Yeah, the first part of the film in progressive Buffalo (the warm, hopeful, golden section) is beautiful and works as a contrast to Allerdale Hall, the cold, decaying, but gorgeous ruin of a fading, old world aristocracy. I'm a big fan of 19th century literature and painting, and this is something that del Toro has got down - this film is the culmination of his love for the gothic romance genre. I would say that the movie is not about a twist of plot (although he is reversing certain age-old tropes). Much of what I see in Crimson Peak didn't come from my first viewing, which was somewhat overwhelmed by the fantastic visuals, it came from re-watching. I love the fairytale storybook presentation with the dark underlying psychology. I would say that the colors, lighting, sets, the whole visual presentation, along with the music and sound design, really is a unified expression, connected integrally with the characters, and as expressive of the story (probably more so) as any dialogue or external plot. As I've watched the film over again, this relationship becomes more apparent - it gets stronger, and my appreciation increases; I see more.
Crimson Peak has a real relationship to Symbolist art, which was influential in the same time period of the film, in its themes, and in its use of visual symbol. Del Toro is a unique artist and he brings a real Mexican sensibility, and, as you said, an amazing imagination, to his films. He's not for everyone, but I'm really grateful that he's out there doing his thing.
I love "The Devil's Backbone", "Pans Labyrinth" and "Crimson Peak" - they all have so many levels. "Pan" and "Devil" make more overtly social/political statements, "Crimson" is the most beautiful and lurid - it shares some of the psychology of D.B., and it's very Jungian and fairy tale/myth oriented, like P.L. - personally, I find it the most addictive.
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