Needless, to say our feet are hurting a lot from the walking but it was worth it and more.

My favourite ride in the parks is Blanche-Neige et les Sept Nains of course. I love the older rides that take you through the stories. They are simple but also bring that sense of nostalgia back. Of course, Snow White and the Seven Dwarfs is my favourite film and this ride encapsulates all of the emotions that the film makes you feel. The animatronics and audio is fantastic and the set design is brilliant. I get chills every time the Evil Queen turns from the mirror and is revealed to be the Hag. I have been on this ride in previous visits so it was from far the first time I have been on it. One of my favourite memories from this holiday was when we were waiting in the Fast Pass queue for Peter Pan’s Flight (which was always ridiculously busy!) and we met a lovely cast member called Manon who also shares a love for Snow White. She kindly gifted us a special fast pass to go back on Blanche-Neige et les Sept Nains and also gave us an autograph book and keyrings of our choice. It made our holiday even more magical and was a wonderful surprise!

My favourite ride that I have not been on was by far Ratatouille: The Adventure. I must admit, I am not a big fan of simulator rides, mainly due to a horrific experience on the Back to the Future ride in Universal Orlando as a child. However, I cannot recommend this ride enough. Ratatouille: The Adventure is exclusive to Disneyland Paris and is a bilingual treat as you sit in a rat car and are thrust into the hectic set of a Michelin kitchen. The use of props and elements like water splashes when a mop is swept towards you really immerse you as you follow Remy’s quest to create the perfect dish. If you have not been on this ride, you need to go on it next time you visit Disneyland Paris.

Another nostalgic treat for me was Le Pays des Contes de Fées, a slow voyage across some of Disney’s greatest story retellings from classics like The Little Mermaid and Aladdin to more obscure offerings such as Pierre et le Loup (Peter and the Wolf) and Oz La Cité d’Émeraude (released in English as Return to Oz) which was a lovely surprise to see at the end of the ride as it was one of my favourite films growing up. I think rides like this are not only enjoyed by everyone but also highlight why people love Disney.

This was my fourth time going to a Disney Park (I went to Walt Disney World Resort in Orlando in 2001 and Disneyland Paris in 2003 and 2016) and on none of these occasions was I able to meet Snow White herself. I was disheartened when the City Hall assistant informed that she would only be making an appearance in the parade on day 2 and accepted that I would not be meeting her this time. However, an impulsive relax on a break would prove genius in the afternoon because low and behold there was Snow White on her way to host a meet and greet. I cannot even begin to explain how emotional this was for me. I have just turned 26 and this event had me feeling the most excited I have ever felt. It was my ultimate Disney dream come true and true enough, it was amazing. She took her time with everyone which was lovely to see and took as many pictures as you wanted. She loved my custom-made Snow White themed ears and even spoke Welsh which was amazing since Wales is often overlooked in Disney’s portrayal of Britain (It’s a Small World does not have a Welsh section sadly). She also promised to bake me a gooseberry pie which was great because who doesn’t love pie?

Leaving was horrible as expected. Even though we had done everything that we wanted to do, we still wanted to stay longer. We’ve already started planning our next Disney trip to either Walt Disney World Resort in Orlando or Disneyland in California and hopefully we won’t wait another four years before going on a big holiday.

Have you been to Disneyland Paris or any of the other Disney parks? Let me know about your experience in the comments below!

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The Red Shoes (1948)

This technicolour wonderland is one of the best (if not the best!) film in the history of British cinema. Directed by Michael Powell and Emeric Pressburger, It’s become known as a masterpiece and is constantly an inspiration for many artists alike and with good reason. Following Victoria Page (Moira Shearer), a ballerina who joins a troupe as the lead in the new ballet The Red Shoes. She begins to find a conflict between her professional relationship with the insufferable genius, Boris Lermontov (Anton Walbrook) and a personal romantic relationship with the troupe’s composer, Julian Craster (Marius Goring). Soon enough, the ballet of The Red Shoes begins to seep into Victoria’s reality and she is eventually broken down by the idealisations that are expected of her. This is a film that breaks the boundaries of the filmmaking experience. It’s very premise of the ballet within the reality of the film soon becomes blurred and the tone of the film changes from a basic aspirational drama to a psychological thriller. Inspired by the Hans Christian Anderson fairytale but given an original makeover by The Archers (as Powell and Pressburger were collectively known), this film delves into the dark side that fairytales ventured into which is a contrast to the Disney films that were dominating the global market. Even 70 years on, the topics in the film feel just as relevant today.

The Archers’ brilliant direction and script effectively contrast the freedom of dance with the claustrophobia and obsession with perfection. Nothing sums this film up more perfectly than Vicky and Boris’ first exchange:

Lermontov: Why do you want to dance?

Vicky: Why do you want to live?

Lermontov: Well, I don’t know exactly why, er, but I must.

Vicky: That’s my answer too.

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Dancing gives Vicky the freedom that she craves but unbeknownst to her in the beginning that the freedom she “gains” from dancing for Lermontov is merely his vision. He is the puppet master pulling the strings. As Vicky grows closer to Julian and begins to finesse her own skills, she begins to resist and she finds herself no longer wanting to dance but unable to rid herself of the red shoes. The ballet sequence in which we see Vicky encapsulate her character and venture into the nightmare world of the dance is horrific. Her own emotions have merged with the character. Her dancing has become her life force. Then there’s the conflict she has between Julian who is an aspiring musician who is working for pennies and has the freedom to create the material he wants and then Lermontov who requires strict control over the whole operation. I think it is to Powell and Pressburger’s credit that they manage to succeed in creating three entirely different yet well-rounded characters who all have their motives and flaws. It’s a film that feels progressive even now and doesn’t belong to a particular time. It’s reluctance to slot into a specific genre is also reflective of this as it is a drama, thriller, horror, dance piece all in one.

I think that Shearer’s performance is one of my favourites in any film. She shines as Vicky and really brings out the talent and the grandeur of the role. Despite her privilege (we first see her sat in a private box watching the ballet), Vicky shows her natural passion and talent which impresses Lermontov who initially dismisses her because of her background. Despite Vicky’s flair for ballet, she is still an outsider as her fellow dancers clearly do not have the luxuries that she has. No scene depicts this better than when she thinks she is going to dinner and is dressed to the nines complete with a tiara, only to find the men running the ballet planning the next production in casual attire. Vicky is by no means a perfect individual either. She throws a tantrum when she is unable to keep up with Julian’s tempo during rehearsal. Vicky and Julian’s relationship develops as they realise that they are two sides of the same coin which Lermontov despises. The complexities of Lermontov’s character makes him one of my favourite “villains” film history. His obsession dehumanises those around him, none more so than prima ballerina, Irina Boronskaya (Ludmilla Tchérina) who is abandoned by Lermontov when she announces her engagement. The people around Lermontov are dehumanised puppets where his ambitions must become their ambitions. The moment there is any hint of a life outside the ballet, they are exonerated and in Lermontov’s eyes, they never even existed. His unapologetic way of life is challenged by Vicky and the climatic scene shows a crack in the façade as he breaks down onstage and forces the production to commence without her. The vision becomes empty and the audience gazes at a moving spotlight as it flutters around the stage where Vicky should be.

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The music composed by Brian Easdale is nothing short of extraordinary and it effortlessly dances the line between the ballet production and the film reality until eventually both worlds merge into one. The music used in the production of The Red Shoes is spectacular with the church scene in particular remaining a highlight for me. I get chills every time I watch that segment and hear the constant bell as the lead is abandoned and left to die. Jack Cardiff’s choreography for the film is a perfect marriage for the score and the two sail on through the film and set the pace. These components are representative of Julian and Vicky’s talents and the importance of the part that they play into the film cannot be unrecognised. One of my favourite aspects of the film is Hein Heckroth‘s costumes designs. The moment when Vicky’s costume for the ballet of The Red Shoes is revealed is breathtaking and it’s one of my favourite costumes in film. Not to mention the incredible costumes that Vicky wears throughout and the clothes designed by Carven for Irina are exceptional.

My love for this film grows with every view and even thinking about it now, it’s incredible how much it has shaped my taste in film and been such a huge influence in my creativity. It’s such a beautiful film that deserves more than one watch and I think it should be on every film lover’s watch list if they haven’t already seen it. It truly deserves its masterpiece status and remains an important part of cinema history.

What do you think of The Red Shoes? Let me know in the comments below!