Woman Around Town’s Editor Charlene Giannetti and writers for the website talk with the women and men making news in New York, Washington, D.C., and other cities around the world. Thanks to Ian Herman for his wonderful piano introduction.

Sally Hawkins

The Shape of Water Is A Dreamy Escape


“Time is but a river flowing from our past.”

There are princesses and monsters in The Shape of Water, a sumptuous, scary, and spellbinding new fairy tale film from Guillermo del Toro. It’s “Beauty and the Beast” for a time when happy endings can seem too few and far between, with political underpinnings that are almost uncomfortably relevant. And even though it’s built on a fairy tale frame, it is definitely not for children.

Fairy tales were not meant to be pretty. Women and children were victims in tales often filled with sexual angst and violence as a caution to anyone who might consider stepping out of line. They were populated by malevolent creatures, and the creeping horror could insinuate itself into a listener’s consciousness, revealed as a little voice of warning—or perhaps of conscience. It is no wonder then that del Toro, one of our generation’s most creatively dark storytellers, a crafter of elegant nightmares, could so brilliantly re-imagine a classic for our time. 

Octavia Spencer and Sally Hawkins

The Shape of Water takes place in the sleepy emerald-colored world of Elisa Esposito, played with remarkable power and charm by Sally Hawkins. Elisa’s a mute nightshift janitor at a large government laboratory facility. She smiles mildly while her cleaning partner, Zelda (a reliably funny but put-upon Octavia Spencer), chatters at a constant clip about her frustration with her uncommunicative, unappreciative husband. Elisa’s silence is never a weight or a weakness. She says everything she needs with her expressiveness and a few signs. The same is true of her relationship with her neighbor and best friend Giles (Richard Jenkins), a gay man far enough past middle age to see what he has become who longs to return to the days of his youth.

The film is set in 1960s Baltimore—just a short drive from Washington, D.C. during the dark days of the Cold War, the capital of a nation on the eve of great change, from the Civil Rights Movement to the space race to naked hippies on Haight and Ashbury. The Shape of Water exists in a world in flux, the visuals intoxicating in their lushness but the content full of social tensions that we can look at through today’s lens to note how far we’ve come, and how far back we could slide if we’re not careful.

Michael Shannon

The film’s villain, Strickland, played with tingling menace by Michael Shannon, is the part that makes this movie so uncomfortably relevant. He’s a violent, racist, misogynist white man in the business of getting paid protecting the greedy interests of other rich and powerful white men. He’d be right at home in a certain Cabinet today. He’s confident in his superiority as a master of the universe, so much so that it’s difficult for him to admit when he’s been had.  

Del Toro specializes in otherworldliness. He brings to life unique characters and ethereal, dreamlike places like no one else. Doug Jones, who has played a menagerie of del Toro’s incredible inventions, is the nameless being brought to the facility by Strickland and Dr. Hoffstetler (Michael Stuhlbarg), a man with secrets of his own. Like Hawkins, Jones is limited by lack of speaking, using his strong, graceful physicality to communicate. 

This isn’t revolutionary cinema in terms of giving us something we’ve never seen before, but it is lovely and hopeful and done so well that it doesn’t even seem that fishy for a woman to fall in love with a creature who bares more than a passing resemblance to the Creature from the Black Lagoon. We’ve seen characters like these before—even played by the same actors—but we can see them in this light, in these. Their familiarity isn’t a curse, but a comfort. It makes it easy to relax and enjoy the story as it ebbs and flows.

The Shape of Water isn’t a film about celebrating outsiders, or even about underdogs triumphant. That’s all consequential. What it is, to a great extent, is an argument that even in this often cold and ugly world, where monsters are all around us, it is still possible to find beauty. We just have to open our hearts to it. 

Photos by Kerry Hayes © 2017 Twentieth Century Fox Film Corporation
Top photo: Sally Hawkins and Doug Jones

Five Films About The Labor Movement


It’s often forgotten in the whirlwind of grilled hot dogs and sparklers but Labor Day was originally meant to celebrate well…labor and the hard working folks who perform it.  So this year along with the mandatory barbecue and fireworks show, consider brushing up on the history of the workers movement with one of the following films.  (And remember to tip your server!)

The Grapes of Wrath (1940) Directed by John Ford and based on John Steinbeck’s masterpiece, The Grapes of Wrath recounts the story of the Joad family. After losing their farm in Oklahoma during the Great Depression, the Joads make an arduous journey across the west to California where they become migrant workers-and find their troubles have just begun. Starring Henry Fonda and John Carradine, it was nominated for seven Academy Awards and won two including Best Supporting Actress for Jane Darwell as Ma Joad and Best Director for Ford. It’s also widely considered one of the best movies ever made.

How Green Was My Valley (1941)  Based on the Richard Llewellyn novel of the same name, this is the epic chronicle of the Morgan family. The Morgans are a hard scrabble close knit clan living in South Wales where the family members work in the coalfields. Over time disputes between the mine’s owners and workers as well as environmental despoliation from the coalfields tear apart the family and destroy the once idyllic village in which they’ve lived. It was nominated for ten Academy Awards and won five including Best Picture, Best Director, Best Cinematography, and Best Supporting Actor.

Norma Rae (1979)  Based on the true story of Crystal Lee Sutton, Norma Rae tells how its title character (played by the indomitable Sally Field) becomes a union organizer at the local textiles firm after her health and that of her co-workers is compromised. It was nominated for four Academy Awards and won two including Best Original Song and Best Actress; prompting Field’s immortal “You like me!  You really like me!” acceptance speech for her second Oscar win for Places in the Heart.  That quote was, in fact, a reference to dialogue in Norma Rae.

Silkwood (1983)  Written by Nora Ephron and Alice Arlen, directed by Mike Nichols (Who’s Afraid of Virginia Woolf?  The Graduate) and starring Meryl Streep, Cher, and Kurt Russell, inspired by the life of Karen Silkwood. Silkwood was a nuclear whistleblower and union activist who died under extremely suspicious circumstances at the same time she was investigating alleged criminal behavior the plutonium plant where she worked.  Silkwood was nominated for five Academy awards including Best Actress, Best Supporting Actress, Best Director, and Best Original Screenplay

Made in Dagenham (2010)  Directed by Nigel Cole (Calendar Girls, Saving Grace) Made in Dagenham tells the true story of the Ford Sewing Machinists strike in 1968.  The strike was prompted by sexual discrimination against its female employees who demanded equal pay.  Starring Sally Hawkins, Bob Hoskins, Miranda Richardson, and Rosamund Pike it was nominated for four BAFTA awards including best supporting actress for Richardson and Outstanding British Film.

Top photo: Bigstock