Revisited 'Carol' last night. I forgot how depressing this movie is. I have a love/hate relationship with it.
Honestly, the 1950s really upset me. The men in this movie are such douchelords. The culture of the era was inherently really frustrating. No matter how much being a woman today has its challenges, women then were property, enslaved essentially. It's hard not to watch this movie and want to scream. It makes me really grateful for the freedom I enjoy.
This movie was NOT a crowd favorite. I have seen it a few times in groups, and it's usually fairly disliked. A lot of that stems from Todd Haynes going a little too far with the realism of the 1950s - it's hard to relate to the mentality of this era, and the film makes no concessions to appeal to modern sensibilities. Repression is in every frame, much as the characters are trapped in time and screenshots. Life and vivacity seems snuffed out in these characters. They don't experience much joy and when they do, it is expressed in such subtlety that it is nearly (and often) missed. The chemistry between these characters is so muted it's lost on audiences. It's a joyless film, really.
That said, there's something about this movie I find oddly hypnotic. It's a GORGEOUS movie. Every shot, from the opening frame, is like a painting on the wall - designed to be admired. It's rare that I focus so intensely on set design and costume when I watch a film, maybe that's because this film begs you to focus hard on finding beauty where it is otherwise in short supply. This film is like a lava lamp, a great achievement in facade (which is essentially the essence of the 50s). I will admit my interest in this film is largely superficial. I can understand why it didn't get a Best Picture nod and find the nominations in design categories appropriate. I REALLY want to shop at Frankenburg's and get a rad train set.
Cate Blanchett makes a great butch queer, her voice is so husky. For a movie about subtlety, Carol can be so over-the-top and obvious. Interestingly, it's not really Cate I take notice of in this film. This movie has the distinction of being the only one in which I can stand Rooney Mara. She fascinates me in this film. She deserved accolades for this performance. It's quite hard to play sustained repression on this level. She says a lot without saying a lot, a feat not many actors can accomplish. She is particularly believably 50s in the dinner scene at the end, perfectly channeling Audrey Hepburn and a perfected 1950s suburbia accent. I don't particularly care for the character of Therese, but I can appreciate what she brings to the table and I buy it.
It's hard to root for these people, and I think that's a major flaw of the film. They are too antiquated. Heart and warmth are not this film's forte, and it often comes across as bland and uninspired. Even the love scene the film clearly builds up to falls flat and is largely hidden from the gaze of its audience. There really is no payoff. Again, joyless film. But that's very Todd Haynes.
Nonetheless, overall I liked this movie. I'm fascinated by the shot composition, the nostalgic scenery, lush set design and color palette, and Christmas trimmings. I just wish this movie had more soul.
