Review of Carol (2015) by Angela S — 06 Jun 2016

With the Oscar-nominated film Carol, director Todd Haynes weaves a romance drama where bleak and beautiful coexist. Based on Patricia Highsmith's successful 1952 semi-autobiographical novel The Price of Salt, we witness a tragic love story unfolding during the unforgiving era of the 1950s, between two female leads portrayed by Cate Blanchett and Rooney Mara. Haynes has crafted several solid collaborations in the past which delved into the evocative complexities of intriguing female protagonists including Julianne Moore in Safe (1995) & Far From Heaven (2002), and Kate Winslet in the miniseries Mildred Pierce (2011). Holding the titular role, it's Blanchett turn for the limelight, and the Oscar-winning actress plummets her way into a dire state of yearning and aching, with such finesse.

When a much younger Therese (Mara) catches her first glimpse at the sophisticated Carol (Blanchett) at the department store, a brief conversation takes place between her who's working behind the counter and the married socialite who is looking for a Christmas present for her daughter, and so a magnetic bond effloresce in a tale of forbidden romance so efficaciously depicted against the handsome backdrop of Manhattan in 1952. Haynes takes his time to allow tension and desires between the two leads to percolate through a series of situations and conversations, making viewers yearn for the outcome, will it happen, will they finally be together?

The feeling of entrapment focused by Haynes in this film is also heightened by the distance between Therese and Carol's worlds, drawn apart by disparities between their age, lifestyles and nature. One thing about Highsmith's book that really moved Haynes which he wanted to bring back into the film was the entrapment felt throughout the story of being stuck with Therese inside her own consciousness, as she goes through her strong desires towards Carol while struggling as a young woman coming into focus, even to herself. I find this particular aspect however not thoroughly encapsulated in Rooney's performance. It's unfortunate that Therese's aching battle within herself is somehow not fully felt, and the story becomes heavily anchored on Blanchett to bring forth the intended drama and pain. And thankfully the forty-six year old actress commanded her role beautifully. In the book readers are in fact placed entirely in Therese's point of view, but screenwriter Phyllis Nagy altered her screenplay to give us somewhat equal access to Carol's side as well. We will witness Therese's character go through stages of uncertainty, coldly rejecting her boyfriend and losing focus of what she really wants in life, and at the time Carol's spiralling down in her broken marriage with Harge Aird (Kyle Chandler) and risks losing custody of her only daughter.

A sumptuous period detail, from the visually aesthetic work by production designer Judy Becker to the immaculate costumes by Sandy Powell, the film takes you back in time and allow you to fully appreciate the slow-boiling but compelling masterpiece. I've always marvelled at how engaging the bleakness can be in Haynes' films, and Carol would be his best in my opinion.