‘Oh romance romance romance!’
This film is a delicious tale of desire, of yearning, of discretion, of things unspoken but definitely understood. A classic love story so beautifully portrayed that I challenge you to leave the cinema without a lump in your throat.
It’s not just aesthetically beautiful, it also incorporates issues of politics, law, social pressure, childcare, relationships, power, visibility, and there’s fun! Not to mention the cars! Something for everyone then. The warning at the start ‘infrequent strong sex’, brought a snort from my neighbour in the cinema which I took to be ‘I wish’. And of course there was also ‘that which dare not speak its name’, yes, there’s smoking!
At last a major film about feminine emotion. ’Carol’ is the project of screenwriter Phyllis Nagy (based on Patricia Highsmith’s novel of 1952) who has fought to get it made since writing her first draft 19 years ago. What a wait! What a result! It is a phenomenally exquisite portrayal of two womens lives, set in an era that’s fraught with significant risks for anyone being demonstrative, and is performed magically by Blanchett and Mara. They expertly show us the lives of women having to negotiate love through the thorny discriminations of social convention, social ostracism, hatred and misunderstanding, and yet still hold on to what they know is honest in a world that wants them to lie and conform. Worth remembering for some people I’ve heard saying they couldn’t believe in the womens relationship! There’s no ‘in your face, brash, overt, explicit’ communications here, far too risky (remember the days of violence and discriminatory laws?) but there is definitely precise, measured, restrained and dignified ‘goings on’.
Parts of this film are touchingly familiar to many of us today. Have you ever had someone splinter a conversation that was tantalizingly and desperately meaningful? And surely I’m not the only one who can relate to the struggle these women had to express their tender delicate feelings, especially in these modern days of instant and ungainly communication. ‘Carol’ is a film of powerful subtleties, careful nuance, and a deeply brief script. So many scenes are beautifully crafted, yet cleverly and accurately reflect the experience of women from both inside and outside various social groupings. The sometimes sad characters gentleness, passion, and strong strong feelings, slide around metaphorically in the raindrops we see on sodden windows or steamy glass, and in snapshot views looking into or out of cars and buildings. You are held in speculative suspense, waiting for the characters to reveal what they are thinking or feeling.
The spoken words often have more than one meaning, and veiled messages often hang in the air, this film asks you to tease out what’s happening by using your own perceptions of people. The almost invisible signals between Carol and Therese exude tension, as they search each other’s face for a sign of the words they cannot speak, and wait for synchronicity to expose their thoughts. Such an exquisite dance between two people is beautifully presented.
This portrayal of discretion between two women during a time not that long ago, is in high contrast to me sitting openly in a generic cinema during daylight hours watching an essentially lesbian film, something not possible some 20 years ago. I heard someone use the word ‘sumptuous’ about this film. I agree. There are so many layers to it, it will no doubt be used in academic and educational studies in the future.
‘Carol’ set in 1950’s, is within the life experience of women we know, women who have had to be subtle and careful about who they are, living with the social attitudes that lesbian women can be ‘cured’, and gay men will be imprisoned. Thankfully today the idea of a medical cure for these women’s sexuality is officially abhorred by major therapist organisations (2014), and the ideas that ‘there must be a reason for ‘it’’, ‘I know what you need…’, ‘should they be allowed to have children’, are less commonly heard today. It’s a relief that our country is safer for us all now, thanks to those who were concerned enough to make the effort and fight for changes in rights and laws.
Did anyone else notice a certain Audrey Hepburn look of Therese in this film? Think it will catch on? And as for Carol’s daughter Rindy, what cuties the Heim twins are. That childrens hairstyle was around for a long time; I have pictures that need to be destroyed….
The times yes they have changed but oh how they haven’t, sometimes. How many of us have also waited in a car for a lover to deliver/ pick up/ negotiate children, trying to keep the children from being ‘in the middle of it all’. Control and vitriol is still out there from people struggling to accept reality. As for the scene with Carol and the solicitor, I heard this in the cinema; “Carol with the solicitors, what a woman! Going for what’s right and for her child in those times; and getting the best she can for her; and for them both for later. How strong a woman is she.” True feminism, a dignified woman balancing her decisions to minimize the fallout. More please.
I know some of us left the cinema haunted by this film, and walked the city streets afterwards in a romantic bubble believing that all things are possible. I’d choose this luxurious film over the hysteria in others such as ‘Wonderful Life’ any day.
If I was to be critical, I wonder about the awkward level of discomfort if one looks at this story as a parallel narrative of Carol and her child. Thinking of it as an example of a woman playing out her lack of relationship with her daughter, through a relationship with a younger woman, however kindly. There is an age difference between the women. There is a power difference. I’m willing to ignore any possible psychological distaste on the basis that in the real world don’t all relationships include power differences of some kind? Whether we ab-use the differences is surely what really matters.
The cars by the way are all gorgeous and I want one, any of them. Carol’s, 1949 Packard Super Deluxe 8, oyster colour, also had a rare Egyptian style hood ornament. Abby’s, 1950 Packard Convertible, forest green. Taxi’s, 1950 Chevrolet and a 1949 Dodge. Harge’s,1952 Cadillac. Yum yum.
I won’t even try to mention the costumes, on the basis that my (tired and disheveled) wardrobe will leave home if I do, just to say, they are also gorgeous, tailored, and classy. I’m sure some of that has already caught on.
As for the soundtrack, it is tasty on its own. It’s smoky, moody and musically accomplished, and brings to mind the fullness and accuracy of modern day sultresses Alison Moyer and Adele. ‘Easy Living’ sung by Billy Holliday sets the scene for the year we are in and sums up the women’s situation; they don’t write music like that anymore. The choice of tunes melts the viewer into the story, and warms a cold winters night. As a result, I’m suggesting that next time we give someone a gift we give music, specially chosen, tunes that have a message, or if you receive some, listen up!
So, join me, put on your big winter coat, or wear your best lipstick, or take a stroll in the city, or cuddle up with one you love, or take tea at the best restaurant you can, or drive with care on a long road.… you’ll see the attraction.
And finally; I have a train set. I have a car. I can paint walls. I take photographs. I like music. I can accidently leave gloves, all I need to know is where…
Ruby
P.S. Don’t take it from me, see what the professionals say about it :
Tim Robey, The Telegraph;
“understanding love as the riskiest but most necessary gamble in anyone’s experience.”
Peter Bradshaw, The Guardian;
“The movie finds something erotic everywhere.”
Carrie Lyell, DIVA;
DIVA focused on the responses of reporters, which bares out the thought that things haven’t completely changed.
“A ‘clumsy’ reporter asked both actors, he said: ‘What I love so much about this film is the love story between the two of you and how it didn’t feel like it was homosexual love story; it felt very heterosexual, if I may…’ “
And got short shrift:
“Blanchett was having none of it, and interrupted the reporter to say, ‘It felt normal’. Mara then joined in and said: ‘People are allowed to watch it for what it is, which is a love story between two humans.’ “
Quite.
thelgbtfed 