[yasr_overall_rating]
Carol, the new film from director Todd Haynes, is a cold film, but not one without a heart. The story of two women in love during a time when that was frowned upon could have been an overblown melodrama, but in the hands of Haynes, it is a delicate masterpiece with incredible performances from Cate Blanchett and Rooney Mara.
The film is based on Patricia Highsmith’s The Price of Salt and was adapted by Phyllis Nagy. Beginning during Christmas season 1952, Mara stars as Therese Belivet, a shopgirl who hopes to become a photographer. One day, the upscale and beautiful Carol Aird (Cate Blanchett) goes to the shop to buy her daughter a present. Therese suggests a train and the two instantly connect.
Therese has a boyfriend, Richard (Jake Lacy), who is hoping to marry her and take her to Europe, but she is apprehensive to make a commitment. Meanwhile, Carol is in the midst of divorcing her husband, Harge (Kyle Chandler), who knows that his wife is more interested in women than him. These difficulties at home push the two to search for an escape, which they find when Carol decides to drive West.
Anyone who has seen Haynes’ other work can see his fascination with period pieces and characters who don’t belong in their society. At first glance, Carol might seem like a repeat of 2002’s Far From Heaven, another film where two people are shunned by even their loved ones. But while that film relied heavily on Haynes’ cinematic influences, Carol succeeds in standing on its own. You can enjoy this film without having to see a movie made 50 years ago to pick up references or understand what Haynes is trying to say.
That said, it is remarkably authentic to the time period. Judy Becker’s production design, the set decoration by Heather Loeffler, Jesse Rosenthal’s art direction and the costume design by Sandy Powell combine for a beautifully looking film. Cinematographer Edward Lachman also creates beautiful images that are unforgettable. Like Haynes’ past work, each shot helps define characters, directing his audience for ways to feel about them. Lachman’s work helps make that clear. This isn’t a movie that embraces any improvisation at any level. Yeah, it’s artsy, but Haynes and his production team are artists.
The other artists are the two leading ladies in front of the camera. Blanchett is her typically incredible self here, fitting the often aloof Carol perfectly. However, it’s Mara who really impresses. She is no supporting player here, as we step into the world of the film through her perspective. We are introduced to Carol through her eyes, after all. Mara does a perfect job of conveying how much in love her character is with Carol.
Nagy’s script is practically split in two parts, with Therese’s perspective dominating the first half. But the film effortlessly moves toward Carol’s view as the two hit the road. This leads to a fascinating moment in the latter third, when we see how different classes react to homosexuality at the time. Carol is forced to go to a psychotherapist, while Therese’s photographer friend doesn’t have a problem with her relationship.
Members of the supporting cast are great as well. Sarah Paulson plays Carol’s former lover with clear suppressed anger towards Therese. Kyle Chandler’s role is small and anyone could have played it, but he fits the part of the stereotypical ‘50s husband who expects to be in control of everyone under his roof. The scene were he insists that keeping Carol safe is his responsibility tells you everything you need to know about the character.
Carol is nearly perfect, although the ending is a bit unbelievable. Everything before it though, is fantastic. The film and the story prove that love is an emotion you can’t control and it must be embraced, even if society tells you to ignore it. Every aspect of this film is orchestrated, from the script to the acting and all that planning pays off in the end.