Carol: Interesting Retrospect on the Past

            While my reviews were meant to focus on older pictures, nothing is concrete and I will today be focusing on something newer. This is a 2015 film that was set in the 1950s so it keeps with a retro tradition despite the release date. Carol is a drama starring Cate Blanchett and Rooney Mara that was directed by Todd Haynes. Based on a novel by Patricia Highsmith, it chronicles the tale of a married suburban woman who takes an interest in a younger shop girl. This interest is romantic, but does not feel as heavy or obvious initially. The development of strong feelings as time progresses is one strength that this film has. Another strength is the mentality of the universe the story is set in. While not tackled directly, ramifications of this relationship would be met with strong criticism by 1950s America and Carol avoids being heavy handed. It is for this reason Carol excels in its delivery; telling a contentious story in a hostile environment while not being very overt. Parallels to Nicholas Ray and Douglas Sirk, critics of the Post-War Era in their time, are found in Carol and make the film enjoyable to fans of melodrama.
            The plot is very simple and yet conveys an amazing story. Aspiring photographer Therese, played by Rooney Mara, is working at a department store in New York City, where she befriends a customer named Carol. After Carol, portrayed by Cate Blanchett, forgets her gloves at the store, Therese returns them and a friendship is formed. Little does Therese know, Carol is married and in the process of divorcing her husband. The main issue in their marriage is that Carol is a lesbian and is no longer interested in her somewhat abusive husband. The two women eventually take a road trip when Carol's husband, performed skillfully by Kyle Chandler, forbids her from seeing her daughter until the divorce is finalized and threatens sole custody of her. The road trip can be seen as Carol escaping her troubled life in New York while for Therese it may be her breaking free of inhibitions surrounding her sexual orientation. One thing leads to another and our protagonists return home jaded with the world. Will true love reunite our lovers or will social norms stave off happiness?

            When watching this film, the first film I thought of Funny Face. This was due to Therese wearing frumpy 1950s clothes while managing to look cute, much like Jo Stockton in the first half of that film. Immediately after that thought, I was reminded of Sirk and his exposé on forbidden love in All That Heaven Allows. That story followed a wealthy widowed housewife in her 40s falling in love with a gardener half her age. That film had the message that societal expectations could prevent true love; keeping up appearances and maintaining social stature for others might ruin individual happiness. Like All That Heaven Allows, Carol also tells the audience about love between an older, almost single housewife and a younger, less prominent individual. The main difference here is that All That Heaven Allows was a story of heterosexual love, while this is a homosexual story. This difference is not that extreme as far as storytelling is concerned, but the consequences are worse. While not discussed in depth, there are allusions that her orientation is the ammunition her husband can use in the event Carol fights him on custody of their daughter. Another consequence of the time is seen when Carol decides to relocate from the suburbs to New York City and gain employment. This could show the alienation that she would receive in the community.

            For Therese, there is little to be lost from being public about her sexuality. Apart from losing a pushy boyfriend, nothing really changes negatively for her. She is already at the bottom of the class ladder and associates with writers, young intellectuals and others who would be more open minded. Therese is actually the one who has seen an improvement to her life, as she quits the department store and starts working for the New York Times in some capacity related to her passion of photography. This contrast between Carol and Therese after meeting each other is viewed as commentary of their worlds. The citizens of Carol's suburban monotony were in control of America in the 1950s and were hesitant to accept change. On the other end, the beat generation was starting to come fruition and new ideas were starting to arise from them. Therese can be seen as a member of that generation; based on her friends, artistic passion and neighborhood it can be assumed she is willing to be comfortable with herself without worry of judgment. Specifically set in late 1952 and early 1953, the divide between these ideologies is seen by Eisenhower campaign signs in Carol's suburbs and Stevenson posters in Therese's part of the city. Neither character is political, but it is another example of setting up the different communities and associated viewpoints of their worlds. In the end, the audience realizes that Therese is the one that grows into her true self from the relationship in more ways than one.

            Outside of the message of individuality going against social group standards, Carol is memorable for other reasons. The score, composed by Carter Burwell, is mostly a dignified melody punctured by moments of loud strength. This provides the audience with music that corresponds to the stable, mature nature of Carol and Therese's relationship with the occasional conflict it receives. The makeup and hair were the strongest parts of the film, almost on the same level as the acting in importance. Hairstyles and makeup both put audiences into Carol's 1950s setting more so than the costumes and old cars. The realism of this film is essentially grounded in how authentic the characters act and look. Visually appealing characters are the aesthetic touch that propel the acting in Carol to excellence. The cinematography was in color, but very muted, almost like pastels in their faintness. The vibrancy of lipstick, nails and hair are what jump from the screen and set the two main characters apart from their faded surroundings. This is another facet that further stresses the importance of cosmetics to the film.

            This was an amazing film that felt real, presented a point and told a great story. It was not over the top in its delivery, something that came as a surprise based on the subject matter. The theme of uniformity in society going against individual free will is something unexpected and more akin to 1950s dramas. This does make sense as this is the spirit the story is trying to capture. The novel was also written in the 1950s as a drama, it was a very reasonable theme in its time and now. The tone is dramatic but not exaggerated, as the characters react as people normally would. There is no overacting, which is a great change of pace compared to other films that have scenes where an actor will excel just to win an award. Reality over excess should be used more often in acting to capture the practicality of stories. The images on screen are also astonishing, providing viewers with amazing sights that mix with the score and action to form something surprising. Carol is a great picture and would be highly recommended for viewing.