Carol would have been a lot more momentous to cinema had the film been released a decade or two earlier.
The novel Carol (originally titled The Price of Salt) was written back in 1952 by Patricia Highsmith, best known for writing Strangers on a Train and the Tom Ripley series. The novel was groundbreaking for its unprecedented portrayal of a same-sex relationship, complete with the avoidance of lesbian stereotypes, fleshed out character development, and most importantly (GASP) a happy ending for the couple. Hell, the latter example was uncommon in fiction up to the 2000s, so for the novel to successfully be published in the 1950s makes it nothing short of a miracle. The film version follows the novel faithfully, yet there’s something missing that the film can never have from the book: the release date. Since 2005, there’s been a considerable upsurge in positive, well-made LGBT cinematic portrayals. Here are ten right now: Brokeback Mountain, I Love You Phillip Morris, The Kids Are All Right, Blue is the Warmest Color, Dallas Buyers Club, G.B.F, Boys, The Dog, Love is Strange, and Tangerine. Carol’s time has since passed for it to make a massive impression in such regard, meaning the film must be looked at its most basic levels: its characters and plot.
The novel Carol (originally titled The Price of Salt) was written back in 1952 by Patricia Highsmith, best known for writing Strangers on a Train and the Tom Ripley series. The novel was groundbreaking for its unprecedented portrayal of a same-sex relationship, complete with the avoidance of lesbian stereotypes, fleshed out character development, and most importantly (GASP) a happy ending for the couple. Hell, the latter example was uncommon in fiction up to the 2000s, so for the novel to successfully be published in the 1950s makes it nothing short of a miracle. The film version follows the novel faithfully, yet there’s something missing that the film can never have from the book: the release date. Since 2005, there’s been a considerable upsurge in positive, well-made LGBT cinematic portrayals. Here are ten right now: Brokeback Mountain, I Love You Phillip Morris, The Kids Are All Right, Blue is the Warmest Color, Dallas Buyers Club, G.B.F, Boys, The Dog, Love is Strange, and Tangerine. Carol’s time has since passed for it to make a massive impression in such regard, meaning the film must be looked at its most basic levels: its characters and plot.
Carol’s strongest aspect is its two leads Cate Blanchett and Rooney Mara, in particular, Blanchett, who does a fantastic job in her role as Carol. Mara (who plays Therese) is quieter and subtler than Blanchett, which could lead to her performance being overlooked; yet make no mistake, it's Mara’s acting that effectively completes the pair’s superb chemistry. The interaction between these two feels effortlessly natural, giving the film its high point in passion, humor, sadness, and joy. The pair’s initial interaction when first meeting is a fluent blend of humorous banter and sensual undertones, their facial features displaying various emotions while trying to feel each other out. Carol’s classy, flirtatious air and Therese’s uncertain, yet distinctively blunt approach work delightfully well as an “opposites attract” relationship: both women fascinated by the other’s personality. The pair is Carol’s strongest aspect, and what keeps the film engaging throughout. Carol’s weakest aspect, however, is the world surrounding its lead actresses.
While Carol succeeds in romance, its world building lacks originality. Secondary characters are used to their minimum requirement regarding plot advancement. A private investigator disguised as a nerdy salesman, an aspiring film buff journalist, even major secondary cast such as Carol’s ex-husband or best friend show up only when Carol needs them to progress the plot or make some allegorical remark. Several plot elements have been seen time and time again throughout numerous old and modern-day films. Carol is also the second 2015 film (after Sicario) to use the incredibly cliché “nothing personal” statement (not present within the book), which I bet would have still been stale back in the 1950s. The romance is the film’s reality, while the rest is simply a watercolor background: noticeable, but not notable. Carol is an example of exceptional progression adapted too late: a period piece made in the wrong period. If the film had been released even one decade earlier its significance would have risen immensely. For a 2015 release, however, Carol is an effective romance, with two wonderful leads, in a very familiar backdrop.
