Directed by Todd Haynes
Produced by Elizabeth Karlsen, Stephen Woolley, Christine Vachon
Screenplay by Phyllis Nagy
Based on The Price of Salt by Patricia Highsmith
Starring Cate Blanchett, Rooney Mara, Sarah Paulson, Kyle Chandler, Jake Lacy
Music by Carter Burwell
Cinematography Edward Lachman
Edited by Affonso Gonçalves
Production companies Number 9 Films, Film4 Productions, Killer Films
Distributed by StudioCanal UK, The Weinstein Company
Release date May November 27, 2015
Budget $11.8 million
Woman loves another woman
They met in a store in New York in the 50’s of last century. She – Carol (Blanchett) – order of tired of life wealthy and well-groomed lady, in a state of permanent divorce, having a daughter machine, clothes for every occasion and deadly boredom of life. She – Thérèse (Mara) – saleswoman, preferring any words shutter clicks own camera. Their shared social chasm as wide as the Grand Canyon, but something surprising and sensuous was that in their first meeting.
“Carol” fired at the Cannes Film Festival, becoming one of the best shows of the season. Clever directing Todd Haynes without kinks, perfectionist actor casting, passed through a retro-filter types, super popular theme of tolerance to all forms of love as the core of the plot.
Yes, recently the whole world discussed “Life Adele”, but here the creators have tried to connect the seemingly complicated mating things: author’s cinema, ideal for large Cannes types of festivals, Venice or Toronto, a strong Hollywood drama to the widest possible audience and provocative to many theme same-sex love.
Impeccably stylish, beautiful, whispering love drama “Carol” came out loud and announced itself as the most likely winner, but, unfortunately, has been superseded by such giants as “Mad Max,” “Martian” and “Survivor.” A three dozen awards Brie Larson and enthusiasm of critics about Alicia Vikander have left no chance Blanchett and Mare on the “Oscars”.
“Carol” shows people in a state of mixed emotions, but very similar causes. On the picture in general is difficult to think of something intricate (again, in spite of the plot and the supply of intellectual costume drama). This is easily one of the most beautiful films of the past year, and a couple Blanchett Mara can be called the screen a couple of years. Dazzling woman and gray mouse. The flame and the wind. Careful feeling a strange emotion, a snowball of events …
Carol 2015 foto
Haynes says not so much about love, forbidden love and social stereotypes, but about trust. How to trust and open up to man when he afraid of his feelings, when not quite understand that this is all that happens when fear of making a mistake, even if previously convicted of the accomplishment of their was not. Love is in the “Carol”, sing the songs, tender, tremulous, bitter and true. A melancholy, smoke cigarettes, clothes and aplomb on the story breaks subtle germ of a unclouded by any prejudices and light feeling. This love is wrong, strange, scary, forbidden – in short, the one on which it is impossible not to look into my eyes.
This adaptation of the famous (in the US) by Patricia Highsmith’s novel “The price of salt” how to love, to be free and resolved to make a choice, let the right only for themselves. And the book, and the resulting film does not nurture lesbian love as something right, do not cry for tolerance and dissected under a microscope heroes of society. They love as such when two infinitely lonely people meet each other in the crowd, and there is a small miracle. This behavior criminals, which is so attracted Heins in the primary source, but gives the necessary strength coating. Yet Highsmith first detective novelist.
Carol 2015 Final verdict
We deliberately do not write here the term “lesbian love”, as applied to “Carol” it sounds strange and even rude. At Haynes turned to create the most correct, but non-sterile Neskuchniy and drama, full of tenderness, poignancy and anxiety, which is the main message of a very simple matter and provocative: everyone decides whom lyubit.Glyadya the way 60 years ago, two women resisted the pressure of a society full of “domostroevskih ‘attitudes, cynical, deliberate conscience and stereotypes, unwittingly rejoice for the modern generation. Let not everywhere, in all countries, and not in any society, but to be different from the others – it is precisely no longer a disease, but rather a feature. And thank goodness for that. Haynes showed how love drama can be stridently modern and heroines impossible not to fall in love.