It was once
more back to the Oscar pool for Carol, the story of Therese (Rooney
Mara) who falls for Carol (Cate Blanchet) and the effect that has on both their
lives. Though mainly Carol’s.
It’s a period
drama set in the 1960s and as always Blanchet is luminous and graceful and
beautiful and seductive and everything you can think of to describe a woman who
could easily capture anyone’s heart. Mara is similarly stunning, but in a
more innocent, reserved way. The initial attraction is not always
convincingly played out, but the burgeoning relationship between the two slowly
unfolds and reveals itself.
Trying to rain
on their parade is Carol’s husband and, to a lesser extent, Therese’s
boyfriend. Carol’s husband holds the trump card: the couple have a child
and Carol’s not always discrete indiscretions could signal the end of her
ability to see her daughter. So the relationship that blossoms between
Carol and Terese is hindered and limited, and the emotional journey of the two
women is palpable.
It’s a great
film, slowly told, movingly acted, and seems so small and intimate, with lots
of close ups, though the cold colour palate gives everything an air of
repression and depression.
People come and
go out of the lives of these two women, and one of the parties Therese attends
is painful in the isolation and distance portrayed between her and anyone else
in attendance. Carol’s world seems smaller, if richer, with a close bosom
buddy to confide in, but no greater circle of friends to lose herself in.
All up, the
film is a wonderful, small film with outstanding performances. Should
Blanchet win an Oscar over Brie Larson for Room? No – but that is
my pro-Larson bias coming through, and is no way a sign that Blanchet and
Rooney’s performances are anything less than spectacular. A beautiful
film.
Verdict: Carol
hits all the right notes in its telling of a small tale of love and
relationships in 1960s New York. Utterly compelling and intriguing, it’s
a moving affair and totally engrossing. 9 train sets out of 10.
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