REVIEW: Carol

11 01 2016

CarolEarly in Todd Haynes’ “Carol,” a group of young adults sits up in the projection booth a movie theater. As Billy Wilder’s “Sunset Boulevard” flickers on the screen, one astute observer sits taking notes while the others fool around. He remarks that he seeks to find “the correlation between what they [the characters] say and how they feel.”

Most people watching “Carol” will find themselves in a similar position. With the film’s gentle pace gradually yet methodically moving the action along, every moment becomes dissectible. Haynes, however, does not simply stop conveying the souls of his characters with words. (Neither, for that matter, did Wilder.) Each composition is a delicate painting, gracefully staged to emphasize, contradict or contextualize the action taking place within it.

The frames throughout “Carol” tell a rather perverse narrative. On the one hand, Carol Aird (Cate Blanchett) and Therese Belivet (Rooney Mara) are given vast amounts of space to move about on screen. The surroundings do not seem to claustrophobically encase this pair of illicit lovers, though the pressures of a disapprovingly baffled society try their best to do just that. Yet, at the same time, both are given so much “headroom” at the top of the frame that they become minimized within it.

So free, but so small. This paradox resonates for both the 1950s setting of the film as well as the 2010s audience viewing it.

“Carol” finds Todd Haynes working once again in his sweet spot of recreating a photorealistic past while addressing entirely contemporary concerns. Though he has yet to make a film set in the present day, he continually finds ways to evoke a sense of immediacy with forms of storytelling otherwise regarded as outmoded and the disregarded. Working within the so-called “woman’s film,” the classical melodrama as well as the romance, Haynes finds rich emotionality in reorganizing various elements to focus on female experience and pleasure.

Read the rest of this entry »