Liberal do-gooders save amphibian humanoid from stereotyped right-wing martinets in this vastly overrated tale set in Cold War era

The Shape of Water is noted director Guillermo del Toro's vastly overrated attempt to link mythic fantasy to the Cold War era. The problem with the film is its absurd premise: there's a secret government facility in Baltimore which houses an amphibian humanoid captured earlier in the Amazon by bad guy Colonel Richard Strickland (a cartoon, right wing martinet adventurer) played by an over the top Michael Shannon.

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Even if one accepts the premise (which I of course do not), you would think that security would be tight at the facility to ensure no unauthorized persons have access to the creature. Quite conveniently, however, the film's protagonist, the mute cleaning lady, Elisa (who communicates via sign language), is permitted to perform her cleaning duties inside the room where the newly minted "creature from the black lagoon" is imprisoned and easily ends up bonding with him (or it-which ever appellation you prefer!).

Elisa soon hatches a plan to save the creature from the dastardly clutches of Strickland, and Strickland's sponsor, another vile right wing martinet, General Frank Hoyt. Of course the more than noble Elisa is joined by friends and confederates, all again quite conveniently joined at the hip by distinct, commonly held LIBERAL convictions.

These associates include Elisa's best friend Zelda, played by Octavia Spencer in the familiar role as African-American "help" (will she ever be cast as the "bad guy" in any future films?), Giles, Elisa's neighbor, an artist and closeted gay, and a sympathetic scientist Dr. Robert Hoffstetler, who is actually a Soviet spy (note that Hoffstetler's superiors, are very much Strickland's counterparts, as they also evince a most unpleasant demeanor).

Elisa somehow ends up ferreting the creature out of the facility after she learns of Strickland's deadline to vivisect it, allegedly for scientific purposes. Back at her apartment, she keeps the creature alive in a tub filled with salt water. Once the river is at full tide, the plan is to remove the creature from the apartment and bring it to safety, in the watery refuge.

Meanwhile, the creature's dark side becomes slightly manifest when it attempts to take a bite out of a house cat (animal lovers do not despair: the creature is unsuccessful in significantly injuring the little kitty!). Giles is more than happy after it becomes apparent the creature has healing powers, touching Giles on his bald pate, and inducing some hair growth. And Elisa experiences pure bliss after discovering that the creature's genitalia is actually hidden and with a little coaxing, can actually engage in sexual intercourse (the act actually takes place in Elisa's bathroom, now completely flooded to the ceiling).

Strickland, about to be fired by General Hoyt following the creature's disappearance, remains frustrated by not being able to find the lost amphibian (you would have thought that maybe he could have figured it out earlier that Elisa was the number one suspect).

Strickland finally finds out from Zelda's terrified husband after unmercifully browbeating him, that Elisa is indeed the culprit who has sprung the creature from Strickland's deadly lair.

No need to describe the rest of the plot in detail. Suffice it to say, there is a confrontation with Strickland who shoots both our heroes, only to meet his own demise at the hands of the creature, who miraculously recovers from Strickland's bullet to the gut.

Elisa also revives (despite her wounds) and joins the creature in a blissful embrace underwater. How is this accomplished? Well, it seems Del Toro has kept his clues about Elisa's true nature from us all along. She's also some kind of long lost creature, and the wounds on the side of her neck, are actually gills-so she experiences some kind of re-awakening, again most conveniently while embracing her new found "king."

I actually have a friend who sees the denouement as some kind of Gnostic allegory. Of course anyone can read into this narrative, anything they want. But the fantasy element certainly seems way out of place with this Cold War tale which also has problems of its own, with its rather cheap triumph of liberal do-goodism over stereotypical right-wing demagoguery.