My favorite of his work is probably PAN’S LABYRINTH which was sparked by the experiences of his politically leftist family during the Spanish Civil War. CRONOS is also another of his movies that I admire. It didn’t hurt that in addition to his obvious intelligence, he also just projected a very likable, childlike persona when interviewed. I found myself looking forward to news of any upcoming projects from him.
However, with the second HELLBOY feature film he directed I lost much of my admiration for his style and his efforts. It was the first time that one of his movies lost the blush of imagination for me. That film was all effects and noise and offered pretty much nothing else. That was okay, I figured, assuming that it was a glitch in the program and that he’d get right back to work as usual. (It did, however, completely derail the HELLBOY movie franchise.)
Then came the execrable THE STRAIN television series that he created and produced (but, apparently did not direct). Perhaps one of the single worst genre shows I have ever seen on television. Even comic book physics have to contain some kind of logic; and weird movies about things such as vampiric worms should contain realistic characterizations and decent acting, none of which were evident in this piece of shit. His TV effort lacked anything whatsoever of value and I quickly lost interest in it. His name on a project was beginning to repel rather than attract me.
After that came PACIFIC RIM (about giant robots fighting giant monsters) which managed to make Idris Elba look like a first class ham; and CRIMSON PEAK (supposedly a kind of ghost-imbued romance) with a forgettable cast. Both of these failed to inspire me at any level whatsoever, with the former actually making me rather sick. He’d gone over to trying to impress his audience with CGI and, frankly…that got old some time back.
What the hell was going on with the guy?
So. I kept hearing about his homage to THE CREATURE FROM THE BLACK LAGOON and that it was headed for the big screen. I had not yet lost all hope for del Toro’s work, so I was going to see this movie and give him one more chance. The film appeared, apparently to tepid fan response, and I kept missing opportunities to see it. Truthfully, after a number of crappy efforts, I wasn’t in a hurry to view his latest movie.
Finally, though, it won the Academy Award for Best Picture so my wife actually found herself wanting to see it. As I’d heard, it was a kind of romance so I figured she might enjoy it. We drove to a nearby theater two days after the stupid Academy Awards ceremony and bought our tickets and had our seats in a mostly empty theater.
For her part, my wife adored the movie. She loathes genre films, but this one she loved. As the end credits were rolling she was actually crying at the sweetness of it all. I didn’t say anything to break the moment for her.
As for me–that was it. No more Guillermo del Toro films for me. I was pretty much sickened by the spectacle. It was slick–I’ll give him that. The monster was cool. Weird enough looking to be a creature from another environment, but not so disgusting that some people couldn’t imagine that fucking it would be a hideous rape-y kind of experience.
Yeah, del Toro did his ‘Beauty and the Beast’ schtick without making any liberals feel creepy about it. In this case the heroine was with the monster by choice and not through force.
And therein lay my disgust with the movie: del Toro went out of his way, pulled out all of the stops, and rigged up every bit of neo-liberal gibberish that he could cram into a movie. How could the Academy not give him the Oscar for it? Well, apparently they couldn’t resist. He played them like a fine instrument and won the popularity contest among his little clique of special people.
Here’s what he did:
The heroine of the yarn was a woman. Points for that. And what they call, these days, a strong woman. Kudos. She was also not completely normal, not pretty, and had struggled to overcome not just adversity, but a major handicap. Touchdown!
The monster–also a hero–was strong and silent, sensitive and understanding, and loving. All things that, apparently, real heterosexual men are not.
And that’s where we get to the true meat of the tale. What were the men like? You know…the men who are human beings and not fishmen from the depths.
They were almost all villains. First of all we had Strickland–played by the very talented character actor Michael Shannon. Boy, did del Toro deliver the liberal goods on this guy. He is everything that the groupthink informs us is horrible about males. First of all, he’s white. Ding! Then he’s aggressive. Dong! He’s also a racist. (Aren’t all non-liberals?!) He’s self-centered, sadistic, cruel. Check. Check. Check. And then…so as not to leave any doubt regarding his villainy, he’s a sexual harasser! Boing!!
At least in movies like PAN’S LABYRINTH the bad guy was courageous and dedicated. No admirable traits with this one. SuchLiberal fun!
All of the other guys in the movie (but one) are also evil. Next we have THE RUSSIANS! (Oooo! The scary Russians!) As you all know, every Russian is evil! Every Russian deserves to be killed. We need to go to war with Russia according to the liberals and boy do the liberals get to have their hate-on with Russia with this one! Guillermo del Toro gives them this, in spades! Woo HOO! Warmongering liberal wet dream! All the Russians must, die! And they do!
Hell…del Toro even makes the one black man in the entire movie into a villainous, cowardly douchebag. Heavens to Alice Walker! SCORE! Right through the uprights!
In fact, the only decent human male in the movie is Giles, the heroine’s next-door-neighbor who is a closeted gay. Yeah, you have to be a gay man to be worthy in this movie. All of the heterosexual males are pernicious. Jackpot, del Toro! You win the lottery! Enjoy yer dildo-shaped statues!
So, I found that this was easily far and away the most calculated bit of propaganda that I have seen in a major motion picture in decades. And it’s not as if I can’t enjoy a propaganda piece (such as PATTON), but this one was just so obvious in its pungent prostitution that the whole experience sickened me.
And then–that ending. The final scene of glorious transition. Give. Me. A. Break. Ya lost me, Guillermo. The trans bandwagon?! Lost probably forever. I’m pretty sure I’ve sworn off Guillermo del Toro as a filmmaker. Definitely as an honest creator, at any rate. He can whore off his mind for other people. I think I’m done with him.
|Bestiality is fun!|