This Thanksgiving, I'm grateful for Carol (by laweat)
Others have already mentioned the film's beauty, elegance, attention to period detail, acting etc. All amazing. As a gay man "of a certain age" I felt deep gratitude for the gift given by the artists who created this film. The direction is so subtle and effective, using the all the tools of film making to communicate information, meaning, and emotion.Like Brokeback Mountain, this film turns cliché on its head and transcends the particulars of the protagonists' lives by illuminating more universal themes. It is a period/genre film that acts to balance well established tropes <more>
of its genre, a powerful corrective to SO MANY previous films that repeated the same old false, stereotypical, and often tragic images of gay lives. Beyond merely telling some real truth, Carol has so much to say about strength, resilience, and the possibility of finding joy in difficult circumstances. As such, it was deeply satisfying to this viewer.
"I miss you... I miss you..." (by mattiasflgrtll6)
Finally. FINALLY. This is the movie which completely overwhelmed my expectations and blew me away.Romance is actually one of my favorite genres, but unfortunately it has let me down a lot more than once. Not the case with Carol. This has a strong possibility of being the best movie of 2015.Therese is a woman working in a store who has an interest in trains and photography. But her hobbies is not enough to escape her boring and quite uneventful life. Carol has a wonderful daughter and is doing fine financially... but has an husband whom she is trying to divorce who won't leave her alone <more>
and makes her feel miserable.These two people meet, and... they connect.First off, the story itself is already incredibly captivating. It takes place during a time period where homosexuality was not only frowned upon, but there were even laws against it. So seeing the two of them facing struggles in order to keep in contact with each other is fascinating to behold. And it is because the love story is so damn beautiful. There is a lot of visual language. Eye contact and body language often speaks for itself. And it's excellently executed, as you sometimes know exactly how these two character are feeling without a single word spoken. And even the dialogue itself has subtlety to it. There are plenty of times where either Carol or Therese insinuate feelings by using seemingly casual sentences. "Your perfume... it smells good." is really just a synonym for "I want to kiss you". "Oh stop it, you look perfect!" can very well mean "I want to spend the rest of my life with you." The lines are not obvious giveaways and I love it. The audience gets to think for themselves.But what really makes this movie work is the acting. It's absolutely amazing. Cate Blanchett and Rooney Mara are at their best ever. They make the characters so real, so human, that you wish they actually existed. Kyle Chandler also throws in a remarkable performance as the husband. You root for the two girls... but you don't hate Harge either. There is one scene where he has gone so far as to get himself to the house Carol and Therese is staying at for the weekend. And when he's told he can't have her, I was really feeling bad for the guy!I can't remember the last time I have been as touched by a movie. It hit my heart just in the right places, and when I walked out of the theater I felt like I had just experienced someone else's life.Okay, the trailer revealed too goddamn much from the movie, so several important plot details I already knew beforehand. But even that couldn't stop the perfectly orchestrated ocean of emotions it bathed me in. Carol will stick to your brain like glue after you've watched it. Oh and the movie too ;
A perfect marriage of director and material, I can't think of anyone else but Todd Haynes for this story of love and desire blossoming in a desert of repression. Set in the era of the McCarthy witchhunts and the post-war obsession with - one might as well call it panic about- gender roles, CAROL is based on a Patricia Highsmith novel. Playwright Phyllis Nagy's screenplay pays Highsmith the compliment of maintaining the psychological conflicts and complexities. In particular, the character of Carol's conventional husband, Harge played by Kyle Chandler could have, in lesser hands, <more>
received much shorter shrift than here. Beautifully photographed, designed, edited, scored and acted, there's no reason to give it anything less than full marks. I was completely engrossed by it from start to finish.
Thanks to the New York Film Festival I got the chance to see this perfectly crafted film early.Carol's nothing short of fantastic. It's story is one of the best romances i've seen put on the big screen. What I love is how nobody makes it a big fuzz about the two lovers being females. It's treated with the same respect as any other romantic drama, and it's done better than most of them. The film is on another level when the two leads Cate Blanchett and Rooney Mara are on screen together. Both undoubtedly gave two of the best performances of the year. It's pace is slow, <more>
but never boring. Giving us some intense slow-building moments that leaves us smiling or shedding tears. Carol's great. Watch it.
I watched Carol at the New York Film Festival, days after watching Freeheld. Since both movies talk about love relationship between two women, I was afraid I was going to see the same thing. Gladly, I couldn't be more wrong. Carol is such a beautiful movie, subtler than I had expected.Even though I loved the movie, I'm aware that it's not for everybody. It's not fast paced, as current films tend to be. It takes its time to carefully construct the characters and to make us root for them. Credit is due to the cast, as Cate Blanchett and Rooney Mara are brilliant, and to the <more>
director Todd Haynes, who conducts well the story.Moreover, the film is visually stunning, with impeccable make-ups and wardrobes, not to mention the beautiful locations covered in snow while they take a road-trip. Finally, the soundtrack is equally wonderful, with songs that correctly set the tone of their relationship.It probably won't be a box office hit, but I do hope everybody gets a chance to see it eventually.Full review: http://wp.me/p5Rk4c-f6
A masterpiece that's tough, tender and thoughtful, anchored by a love story for the ages. (by shawneofthedead)
These days, it's hard to be surprised by a love story in a film. There shouldn't even be much of a surprise to the love story that forms the heart and soul of CAROL – anyone who walks into the cinema will know that this is The Movie In Which Cate Blanchett And Rooney Mara Play Lesbians. And yet, Todd Haynes' masterful, intoxicating film unfolds in a series of small, subtle surprises, culminating in one of the most profoundly affecting romances ever committed to film.New York, in the early 1950s. Therese Mara is working as a shopgirl in the toy section of a department store. <more>
She meets and serves dozens of people, but only one catches her eye: Carol Blanchett , a poised, polished and seemingly perfect example of the many wives and mothers who frequent the store. On Therese's recommendation, Carol buys a model train set for her daughter Rindy: an unusual Christmas present for a little girl that swiftly draws a connection between the two women.Over the next hour, CAROL shades colour and complexity into the world in which Carol and Therese live. When they find each other again through a pair of gloves misplaced by accident or, perhaps, design , the two women share lunch, and a tune played on a piano. Carol invites Therese to her family home and, eventually, on a road trip that changes everything. Therese confesses her love of photography, and begins to ask awkward questions of Richard Jake Lacy , her devoted, if somewhat callous, boyfriend. Through it all, Carol's marriage to Harge Kyle Chandler crumbles apart, despite the fierce love they share for their daughter. For much of its running time, Haynes' film – an adaptation of Patricia Highsmith's groundbreaking second novel, The Price Of Salt – unfolds at a deliberately unhurried pace that might alienate some, and bore others. Dramatic outbursts are kept to a bare minimum, chiefly coming from a raging Harge as he tries ever more desperately to cajole or bully Carol into remaining by his side. The growing tenderness between Carol and Therese deepens, not through flowery confessions of undying love, but in the exchanging of tentative glimpses, glances and smiles. And yet, the heartbreaking magic woven throughout CAROL comes from precisely these understated, measured moments. The aching, all- consuming affection between Carol and Therese blossoms in the film's pockets of silence, as they study each other in a mirror, or share a conspiratorial smile over breakfast. Threats of death and danger surface, but in purely emotional terms, resonating all the more powerfully for never being literal. Indeed, it's only when the film slips into its devastating final act – which simultaneously manages to warm hearts and shatter souls – that one begins to realise just how bewitching a spell CAROL has cast in the silences and in-betweens.To top it all off, there is so much at work in Phyllis Nagy's wonderfully spare script that CAROL practically begs to be excavated, pored over and studied at length. The love story at its heart works because CAROL is a film about two women who are making their way towards each other through a world that often refuses to understand, accept or acknowledge them: not just as potential lovers, but also as people. Entire novels can be written about the film's excellent feminist and queer credentials, particularly when it comes to shining a spotlight on its women and their relationships including a powerful supporting turn by Sarah Paulson as Abby, Carol's best friend and erstwhile paramour . It seems profoundly unnecessary to say that CAROL's trump card is Blanchett. It should be self-evident, a given – after all, for as long as she has made movies, she has unquestionably been the best thing about any film she's in. And yet, she is completely transcendent here. In Blanchett's hands, Carol manages to be unearthly – an exalted goddess on a pedestal – and utterly, completely human at the same time. In a wonderfully layered final scene with Harge, Carol's controlled composure cracks apart, revealing the punishing depth of the pain she must undergo in order to be true to herself. Blanchett conveys it all with heartbreak to spare, radiating love, joy, misery or despair with barely perceptible changes in expression.Mara, meanwhile, gives her finest performance to date. Her Therese lingers quietly at the edges of her own life, not so much pushing limits as slipping past them to find her own way. It's hard to shake the feeling, though, that Mara remains outclassed by her co-star. Unlike Carol, Therese never completely coalesces as a character in her own right. To be fair to Mara, that's partly due to one of the script's few flaws. In a film that is otherwise so subtle and considered, we are too often told rather than shown that Carol finds Therese irresistible. There is no such problem in believing that anyone could fall head over heels for Carol. Nevertheless, the chemistry between Blanchett and Mara burns, slowly but brightly. The electricity between them throws off more sparks as the film goes on – to the point that audiences will find their hearts stuttering and stopping at the tiniest of moments: when Carol presses her hand lightly on Therese's shoulder, or when their eyes meet, finally, across a crowded room.In all of these elements, and in ways big and small, CAROL constantly surprises. It could have been ripely melodramatic; instead, it lingers in a key of melancholy realism. In another universe, Carol might have been more manipulative, Harge more villainous, Therese more coquettish, the love story less compelling and more titillating. The film's themes could have overwhelmed its central romance. And yet, in every gorgeous frame composed with impeccable grace by cinematographer Edward Lachman , CAROL sings of its love story: one that is as sweet as it is bitter, as simple as it is complex, and as real as it is magical.
I loved this film for the subtleties. Lots of lingering, carefully framed shots and closeups. Lots of quiet scenes. Lots conveyed through looks and innuendo.Rooney and Cate captured what it's like to be nervous yet excited while falling in love. It felt real. It felt like two people unsure of themselves, offering up just a bit of their true feelings at a time and waiting for the other person to do the same before revealing more. Kyle Chandler's performance hasn't been commented on as much as the leads, but he was just as excellent. He played the part of tortured husband well <more>
without coming off as a mere villain. I sympathized with him and even understood where he was coming from.I thought the film captured the time period in a very unique way. Nothing was overtly flashy or Normal Rockwell 50s, and at times it even felt gritty compared to most depictions of the era, but it was really beautiful.The film stayed with me on the ride home, and I drove in silence while I reflected on it. That's how I judge a movie. If you are the type that loves character driven films, I'd very much recommend it. If you don't handle slow burn movies well, it might not be for you.
Achingly tender romance about how love is a part of the human condition. (by Sergeant_Tibbs)
It's an inevitability that Carol will face categorisation as an LGBT film, but that's not the limits of how it should be considered. It's simply a heartfelt and deeply human love story where the principle couple confronts insurmountable odds. In Carol's case, these obstacles are the prejudices of the time and culture they live in. The film frames this discrimination in a tangible and legal way, as the titular Carol is accused of a morally indecent lifestyle by her ex-husband in order to win custody of their daughter. The film isn't interested in being a courtroom drama <more>
though, instead focusing on the blossoming relationship between Rooney Mara's Therese and Cate Blanchett's Carol. Todd Haynes is known for his heightened style that evokes the melodrama of Douglas Sirk, for instance. His 2002 film Far From Heaven feels plucked from the cinema of the 1950s. However, Carol is a film that feels plucked from the New York streets of the 1950s as the aesthetic here is surprisingly naturalistic. It doesn't quite breach a documentary-esque style with Edward Lachman's understated and pleasantly grainy cinematography, but it all comes organically and authentically with the elegant fashion of production and costume design and the atmosphere that its cold Christmas setting provides. It's a very restrained film – as there are only two particularly intimate scenes – but the film carries an air of sexual and romantic tension throughout. As Carol, Cate Blanchett challenges her polar opposite and equally excellent work with Haynes as a Bob Dylan incarnation in I'm Not There here. By nature of the film's structure, the first half is in the perspective of Therese and the second focuses on the perspective of Carol. There's an interesting inaccessibility about Blanchett in the first half that draws you into Therese's infatuation. Mara, one of the most promising actresses of this decade since her small memorable part in The Social Network, uses her own reserved detachness – something she's been frequently criticised for – to her own advantage. To watch someone like Therese open up after being so repressed is thoroughly cathartic. However, Blanchett whips the film from under her feet in the second half. She litters the first half of the film with nuanced hints and clues to her past desires, also communicating so much with very little. She's elusive, but Mara is a key source of intrigue at that point due to the honesty in her performance and unexpected dry wit. Once Carol is struggling to deal with her own internal conflicts, Blanchett is on fire and burns the house down with her ultimate rebuttal of the accusations against her. Kyle Chandler, her suffering husband soon to be ex-husband, shows such painful anguish in his brief outbursts. It's a measured performance that anchors the film and the stakes of the relationships. Every performance of the ensemble – from extras to bit parts – are delivering among their finest work. It's an all-rounder in terms of Oscar-contention, with Haynes perhaps being a more likely bet for Best Director than the film is for Best Picture. Blanchett has won too recently but if Weinstein works his magic, Mara would be a strong contender in either leading or supporting. Phyllis Nagy will certainly duel with Aaron Sorkin in Best Adapted Screenplay, even if her work is more patient, while the production and costume design ought to destroy competition. A sure bet should be Carter Burwell for his beautiful score that sunk my chest with its few powerful notes. It's an achingly tender film that will be timeless, even if it doesn't resonate with everyone with such specificity. Carol shouldn't just be a statement for our time and a condemnation for past mistakes, it's a demonstration that love is a part of the human condition regardless of sexuality. 8/10
Charming, subtle and in the end it all comes down to Cate Blanchett and Rooney Mara's unforgettable, brilliant performances. (by fabiolpinheiro1993)
Carol is a good film, with a very important subject, and the script never addresses it head on, rather with class, elegance and subtly.It's a great love and life story about one woman fighting for her right to be happy and another trying to figure out how can she really be happy. Each of them is the answer to the other.The script could feature more insight, but then again, the film is supposed to be subtle and let the images speak for themselves. The cinematography is outstanding and the score is downright superb. There's a feeling, a certain atmosphere that makes the film truly <more>
peculiar and one of a kind.But in the end, i think that it all comes down to Cate Blanchett and Rooney Mara, as they give unforgettable, brilliant performances. They are always perfect of course, but here there's something one of a kind about their performances. Its not only the characters that fall in love with each other, but also you who fall in love with them. Its charming, important, powerful, resonant, and features two one of kind performances.