Film Analysis: Crimson Peak by Guillermo Del Toro (Essay Sample)

CRIMSON PEAK REVIEW
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Crimson Peak Review
Director Guillermo del Toro is driven by a belief that the ideas swarming in his mind can be brought to life. He conceives elaborate worlds, bewildering audiences with detail, and smothering them with metaphor. Given that a considerable share of what is onscreen is substantive, as opposed to computer-generated, it is instrumental. "Crimson Peak's" ambiance is filled with sexual infatuation and hidden secrets. There are a handful of ghouls (supernatural and human). However, the immense experiences are the appalling event onscreen. Del Toro's motion pictures succeed in capturing Grand Opera emotion. Crimson Peak manages to incorporate awe-inspiring visual effects, cinematography, editing, and sound design in intuitive new ways.
American descendant Edith Cushing, the protagonist of Crimson Peak, encountered the ghost of her late mother during her childhood years, the silhouette of its long fingers slithering along the wall (a citation from Nosferatu, 1922). As a young woman, living with her benevolent father, Edith gives priority to books over boyfriends and is preoccupied with composing a ghost narrative. Edith's literary solitude comes to an end when the enigmatic British brother and sister Thomas and Lucille Sharp make an appearance in town. Thomas and Lucille have elegant English titles, but are broke, pleading for financial support for one of Thomas' innovations. Thomas tails Edith with ardent sympathetic eyes, all under his sister's vigilant glare, and Edith falls hard. Alan McMichael, an optometrist, is also attracted to Edith. However, he gives in to Thomas, although with apprehensions. Edith ties the knot with Thomas, and they travel back to England together with Lucille to live in the family property, Allerdale Hall. 
The arrival at Allerdale Hall is what sets the movie action in motion. However, those introductory segments, the ingression into Edith's universe, are equally significant. America is portrayed as a nation of garden parties, scintillating gas lanterns, scholarly endeavors, and family-friendly. The colors are fluorescent, yellows, and oranges (Abrams, n.d). Lucille dashes across that mellow golden scenery in fiery-crimson outfits or colossal all-black robes. It is frequently raining, producing vacillating underwater shadows on the walls. However, it is a cultured world with accepted codes.
On the contrary, Allerdale Hall is a black towered wreck of a palace position at the center of uninhabited fields. Red clay seeps up through the putrefying floorboards, cladding the walls of the cellar (Jenkins, n.d). The lobby inside the front entrance extends up to three floors. As a result of the roof's degradation, the hall is invariably permeated with external weather conditions: falling leaves or snow. As Abrams (n,d ) argues, Thomas E. Sanders does an exemplary job. Allerdale Hall is indeed not only a magnum opus of design but also of perception. The building squeaks, groans, shifts, and every time, that red clay, threatens to submerge them all. 
Allerdale Hall also plays a significant role in providing a basis for which to build the Gothic narrative. In particular, Crimson Peak encompasses aspects of Einfühlung, a Victorian aesthetic concept that Bussing (2006) describes as a theoretical and artistic concept that is employed to comprehend haunted space and its impacts in the nineteenth-century Gothic fiction. According to Musap (2017), through The Castle of Otranto (1764), Walpole instituted a literary custom of portraying the Gothic palace as a space of family terror by presenting a typical Gothic plot, based on the mansion and centered on a distressed heroine, literally or figuratively locked up within the bounds of the four walls and frequently hounded by a male villain.
Similarly, Allerdale Hall is segregated, located miles away from the closest home, and a half day's walk from the immediate township. The mansion is home to ghosts, screeches, eerie moans, excruciating cries, and groans, pouring out with the supernatural. Allerdale Hall is remarkably phantasmagoric, geometrically absurd, and bedeviled by black moths. The manor stands unyielding, grandly rising from the snow-covered Crimson Peak. Once inside the manor, Edith realizes that it is even chilly within than it is on the exterior.
Furthermore, CrimsonPeak places two female protagonists at the heart of the saga while deriving creativity from multiple Gothic metaphors (Musap, 2017). The two protagonists overturn classical functions of flimsy heroines and archetypical madwomen in cellars. In doing so, they unveil Allerdale Hall as including a double meaning. The movie indicates, in parallel, a space of emancipation and oppression.
The architectural aspects of the mansion, the furnishing, and multiple artifacts also add to the Gothic aspect. Allerdale Hall is filled with obscenely elaborate furniture. Furthermore, some of the rooms in the house are designed such that they take the form of living creatures with eyes, ears, and mouth. The halls of the mansion are also lined with spikes that look like teeth, presenting the hallways with a predatory appearance, in some shots, the halls seemed to be swallowing Edith as she made her way across them. The attic in Allerdale Hall is inspired by Piranesi's Imaginary Prisons. The Sharpe family crest also includes a concealed skull etched into it. A close inspection of the wallpaper design also reveals aspects of the Gothic genre. The design encompasses moths and also includes the letters that make up the word "Fear" jumbled together.
Del Toro employs a lot of old-school camera stunts such as wipes. There are also a couple of iris wipes throughout the movie. The use of mid-shots is also evident in the movie. Mid-shots are