In 1984, British journalist Arthur Stuart investigates the career of 1970s glam superstar Brian Slade, who was heavily influenced in his early years by hard-living and rebellious American singer Curt Wild.
Jonathan Rhys Meyers,
Adèle's life is changed when she meets Emma, a young woman with blue hair, who will allow her to discover desire and to assert herself as a woman and as an adult. In front of others, Adèle grows, seeks herself, loses herself, and ultimately finds herself through love and loss.
A fictitious love story loosely inspired by the lives of Danish artists Lili Elbe and Gerda Wegener. Lili and Gerda's marriage and work evolve as they navigate Lili's groundbreaking journey as a transgender pioneer.
In an adaptation of Patricia Highsmith's seminal novel The Price of Salt, CAROL follows two women from very different backgrounds who find themselves in an unexpected love affair in 1950s New York. As conventional norms of the time challenge their undeniable attraction, an honest story emerges to reveal the resilience of the heart in the face of change. A young woman in her 20s, Therese Belivet (Rooney Mara), is a clerk working in a Manhattan department store and dreaming of a more fulfilling life when she meets Carol (Cate Blanchett), an alluring woman trapped in a loveless, convenient marriage. As an immediate connection sparks between them, the innocence of their first encounter dims and their connection deepens. While Carol breaks free from the confines of marriage, her husband (Kyle Chandler) begins to question her competence as a mother as her involvement with Therese and close relationship with her best friend Abby (Sarah Paulson) come to light.Written by
The Weinstein Company
In the mid-1960s, a treatment of Patricia Highsmith's novel was written for the screen, with Lana Turner envisioned as the title character. It is unclear whether Turner was ever approached about the role, but her involvement would have generated great controversy, given the impossibility of a mainstream star playing a lesbian in a film of this era. A previous treatment of the novel, written in 1952, had altered the name and gender of the title character from "Carol" to "Carl" in order to adhere to the strict Hays Code which was in force at the time. In the end, however, this version did not make it to the screen either, and it would be over 60 years until the novel was finally adapted successfully in 2015. See more »
In the opening scene in the restaurant, it appears as though both women leave without paying. However, Carol leaves first while Therese remains, so it's entirely likely that Carol paid the bill at the restaurant's reception desk or bar before she left. See more »
CAROL sweeps with virtuosity as an compelling indictment to a jaundiced society and an ode to the undying strength of love!
An eight-year gap from his last feature movie I'M NOT THERE (2007), during which he dabbles in the TV sphere to direct a quintessential five-part miniseries MILDRED PIERCE (2011) starring Kate Winslet, Todd Haynes is back in the groove. Adapted from Patricia Highsmith's pioneering novel THE PRICE OF SALT published in 1952 by screenwriter Phyllis Nagy, who wrote the first draft as early as in 1997, CAROL makes headway as the most audacious and empowering addition to the US queer cinema, notably to the rather barren lesbian territory.
New York, 1952 , Therese Belivet (Mara), a shop-girl whose real interest is photography, meets Carol Aird (Blanchett), an elegant woman who is experiencing an unpleasant divorce with her possessive husband Harge (Chandler). Therese's presence sheds a light in her life just as hers does in Therese's. Their romance has been intensified through an itinerant journey they embark on during the new year, but the thorny legal procedure to fight the custody of her young daughter forces Carol to unilaterally put their relationship on hold, an ultimate question remains what a downcast Therese will do when a second chance emerges?
Predominantly, CAROL is an all-around artistic treasure, the incredible period art production, under the low-key, slightly desaturated tint, precisely reconstructs an alluringly sentimental ambiance of the era to foreground the exquisite undercurrents experienced by Carol and Therese; the sophistication of Carol's gorgeous wardrobe and make-up contrasts the self-revealing honesty and consciousness of Therese's drabber outfits and unadorned countenance; Edward Lachman's breathtaking cinematography is quaintly evocative to reflect Carol and Therese's understated emotional orbits, his sleight-of-hand is at its most potent with those shots behind glasses, immaculately sublimates the blurry equivocation of human's impenetrable sentiments, and the impact multiplies with Carter Burwell's unobtrusive but permeating score.
The two leading performances are priceless, it is heartfelt restraint versus enigmatic swank, where the unfathomable attraction burgeons mutually, Mara and Blanchett diligently engage in their two- hander, with minute gestures and body languages and expressional finesse. Blanchett is graceful, alluring, and indecisive, the dramatic soliloquy about her resolution of the custody is beyond question one of the highlights of her illustrious career; whereas Mara is stolid on the surface, watchful and unapologetically true to her feelings, more admirably conveys her true grit against the tentacles of a prejudiced society which reaches into every nook and cranny of her and Carol's lives. In the supporting category, Sarah Paulson as Abby, Carol's confidant, is the ballast of their perilous affair, apart from an awkward former love identity, which could make the mind-game more intriguing if her role were extended.
An out-and-out victory from Haynes and his cast, CAROL sweeps with virtuosity as an compelling indictment to a jaundiced society and an ode to the undying strength of love, and beckons a bullish prospect for Haynes' next project, reportedly to be a reunion with another muse Julianne Moore in WONDERSTRUCK, based on the book by Brian Selznick.
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