SHIRLEY

Elisabeth Moss     Michael Stuhlberg     Odessa Young     Logan Lerman

     Based on a novel written by Susan Scarf Merrrell about the horror/mystery writer Susan Jackson, this film portrays the underside of the lives of women finding themselves trapped in what appears to be an inescapable situation and the ambivalent relationships that develop as a result between women and between men and women.  It’s complicated and mysterious, yet leaves the viewer in thoughtful reverie afterwards.  I was mostly repelled by the characters at first (that’s why I use the word ‘underside’), but as the story progresses they become more likeable and people whom I could identify with, at least to some extent.  For instance, I think any woman who during some of her life has been “just a housewife” (wifey), will quickly understand Rose Nemser—and to some extent Shirley herself, both women caught in dominating relationships. 

     Rose (Young) is newly married to Fred (Lerman), and they are anticipating their move to a college town, he with bright prospects in academia, and she hoping to return to college when they’ve established themselves.  They are greeted effusively by Stanley (Stuhlberg), Fred’s professor, who has offered to put them up at his house when they first arrive.  A raucous party is underway when the young couple arrives, which is somewhat confusing, especially when Stanley offers room and board for them if they will do him a favor:  Cooking, cleaning, and looking after his frail wife Shirley (Moss).  Of course, we are all aware this means that Rose will be the one taking on that burden.

     Rose has a shattering first encounter with Shirley as she is ascending rather shakily up the stairs to go to bed while the party is in full swing.  Shirley’s uncannily perceptive and caustic comments send Rose into a spin.  But later, discussing it with Fred, he makes it clear that his position with the professor and the potential it holds for his career should take precedence—which it does, of course.

     Two couples living under the same roof is always a tricky situation, especially when they’re newly acquainted, so we are immediately intrigued about what is going to transpire.  And we will find that it takes us straight into the horror genre.

     The older couple in their individual ways exert cruel demands on the young couple who are trying their best to succeed.  Double binds abound, and we can admire (mostly) how Rose and Fred accommodate. It’s just that they are no match for old hands at the trade.

     The strengths of Shirley lie in the source material (Shirley Jackson’s work and Susan Scarf Merrell’s novel), the script (Sarah Gubbins), and the actors, all knowingly assembled by Director Josephine Decker (Madeline’s Madeline, Collective: Unconscious).  All of these elements combine to capture your interest—sometimes in curiosity, sometimes in horror, and sometimes in something disturbing that you might not understand.  This is enhanced by the casting of look-alike Young to play someone closely linked to Susan, played by Moss.  I’m sure it was intentional on Decker’s part, to highlight author Susan’s linking the subject of her novel to the real woman, Rose, who was caring for her.

     This is another in a long line of coups for Elisabeth Moss (“Mad Men”, “The Handmaid’s Tale”, “Top of the Lake”), for which she should have won more awards. Here, she sinks her teeth into a role that displays a completely different character from the others she has played and nails it—as she always does.  Supporting her, Odessa Young and Michael Stuhlberg bring their considerable talent to bear in character elucidation of those held in her thrall.

Perhaps not a movie you will “enjoy”, but one that will shed light on female-female and female-male relationships in our recent past—and perhaps, even today.

Grade:  A                                    By Donna R. Copeland

THE SHAPE OF WATER

Sally Hawkins     Michael Shannon     Richard Jenkins     

Doug Jones     Michael Stuhlbarg     Octavia Spencer     Nick Searcy

     The playful, loving nature of Sally Hawkins’ Elisa perfectly captures the nature of this film and Guillermo del Toro’s creativity and imagination.  She’s a complex character—as is the plot—and continually surprises us with her thinking and actions.  She is mute, but not deaf, and is one of the two housecleaners at a research facility, the other being Zelda (Spencer), who knows sign language and assumes a maternal stance toward her.  Elisa’s neighbor, Giles (Jenkins), a rather fussy, inhibited man who doesn’t seem to know that she does not like key lime pie, and goes ahead and orders it for her, despite her protests.  He knows sign language as well, and is able to express his appreciation to her for looking out for him.

     The research facility is an odd one, with Dr. Robert Hoffstetler (Stuhlberg) in charge, and he has invited Strickland (Shannon) to come to the lab to study a strange creature Strickland found in the Amazon Jungle.  Elisa is immediately fascinated with “Amphibian Man”, and sneaks a peak at it as often as she dares.  Then she gets bolder when she finds that he appreciates a boiled egg she has brought to him.  She teaches him sign language, which he rapidly acquires, and they begin to communicate.

     The story takes on more adventure and drama when we learn of the varying motivations among all parties to study the creature (Jones).  Strickland, a speculator wants to make dough and please the five-star General Hoyt (Searcy); Hoffstetler, a scientist (and more, which we don’t find out until later) has interests beyond the scientific; and Elisa, a good-hearted maid with strong moral principles, simply wants to protect it.

    Del Toro inserts quirky mannerisms for the characters and plot twists and turns to entertain us with while he is telling his story, which turns out to be a bit of a thriller.  For instance, take Strickland—not minding that the women are cleaning the men’s room—he proceeds to wash his hands before he pees, and expounds on his thoughts about washing before or after relieving himself.  Mystery is introduced when he leaves behind a trace of blood on the lavatory.  Elisa loves movies and dancing, and proceeds to tap-dance along her way when she is alone.  Giles makes odd pronouncements such as, “Corn Flakes were invented to keep people from masturbating.”  Zelda has a demanding husband, who doesn’t seem to do much of anything, which she endures with patience; but she’s good-hearted like Elisa, so they make very fine friends.

     All this is bound together with the flowing score of diverse but script-meaningful songs by the musically elite Alexandre Desplat and artistic camerawork of Dan Laustsen. 

    Del Toro likes to play with magic in his films, and he is like a magician himself in putting together in The Shape of Water all of the many elements of filmmaking to give us excitement, creativity, full-bodied characters, and visual displays that we can see as a true work of art.

     Bravo! Guillermo del Toro! 

Weird meanderings of a beautifully told story with an unexpected ending.

Grade:  A                                                Donna R. Copeland

CALL ME BY YOUR NAME

Armie Hammer     Timothee Chalamet     Michael Stuhlbarg     Amira Casar

      This could be the most sensually charged film of the year.  Every image and sound touches the senses, from the lowing of cattle, to the silvery glistening of the lake, to the boisterousness of partying and lovemaking, to the splash of bodies hitting water, to the lushness of the Italian landscape, to the warm embraces and lounging intimacy of family—I could go on.  But you get the point—you will be wrapped in a new kind of cloth by Luca Guadagnino (director), James Ivory (screenplay), and Andre Aciman (Novel).

     This is a coming-of-age story different from its predecessors.  It centers around Elio (Chalamet), the teenage son of an American father and Italian mother who spend summers with his family in northern Italy.  They host an American professor every summer who assists Professor Perlman (Stuhlbarg) in his archeological work.  This year, they are hosting Oliver (Hammer), who immediately becomes popular for his looks, his physique, and his athletic skills, and still impresses his host with his academic knowledge.

  The Perlmans’ son Elio is a young gifted musician/composer who is only grudgingly/tentatively dipping his toe into life experiences.  He is trying out everything he can when he is brave enough, is slightly insecure, despite his adoring/supportive parents, and at first looks askance at his father’s new protégé.  In adolescent style, he shows the newcomer his “old” bedroom, as he moves in next door, and takes the man around town to orient him; but something about Oliver catches his eye.  He is both repelled by and attracted to him.  He especially hates Oliver’s “Later!” when he takes his leave. 

     This will be an eventful summer for Elio as he makes discoveries about himself, Oliver, and others; but Oliver is touched as well in ways he hadn’t imagined before.  The viewer will be surprised—or at least intrigued—by the meanderings of the story.  It’s different from what we’ve seen before in its introduction of an evolving view of sexuality, one that is more naturalistic and, hopefully, more considerate and responsible. 

     Call Me By Your Name is a call for our recognition and respect for natural, human impulses and desires that may not fall into traditional dichotomous categories.  It’s presented sensitively, humanistically, and realistically, and will be very valuable for adolescents searching for themselves. 

     Timothee Shalamet is a standout in his performance as Elio, as we see a remarkable transformation from his slightly sullen beginning of the summer to the smitten end.  Armie Hammer is also perfect as the adult who is searching, ambivalent, and unsure, wanting to be circumspect and proper, yet fallible to human enticements.

This is a different coming-of-age story from the usual.

Grade:  A                                    By Donna R. Copeland