One night of adulterated passion could cost a struggling woman everything she has, in director Todd Haynes latest feature “Carol”. Based on Patricia Highsmith’s groundbreaking novel The Price of Salt, this film follows two women from very different backgrounds who find themselves in an unexpected love affair in 1950s New York. As conventional norms of the time challenge their undeniable attraction, an honest story emerges to reveal the resilience of the heart in the face of change. A young woman in her 20s, Therese Belivet (Rooney Mara), is a clerk working in a Manhattan department store and dreaming of a more fulfilling life when she meets Carol (Cate Blanchett), an alluring woman trapped in a loveless, convenient marriage struggling for freedom. As an immediate connection sparks between them, the innocence of their first encounter dims and their connection deepens. While Carol breaks free from the confines of marriage, her husband (Kyle Chandler) begins to question her competence as a mother, as her involvement with Therese and close relationship with her best friend Abby (Sarah Paulson) come to light.
“Carol” is a visual enchantment, with a great representation of an ever-changing New York Landscape that served as a forefront for LBGT relations during such a taboo time. Todd Haynes has always had a great eye for detail in the visual material of his film, and this one is no different. Between the interior decorating of the film’s towering buildings, to the clothing wardrobe with men decked out in luxorious suits, and women topped off in conservative dresses that flashed more style than sex appeal. Haynes really does his homework and exemplifies a style in “Carol” that is effortlessly faithful. The cinematography and look of the film also support such a visual feast, combining a nice use of closely framed shots between conversations to give the audience a real intimate kind of vibe between the film’s two leading ladies. We really gather a lot of internal thoughts from Therese’s point of view with these stuffy shots, and as a result, we understand the kind of sensual seduction that this woman experiences at the hands of Carol. The art direction really make for such an easy transformation to get lost in, and Haynes shows off a production budget that is second to none with any of his previous films.
The performances are solid, but I was a little disappointed considering how many rave reviews that Mara and Blanchett have received. There’s no moment of breakout emotional depth between the two actresses despite the world coming down around them. These are two ladies who find comfort in each other when everyone else seeks material things from them, and their relationship at times feels a little flat. For going through nearly two hours of their greatest triumphs and tragedies, the film really lacks that performance moment when the audience can feel inspired by their love. Mara is mostly a quiet nervous throughout the film. She plays what is asked of her character quite well, but she lacks the kind of fire that professes her love for Carol. Blanchett continues to shine as one of Hollywood’s safest bets. Where her problem lies is in the film’s lack of showing her despiration. This is a woman who has everything; cars, money, and a beautiful child, yet we never get a clear understanding of just what’s so bad about her husband or their respective situation. It is great to see Mara and Blanchett interact off of each other, but the film’s emotional registry is played so flat that I found myself falling out of interest for this love that burned between them.
One major problem that I had for the film was the pacing, and just how long it took to invest myself into the film. It never came close to getting all of my heart, but the movie doesn’t really get interesting until about 40 minutes left in the film, and by then the most predictable of scenarios is the only thing left. I mentioned earlier how the backstory of Carol is ignored, but the real damage comes from not understanding the character undeneath the seductive smile. It takes so long for our characters to recognize and understand their feelings for one another that the metaphorical flame in all of our hearts for these lovers has burned out by the time it finally leaves the ground. What does work about what little punch this film does have, is that it serves as a period piece ahead of its time for what currently involves our own world in 2015. Between Haynes piece of filmmaking and Highsmith’s material in the novel, the film’s conflict and character debates are very much relevant to the kinds of gay marriage debates that we still hear about sixty years later.
Overall, “Carol” is a nice inspirational tale for ladies going through similar adversities within themselves. As for everyone else, it’s an easy film visually to get lost in, but it is also a film entirely too difficult to feel any kind of emotional response for. With a tempo too slow and a screenplay that is more often than not dull, this movie leads the list of disappointing efforts for such a promising year.
6/10