‘Carol’ undoubtedly stands as a visually arresting film. From the outset, the movie envelops you in a meticulously crafted 1950s aesthetic. The juxtaposition of opulent costumes and detailed production design, filtered through the grainy texture of 16mm film, immediately establishes a nostalgic and classic atmosphere. This visual richness, combined with skillful cinematography, makes ‘Carol’ consistently pleasing to the eye. Adding to the film’s allure are the commendable performances from the entire cast.
The film’s opening sequence is particularly noteworthy. As the credits roll, a continuous shot of 1950s New York unfolds, underscored by Carter Burwell’s evocative score, ‘Opening’. This extended shot seamlessly transitions into a restaurant scene, a flash-forward that gains context as the narrative progresses. It’s within this restaurant setting that we first glimpse the central figures, Therese (Rooney Mara) and Carol (Cate Blanchett). Observed through the eyes of a man at the bar, the camera finds them seated at a table. Therese is positioned with her back to the viewer, facing Carol, who is presented in full view. Witnessing Cate Blanchett in this initial scene, a powerful impression takes hold: her portrayal instantly conveys a sense of genuine infatuation and deep emotion.
However, this initial spark, so evident in Blanchett’s performance and the film’s visual presentation, unfortunately dims as the movie unfolds. Despite the strong individual performances from both Rooney Mara and Cate Blanchett, a palpable sense of on-screen chemistry between Therese and Carol feels lacking. The screenplay doesn’t seem to provide sufficient depth to fully realize their connection. As a result, the characters remain somewhat elusive, and by the film’s conclusion, a true understanding of them as individuals feels incomplete. While the technical achievements of ‘Carol’ are undeniable and elevate the film considerably, they can only compensate to a certain extent. For viewers who deeply connect with ‘Carol’, their appreciation is certainly valid. However, for others, like myself, a full embrace of the film is hindered by a struggle to emotionally invest in the central relationship. This becomes particularly significant given the film’s apparent focus on character-driven narrative rather than a plot-heavy storyline.
Despite these criticisms, ‘Carol’ maintains a certain level of engagement throughout. Rooney Mara and Cate Blanchett are captivating actresses, commanding attention even when the material feels somewhat underdeveloped. The film adopts a deliberate pace, which, while slow, appears to align with the artistic intentions of director Todd Haynes and screenwriter Phyllis Nagy. In conclusion, ‘Carol’ offers an intriguing cinematic experience, yet one that ultimately leaves a sense of emotional hollowness.
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